Fuji X Weekly

Which Film Simulation Recipes, When? — Part 1: X-Trans V (2024 Edition)

Posted on by Ritchie Roesch

Dumbo Crowd – Brooklyn, New York City, NY – Fujifilm X-T50 – Reala Ace Recipe

Part 2 (X-Trans IV) – Part 3 (X-T3/X-T30)

I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?

The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.

Red Rock at Sundown – Sedona, AZ – Fujifilm X-T50 – Reala Ace Recipe

The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them too. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.

Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. Part 1 is X-Trans V models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. You can use these Recipes on the latest GFX cameras; however, they will render slightly differently (try them anyway).

C1 — Kodak Portra 400 v2 — Sunny Daylight #1

Motor Hotel – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 400 v2

Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.

Some alternatives to consider:
Kodachrome 64
Kodak Gold 200
Classic Kodak
Kodak Negative
Nostalgic Americana

C2 — Vibrant Arizona — Sunny Daylight #2

Arizona Barn – Sedona, Arizona – Fujifilm X-T5 – Vibrant Arizona

I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Vibrant Arizona can be used anytime the sun is out (also, try it at dusk and dawn), it is my favorite option for middle-of-the-day situations, and proves the old adage wrong.

Some alternatives to consider:
1970’s Summer
California Summer
Kodak Portra 800 v3
Kodak Portra 160 v2
Kodak Vericolor Warm

C3 — Fujicolor Film — Sunny Daylight #3

Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film

This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar—and the Fujicolor Film Recipe provides exactly that. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.

Some alternatives to consider:
Fujicolor Reala 100
Fujicolor Superia 100
Fujicolor Natura 1600
Pushed Analog
Kodak Vision3 250D v2

C4 — Pacific Blues — Overcast

Wet Leaves – Tannersville, NY – Fujifilm X-T50 – Pacific Blues Recipe

Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.

Some alternatives to consider:
Kodak Ultramax 400
PRO Negative 160C
Emulsion ’86
Thommy’s Ektachrome
Superia Xtra 400

C5 — Reala Ace — Versatility

Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace

I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but my personal favorite is the Reala Ace Recipe (which, incidentally, uses Classic Negative and not the new Reala Ace film sim).

Some alternatives to consider:
Fujicolor Super HG v2
Nostalgia Negative
Timeless Negative
Easy Reala Ace
1976 Kodak

C6 — CineStill 800T — Nighttime

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, CineStill 800T is my top recommendation.

Some alternatives to consider:
Pushed CineStill 800T
Fluorescent Night
Expired ECN-2 100T
Agfa Ultra 100 v2
Kodak Ektachrome E100VS v1

C7 — Kodak Tri-X 400 — B&W

Frank – Hoboken, NJ – Fujifilm X-T50 – Kodak Tri-X 400

I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I choose if I could only ever photograph with one—is Kodak Tri-X 400.

Some alternatives to consider:
Kodak T-Max P3200
Ilford FP4 Plus 125
Ilford HP5 Plus 400
Monochrome Negative
Kentmere Pan 400

IQ — X-T50 Film Dial — Bonus

Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Film Dial “Cinematic Film”

Whether or not you have a Fujifilm X-T50, you can program the universal Film Dial Recipe into your IQ Menu as a bonus option (explained here). With the X-T50, the Film Dial allows you to achieve up to 12 different looks (essentially 12 bonus Recipes); with other cameras, program one of the FN buttons to activate the Film Simulation submenu, and you can achieve up to 14 different looks (14 bonus Recipes). This adds a ton of versatility to your camera.

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

Part 2 (X-Trans IV)

Fujicolor Film — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film Recipe

As a part of the Philadelphia photowalk that I co-led last month, I gave a presentation at Unique Photo on Fujifilm’s Film Simulations and my Film Simulation Recipes. While I was researching for that presentation, I came across a statement by Fujifilm where they dubbed the new Reala Ace film sim as “a negative for the new era.” That slogan—negative for the new era—caught my imagination, and made me consider what it might mean, and how that could translate into a Recipe aesthetic.

Fujifilm claims that the Reala Ace film simulation is modeled after the Reala Ace 100 color negative film, which was a variant of Fujicolor Superia Reala 100 that was only sold in Japan; however, I believe that is more marketing than reality. The emulsion that the Reala Ace film sim is the most similar to is Fujicolor PRO 160C. In my opinion, Fujifilm should have called it PRO Neg. C, as it is clearly in the same family as PRO Neg. Std and PRO Neg. Hi, and is not a Superia aesthetic, which is what the Classic Negative film simulation mimics. But, either way, the Reala Ace film simulation is quite nice, and definitely has a color negative film quality to it.

Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe

Prior to making this Fujicolor Film Recipe, I pulled out a photobox from my closet, and begin sorting through some of my prints from 15-20 years ago that I knew I had captured using a Fujicolor negative film. All of them were printed on Crystal Archive paper at Ritz camera. While I used those pictures to help create this Recipe, I didn’t try to closely copy any specific aesthetic, but was more just generally inspired by those prints. Later, I dug out the negatives (stored in a different box), and I was a little surprised by what films were actually used for those photos: Fujicolor PRO 160S, Fujicolor NPS 160, Fujicolor PRO 400H, Fujicolor Superia Reala 100, Fujicolor Superia 100, and Kodak Gold 100 (oops… I guess I got that one wrong).

I would describe this new Fujicolor Film Recipe as generally similar to a Fujicolor negative film printed on Fujicolor Crystal Archive paper. It’s true-to-life, and not particularly punchy. It definitely has the right feel for printed Fujicolor PRO 160S, although it’s not specifically closely modeled after that—it’s more of a happy accident than on purpose; however, it was inspired in part by that emulsion, so it shouldn’t be too surprising.

Palm & Blue Sky – Buckeye, AZ – Fujifilm X100VI – Fujicolor Film Recipe

This Film Simulation Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can also use it on the latest GFX models; however, it will render slightly different (try it anyway). For best results, use in sunny daylight; however, as you can see from the photos in this article, it can be used in a variety of light conditions. It is intended to be your Fujicolor “negative” for the new era.

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Weak 
White Balance: 5500K, -1 Red & -1 Blue
Highlight: -1
Shadow: -0.5
Color: -2
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “Fujicolor Film” Film Simulation Recipe on a Fujifilm X100VI:

Floating on the Ocean – Plymouth, MA – Fujifilm X100VI
New York – Plymouth, MA – Fujifilm X100VI
Happiness is a Beach – Plymouth, MA – Fujifilm X100VI
Yankees Girl – Plymouth, MA – Fujifilm X100VI
Low Tide – Plymouth, MA – Fujifilm X100VI
Salt Pond – Plymouth, MA – Fujifilm X100VI
Atlantic Through Trees – Plymouth, MA – Fujifilm X100VI
Clothes Pins – Plymouth, MA – Fujifilm X100VI
Sunstar & Clothesline – Plymouth, MA – Fujifilm X100VI
Chimney – Plymouth, MA – Fujifilm X100VI
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI
Garden Flowers – Plymouth, MA – Fujifilm X100VI
Bunches of Blossoms – Plymouth, MA – Fujifilm X100VI
Yellow Blooms – Philadelphia, PA – Fujifilm X100VI
Independence – Philadelphia, PA – Fujifilm X100VI
Independence Hall – Philadelphia, PA – Fujifilm X100VI
Sky Rainbow – Philadelphia, PA – Fujifilm X100VI
Carrabba’s Twice – Maple Shade, NJ – Fujifilm X100VI
Fruitstand – Hoboken, NJ – Fujifilm X100VI
Firetrucks – Hoboken, NJ – Fujifilm X100VI
Fuji – Hoboken, NJ – Fujifilm X100VI
Black Bike – Jersey City, NJ – Fujifilm X100VI
Don’t Walk – New York City, NY – Fujifilm X100VI
Yankees Stadium – New York City, NY – Fujifilm X100VI

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Shooting Fujifilm Instax with a 108-year-old Kodak camera

Posted on by Ritchie Roesch

Photo by Dan Allen.

The below article is by Dan Allen. You might recall that Dan invented the Kentmere Pan 400 Film Simulation Recipe (and more coming soon), and had a helping hand in the Vintage Bronze, Ilford FP4 Plus 125, and Ektachrome E100 Recipes.

What I love about Dan’s project is that it repurposes beautiful antique cameras with modern instant film, and even incorporates Fujifilm’s X-series. It’s a poetic melting pot of old and new to create fascinating art that is simultaneously vintage and modern.

I know that you are going to appreciate this post, and perhaps even be inspired to try it for yourself. Thank you, Dan, for sharing your project with us—it is such an honor to publish this story!

Take it away, Dan!

Photo by Dan Allen.

I grew up in the golden age of film photography. I was a kid during the 1980’s, and lived in Rochester, New York—the home of Kodak. Film photography and cameras were interwoven into the very fabric of our local culture. Everyone in our city had at least one or two family members that worked for the big yellow box. At its peak, Kodak employed more than 60,000 people locally. We were the center of the photographic universe. What could possibly go wrong?

Enter Fujifilm.

In the 1980’s, Fuji became a direct competitor to Kodak in the U.S. film market. They slowly cut into Kodak’s market share, and in my eyes as a kid, they were the enemy. It was a mortal sin to even think about shooting a roll of Fuji’s film. Given the title of this post, I think you can see where I am going with this.

My interest in creative photography started as a young kid and continued through high school, where I first learned how to develop film and make a print in the darkroom. Cameras took a backseat as I focused on college, then a career in engineering, and started a family. Basically, photography stopped after graduating high school. Fast forward to Covid-19 lockdowns, which is when I discovered Ritchie’s Fuji X Weekly website. I was enamored with his Kodachrome 64 Film Simulation Recipe. I couldn’t believe those Kodak looking pictures were produced on a modern (yet retro looking) Fujifilm digital camera. It made all of those photographic childhood memories come rushing back. Soon after, I bought my first Fujifilm: an X-T3.

Photos by Dan Allen.

I quickly became a Fuji X Weekly film sim junkie, trying out each possible combination my camera could handle. The Kodak-based recipes were my favorite, though. At some point, I realized it was possible for Kodak and Fujifilm to be in the same room together!

In 2022, I decided to pick up the only working film camera I owned, a Canon Rebel with a nifty-fifty. I shot a roll of Kodak Ultramax and brought it to the local film lab. The circle of photography was now complete—I was right back where I left off, and it felt like home. From this point forward, I adopted a mixed photographic workflow, often carrying one film camera and one Fujifilm digital. I liked the convenience of Ritchie’s “no edit” Recipes, but I also enjoyed the unique challenges inherent to the analog film photography I grew up with. It was truly the best of both worlds.

As most photographers do, I caught a bad case of Gear Acquisition Syndrome (G.A.S.). I started buying vintage film cameras from thrift stores and yard sales. The older Kodak cameras from the early 1900s really caught my eye, especially the ones that were made right here in Rochester.

Twenty or so film cameras later, I stumbled across a 1916 Kodak Vest Pocket Autographic for $40. This was known as the “Soldier’s Kodak” during World War I, and was marketed to troops going overseas to document their trip. It really was a pocketable camera, not much bigger than a deck of playing cards. It was the Fujifilm X70 of the early 1900’s!

Photo by Dan Allen.

The Vest Pocket Autographic takes 127 roll film, which Kokak introduced in 1912 and manufactured until 1995. The negative size is roughly 44mm x 66mm, and is quite a bit bigger than a 24mm x 36mm negative from a full-frame 35mm camera. When the Vest Pocket arrived I gave it a good cleaning, and was able to get the shutter to fire. It has speeds of 1/25 and 1/50, and an apertures marked with 1, 2, 3, and 4—these aperture values equate to f/11, f/16, f/22, and f/32. It has a unique design, as the lens is mounted behind the shutter and aperture. This protected the lens from scratches; the optics on mine were in great shape. Everything on the camera appeared to be fully functional. All I needed now was some 127 film!

There are a few places that make 127 film by cutting down modern 120 film. I was able to find ReraPan 400 in 127 size from B&H Photo and placed an order. While I was waiting for the 127 film to be delivered, I happened to look at a few Fuji Instax Mini prints sitting on my desk. I thought, Hey, that looks like it would fit perfectly inside the Kodak Vest Pocket Autographic! Sure enough, it was almost a perfect match at 46mm x 62mm. The light bulbs were going off in my head. Could I really shoot Fujifilm Instax film in a 108 year old Kodak camera? Spoiler alert. YES!

I went outside and made my first test shot and it turned out great. The exposure was spot on, and the image looked to be in focus. Somehow this kid from the 1980’s that grew up in Kodakville had resurrected an 108-year-old World War I Kodak camera using modern Fujifilm Instax film. I wonder what George Eastman would think of this combination?

I bet you are wondering… can I shoot Instax in my grandpa’s old camera? Keep reading and I will detail the technical process below.

Photos by Dan Allen.

I must warn you, though: if you continue reading, you may find yourself going down a photographic rabbit hole from which there is no returning. The fact is that you can shoot Instax film in almost any vintage camera, so long as it fits in the back, and the camera doesn’t have a focal plane shutter that moves near where the film is (think Canon AE-1). I’m afraid that you may damage the shutter if the Instax print were to come in contact with any moving part of the camera; however, most rangefinder, folding, and TLR style cameras with a leaf shutter inside the lens should work fine.

This process requires two things: a film changing dark bag that you can buy for $30 or less, and an analog Fujifilm Instax camera, such as the Instax Mini 12 or similar model. Here is a general outline of how it works:

  • Test fit a sheet of Instax Mini, Square, or Wide film in your vintage film camera to see which size works best. Instax Mini is the size that fits into the Kodak Vest Pocket Autographic.
  • Load a fresh pack of film into your analog Instax camera. Note: any of the Instax cameras that have a “digital” image component like the Mini Evo will not work.
  • Fire the shutter to eject the dark slide from the Instax film pack.
  • Place both the vintage camera and analog Instax camera into the film changing dark bag, and zip it shut so it’s light tight. Don’t forget to remove any smart watches that could possibly light up and expose the film.
  • Stick your hands inside the film changing dark bag and open the back cover of the Instax camera. Be very careful to avoid turning on the Instax camera by accident. Some of them have lights which could expose the film.
  • Remove the Instax film cartridge pack. Slide one sheet out, then put the cartridge back in the Instax camera and close the back door.
  • Open the vintage film camera and insert the single Instax sheet and align it where the film would normally get exposed. Remember, Instax film exposes from the back not the front, so you have to face the dark back of the Instax sheet towards what you want to photograph. If the Instax sheet is loose or has a big size difference, you may need to tape it in place, or make a mask out of construction paper so that you can tape the Instax sheet to it. You do not want the Instax sheet sliding around inside the camera.
  • Close up the vintage film camera and remove it from the film changing dark bag.

Instax film has an ISO speed of 800. When you expose your picture, you will need to take a light meter reading. If you don’t have a light meter, you can use an app on your smartphone, or even use your Fujifilm camera with the ISO dial set to 800. Once you get your light meter reading, if the shutter speed is faster than the maximum shutter speed of your camera, you may need to use an ND filter to reduce the light. When I used the Vest Pocket Autographic camera, I needed to hold a 3 stop ND filter over the lens in bright sun.

Photos by Dan Allen.

Once you have exposed your Instax sheet:

  • Put the vintage camera and Instax camera back in the film changing dark bag and zip it up so it is light tight again.
  • Remove the Instax sheet from your film camera and set it aside.
  • Open the back of the Instax camera and remove the film cartridge.
  • Insert the exposed Instax sheet into the film cartridge, then put the cartridge back into the Instax camera and close the back door. For this to work, you must put the exposed frame back into the film cartridge, and it must be in the same way that it was removed, and as the first sheet.
  • Remove both cameras from the dark bag.
  • Fire the shutter on the Instax camera with your hand or something else dark to cover the lens. Instax film starts the development process when it is ejected from the camera.

The first time I tried this, I wasted a few frames of Instax film on purpose by pulling out the cartridge in daylight when I had about three shots left. This let me practice the entire procedure in the light where I could see what I was doing. It is not difficult to do, but remember: once it is inside the film changing dark bag, you will be doing the entire process by feel only, so it is best to practice several times with some ruined sheets in daylight, until you get the hang of it.

Photos by Dan Allen.

If you made it this far, you are officially a camera nerd. Now go out and shoot some Instax film in a vintage camera! Feel free to reach out to me on Instagram with questions at @dan.allen.photo. I use my Fujifilm X-T5 with a Fujinon 30mm Macro lens to digitally “scan” the Instax prints, which really makes it all come full circle.

A special thanks to Ritchie at Fuji X Weekly for inspiring me to get my first Fujifilm camera, and introducing me to the amazing Film Simulation Recipe community.

P.S. This Instax film process works with homemade pinhole cameras too!

How Photographers are Using Recipes (it might surprise you)

Posted on by Ritchie Roesch

The new Film Dial on the Fujifilm X-T50 has become one of the most controversial features ever included on a Fujifilm camera. There’s been a lot of hate for it expressed on the internet. There seems to be two camps who dislike it: those who shoot RAW, and those who use Film Simulation Recipes. I believe that the Film Dial has been largely misunderstood, and that it will become more appreciated over time.

The RAW-only group dislikes the Film Dial because they don’t care much for in-camera film simulations. Some will say that they don’t use film simulations at all (of course, they say this while using Provia… film simulations cannot be disabled, so they’re always using one…), and some will say that they apply the film simulations in-post using Lightroom or Capture One, and not in-camera. For this group, the Film Dial is a complete waste of space, they say.

The Film Simulation Recipe group dislikes the Film Dial because you cannot program it with Recipes; it only changes the film simulation and nothing else. They would prefer that each “film” on the Dial could be custom set as a Recipe. That would be really cool, actually, and think that’s a great idea—maybe Fujifilm could do it in the future. Also, a C1-C7 Dial (or increase it to 10 or 12 or more) would have been most ideal. Still, the Film Dial can be useful for this group by utilizing a “universal Recipe” technique, which I used extensively in August traveling across the country. So I think there are two parts to this: 1) a frustration that it could have been implemented better, and 2) not fully realizing the potential that it does have in its current iteration. Nothing can be done about the first point (aside from Fujifilm changing it either with a firmware update, or how it is implemented on future models), but for the second point its a matter of getting the word out—once people try my solution (or something similar… Reggie’s Portra works pretty well for this, too), I think it will be much more liked.

Fujifilm X-T50 + Fujinon 27mm f/2.8 + 1976 Kodak Recipe

This year I’ve traveled quite a bit, and met hundreds of fellow Fujifilm photographers across the country, and even some from other countries. In doing so, I’ve learned that there are a variety of ways that people are using film simulations and Recipes. Some of these things I would have never even thought of. It’s truly amazing! I want to briefly share them with you.

The number one way that Film Simulation Recipes are being utilized is for straight-out-of-camera photography. This is how I use Recipes, personally, for my own pictures. Basically, the JPEG produced by the camera is the finished photo, aside from sometimes cropping/straightening and maybe some small/minor adjustments occasionally. This saves so much time, and can make the processes more enjoyable—I could list a whole bunch of benefits, but that’s not the point of this article. Straight-out-of-camera photography was once highly shunned by the photographic community at large, but now it is much more acceptable and common, and I believe that—as a pendulum swing response to years of over-editing and now AI—photography as a whole is moving in this direction; authenticity is a big buzzword right now. Another approach is to shoot RAW+JPEG and utilize X RAW Studio or the in-camera RAW reprocessing to change the Recipe after-the-fact.

Another way that people use Recipes is similar to above, just in-conjunction with more robust editing. The SOOC JPEG isn’t the end, it’s the starting point. Camera-made JPEGs have a lot more tolerance for manipulation than they used to, and a light-to-moderate amount of editing is perfectly ok. So the camera gets you a significant distance to the finished picture, and a little editing finishes the job. Sometimes this group will shoot RAW+JPEG and edit the RAW instead of the JPEG when faced with a challenging light situation.

Fujifilm X-T50 + Fujinon 56mm f/1.2 + Kodak Tri-X 400

Some people use Recipes, but they shoot RAW+JPEG and don’t usually utilize the camera-made JPEG. If a picture needs to be shared quickly, the JPEG is there, but otherwise the RAW is used. Since software can/will apply its version of its interpretation of some (but not all) of the JPEG data to the RAW file, the Recipe provides a shortcut to a finished RAW-edited picture. It shaves off a little time at the computer, while also producing a ready-to-share JPEG whenever that is needed.

A much less common use—which I was actually quite surprised by but it makes a lot of sense—is Recipes for pre-visualization. JPEGs are rarely or never used; instead, the Recipe allows the RAW photographer to get a better idea of what the finished picture will look like while in-the-field. Utilizing a Recipe that is similar to the photographer’s aesthetic, they can basically see the end result even before opening the shutter. It’s such a great tool for the RAW photographer, but it seems to be highly underutilized, likely because it just never occurred to most to try it.

One last method, which might surprise a lot of you, is the combination of RAW and JPEG photography. There’s an extraordinarily talented photographer (there’s a good chance you’ve seen his pictures) who told me that one of his techniques is to shoot RAW+JPEG with Recipes, edit the RAW file, then blend the SOOC JPEG overtop of the edited RAW. He told me that he does this because the camera-made JPEG has a certain quality or soul that can’t be replicated with RAW-editing and he doesn’t want to lose that, but he needs a certain level of control for his style of photography, and by combining the two, he has the best of both worlds. Amazing!

Fujifilm X-T50 + Fujinon 27mm + Nostalgic Americana

There’s no right or wrong way to use film simulations and Recipes, there’s only what works for you and your photography. It’s your art, so do it however you want to. My point, though, is that the Film Dial, which I suspect will make its way onto more Fujifilm cameras in the future, can actually be quite useful to both groups who have decried it. I think the potential has yet to be fully explored or understood.

I bring all of this up because Fujirumors posted an article entitled Reframing the Debate: Fujifilm Film Simulations as a RAW Photographer’s Ally and with the subtitle Stop Hating Film Simulations. This is my two cents. There was such a big (and generally unfair) stigma towards JPEGs for such a long time; since film simulations have been heavily associated with SOOC photography, some people look down on them and their use. They see it as being beneath them or for amateurs-only. In doing so, they might be overlooking something that could actually be much appreciated. So I think it’s important to bring awareness to how film simulations and Recipes are being used—perhaps they can be helpful to your photography, but maybe you’ve never tried or have never considered how they might be. My hope is that this article will be enlightening to some of you, and that someone reading this will give Film Simulations Recipes a try for the first time.

I have published over 350 Film Simulation Recipes here on the Fuji X Weekly website, which are also available in the Fuji X Weekly App, available for both Apple and Android. Consider becoming a Patron subscriber to unlock the best App experience and to support what I do.

10 Must Try X-Trans V Recipes for Nighttime Photography

Posted on by Ritchie Roesch

Travel by Train – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe

Like film, the majority of Film Simulation Recipes are intended for daylight photography, and it can be difficult to know which ones are good for nighttime use. Once the sun goes down and the street lamps begin to glow, some of the Recipes that are great for sunny conditions won’t produce particularly good results. Which ones should you use instead? Well, I’ve got you covered!

In this article I have 10 Recipe suggestions for nighttime photography. Each exact lighting scenario is different, and everyone has their own unique style, so not all of these will necessarily be for everyone; however, if it’s after-dark, at least one of these 10 should work quite well for you. Also, there are a lot of other Recipes not in this list that could potentially give you good results—in other words, this is not comprehensive in the least; mostly, I just wanted to include a variety of options. Don’t be afraid to try a Recipe not in this list for night pictures, but, if you are at a loss for which one to use after-dark, try one of the options below.

Specifically, these are X-Trans V Recipes for the latest generation of Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Some have versions for older sensors. I would also like to point you to 10 Must Try Film Simulation Recipes for Night Photography, 8 Fujifilm Film Simulation Recipes for Those Hot Summer Nights, and Which Film Simulation Recipes, When? If you don’t have a fifth-generation X-Trans camera, you are likely to find a good option in those articles. If you do have an X-Trans V model, check out the 10 Recipes in this list.

Cinematic Film

Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe

This is one of the 14 Film Dial Recipes made for the Fujifilm X-T50, but it’s not limited to use on that camera. It’s compatible with all fifth-generation models; for the X-T4, X-S10, X-E4, or X-T30 II, simply set Color Chrome FX Blue to Off. This is such an excellent Recipe for after-dark photography, and is at the top of my suggestion list for a reason. Also, many of the other Film Dial Recipes also do quite well at night, so don’t be afraid to try those, too.

CineStill 800T

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T Recipe

This is another personal favorite for nighttime photography—in fact, it’s specifically intended for this purpose. There are also versions for X-Trans IV, X-Trans III, and X-Trans II cameras. This Recipe pairs especially well with a weak diffusion filter, such as a 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.

Pushed CineStill 800T

Mellow Mushroom – Tempe, AZ – Fujifilm X-T5 – Pushed CineStill 800T Recipe

This version of CineStill 800T was actually intended for daytime photography, but works particularly well at night. It’s more of an alternative-process type rendering, but can be a lot of fun. There are also two versions for X-Trans IV cameras (here and here).

Fluorescent Night

Birria – Surprise, AZ – Fujifilm X-T5 – Fluorescent Night Recipe

Under the right lighting situation, this Recipe can look really good; however, it’s not necessarily a versatile nighttime option. It definitely needs artificial light, preferably some fluorescent tubes. You might love it, or you might not, but you won’t know until you try.

Agfa Ultra 100 v2

PARK – Goodyear, AZ – Fujifilm X-T5 – Agfa Ultra 100 v2 Recipe

This Recipe is for sunny daylight, but I was quite surprised at some of my nighttime results. I don’t think it will be good for every after-dark situation, but it is certainly good for some, particularly blue-hour light.

Fujicolor Super HG v2

Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2 Recipe

This is a versatile Recipe that works really well for nighttime photography. This is a great one just to always have programmed into your camera. There’s a version for X-Trans IV.

Reala Ace

Tattoo & Turkish Pizza – Tempe, AZ – Fujifilm X-T5 – Reala Ace Recipe

This Recipe uses Classic Negative (not the new Reala Ace film sim). It’s very versatile, and as such works well for nighttime photography. It’s another Recipe that you can just always have programmed into your camera.

Easy Reala Ace

Sith Sabor – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace Recipe

This Recipe uses the new Reala Ace film simulation. It’s not specifically intended for nighttime photography, but is versatile, and works quite well for it.

PRO Negative 160C

Pulaski Bridge View – New York City, NY – Fujifilm X100VI – PRO Negative 160C Recipe

Another Reala Ace-based Recipe, and another that is great for night simply due to its versatility. As Fujifilm put it, Reala Ace is the “Negative for the new era.”

Fujicolor PRO 160C Warm

Veterans Bridge at Night – Nashville, TN – Fujifilm X-T50 – Fujicolor PRO 160C Warm Recipe

Like Cinematic Film at the top, this is one of the 14 Film Dial Recipes. Many of the Film Dial Recipes are great for nighttime photography—not just the two in this list—but some are better than others, and Fujicolor PRO 160C Warm is one of my personal favorites.

Bonus: Astia Azure

Salt River & Mountain Reflection – Mesa, AZ – Fujifilm X-T5 – Astia Azure Recipe

Since I included two of the Film Dial Recipes in the Top 10, I thought that it would be more fair to add an 11th Recipe. Astia Azure is intended for sunny daylight photography, but I’ve had good luck with it after-dark, particularly in blue-hour light. This is currently a Fuji X Weekly App Patron Early-Access Recipe, and is only available to App subscribers at this time; however, it will eventually be made available to everyone. It’s compatible with X-Trans V cameras, and some X-Trans IV models.

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find these Film Simulation Recipes and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujifilm’s 7 Best Cameras

Posted on by Ritchie Roesch

I get asked occasionally which Fujifilm cameras are the very best. Sometimes people want to jump into the Fujifilm system, but are unaware of which camera to buy; however, they know that they want the “best” model, whichever one that is. Of course, best is highly subjective—what is “best” for one person may not be for another. My list might look a lot different from another’s. This is simply my opinion as a long-time experienced Fujifilm photographer, so take it for what it’s worth, which might only be two pennies.

My list of Fujifilm’s seven best cameras is limited to X-series models. I’m not including GFX, Instax, Fujica, or anything else. I’m only discussing the APS-C line that Fujifilm introduced with the fixed-lens X100 in 2011, and the interchangeable-lens X-Pro1 in 2012. Those cameras and the ones introduced afterwards are the models being considered for this list.

Without any further delay, let’s get started!

#7: Fujifilm X70

The Fujifilm X70 is a fixed-lens X-Trans II camera that was released in 2016. It had a short sales-life because Sony suddenly discontinued production of the 16mp APS-C sensor that the camera used, and by the end of that year the X70 was discontinued, and out-of-stock shortly thereafter. As a compact camera with an 18.5mm (28mm full-frame-equivalent) lens, it competed directly with the Ricoh GR II. I like the X70 better than the GR II because it has the traditional tactile controls that Fujifilm is known for, while the GR cameras utilize PASM.

Today, at eight-years-old, the camera often sells for more than when it was brand-new. It’s much beloved by many who own one. Some proclaim it to be their favorite Fujifilm camera of all time. Compared to the latest models, the X70 is less advanced and with fewer options, but it does what few Fujifilm cameras can: fit into your pocket. In my opinion, it’s the best carry-everywhere camera ever made by Fujifilm. A successor—an X80—should be a high priority for Fuji.

#6: Fujifilm X-Pro2

While all three of the X-Pro cameras are great, there’s something especially special about the Fujifilm X-Pro2. It’s the seemingly perfect balance of form and function. It’s one of those cameras that will be desired and used for many years to come. While other digital cameras of its era will be long forgotten, I’m convinced that the X-Pro2 will still be sought out even when it’s 20 years old or older.

Introduced at the same time as the X70, the Fujifilm X-Pro2 is an X-Trans III model, and as such it doesn’t seem quite as dated as the X70. It still holds up fairly well in ability and features compared to the latest models. I would be perfectly happy if it were my only camera; unfortunately, I let it get away from me twice.

#5: Fujifilm X-E4

The X-E4 is the smallest and most minimalistic of Fujifilm’s modern offerings. While it is not perfect (no camera is), it does offer a slightly unique experience for Fujifilm that some like and some don’t. Personally, I appreciate the camera—it is one of my favorite Fujifilm models—and I find it especially great for travel or just everyday walk-around photography, thanks to its compactness. I have more expensive cameras, but often choose the X-E4 instead.

While the Fujifilm X-E4 doesn’t have IBIS or 40mp or the newest couple of film simulations, it is one of the last X-Trans IV models, and as such is quite advanced and capable. Unfortunately, Fujifilm greatly underestimated the demand for the X-E4, and failed to secure enough parts to manufacture as many copies as they should have, inexplicably discontinuing it when there were lengthy backorder lists. Because of that, right now the X-E4 sells for several hundred dollars more used than when it was brand-new.

#4: Fujifilm X100V

The X100 is where the X-series began; the X100V is the model that unexpectedly wen’t viral when it was over two years old. This list could be filled with X100 cameras—in fact, I debated if the X100F should have been placed in the #6 or #7 positions (it was a tough cut). The X100V is the fifth iteration—the X-Trans IV version—and served as my “desert island” camera until the introduction of the X100VI earlier this year.

I love the X100V because it is small and lightweight, and has great features like a built-in ND filter and leaf shutter plus a fill-flash that just seems to work perfect. For a fixed-lens camera, it is surprisingly versatile. I don’t travel without an X100 model. It’s no wonder why the X100V was the camera to have in 2023 (although few could get it); in 2024, it’s still an excellent choice. And it might be easier to find than an X100VI.

#3: Fujifilm X-T5

The X-T5 is Fujifilm’s flagship SLR-styled traditional tactile control model. If you want the best, look no further—it’s the cream of the crop: IBIS, 40mp, weather-sealing, dual SD-card slots, etc., etc.. The X-T5 is notably smaller and lighter than the X-T4. It’s such a great camera, there’s not much negative that can be said about it. This camera could very easily be #1 on this list, and on paper it should be.

While the Fujifilm X-T5 is technically a great camera, and it did slim down compared to its predecessor, it’s more camera than I need much of the time. Because of this, I will often choose a different model, including technically inferior options like the X-E4. Sometimes data sheets and spec charts don’t tell the full story. You don’t always need a fully loaded Land Cruiser, sometimes a Camry will get you there more efficiently; still, sometimes you need the Land Cruiser.

#2: Fujifilm X-T50

The X-T50 is an X-T5, but without weather-sealing, with only one SD-card slot, with a Film Dial instead of an ISO Dial, a lower resolution-EVF, the old battery, in a smaller and lighter body, and a little cheaper. Technically speaking, the X-T5 is superior, but, over the summer, I used an X-T50 far more than an X-T5. Between the two, most of the time I chose the X-T50.

The X-T30 II is in the same series as the X-T50; however, Fujifilm says that the X-T50 is not the X-T30 II’s successor. The X-T50 is closely related and similar, but is not the X-T30 II’s replacement, as they are currently manufacturing both models. The X-T30 II is a better value (and I almost placed it at #7); overall, the X-T50 is the better camera of the two. For those wanting to get into the Fujifilm system, the X-T50 is my top recommendation, but the X-T30 II isn’t far behind.

#1: Fujifilm X100VI

I love the Fujifilm X100V, and the X100VI is even better! It is my “desert island” camera, which is to say that if I could choose only one model to use for the rest of my life, it would be this one. It is my absolute favorite photography tool, and it gets a lot of use. In my opinion, this is Fujifilm’s best camera.

The Fujifilm X100VI is by far the most preordered camera by any brand in history. We’re over six months since it was announced, and some people who preordered on Day 1 are still waiting for their camera to arrive, and some have been told that it might be closer to Christmas. There were more preorders for the X100VI than there were X100V’s manufactured over its four-year production life. Fujifilm is assembling far more X100VI’s each month than they did the X100V, yet they still can’t even make enough to fulfill the orders that were placed back in February. This is the most viral camera ever, and if the hype continues (and it might), the X100VI could potentially end up as the most-sold model of all time by any brand. If you didn’t order one right away when it was announced, you may have to wait a long time to get one.

Some of you may have noticed that both the X-H2 and X-H2s, which are Fujifilm’s top-tier flagship models, did not make this list. Nor did the very capable X-S20. The reason is very simple: those are PASM models, and I don’t care much for PASM, personally. Those cameras are intended to give the most Canikony-like experience of any Fujifilm models; if you are coming from a Canikony brand, those models are going to feel more familiar to you. I never appreciated the (modern) Canikony approach, so I’m very much drawn to the traditional tactile controls that Fujifilm is known for. Fujifilm offers a unique experience in the camera world, which is one of the big reasons why I love Fujifilm, and that unique experience is found on each of the seven models in my list. While some might see it as merely “retro” (which it is), to me its preferable. It’s better—much better, in fact. You may or may not agree with that, and that’s fine—different strokes for different folks—I’m just explaining why those particular models didn’t crack my list.

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

See also:
Fujifilm Film Simulation Recipes
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First

Putting the Film Dial to Practice — Four Cities with the Fujifilm X-T50

Posted on by Ritchie Roesch

The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.

In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.

The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!

Denver Nighttime Street Photography

Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
Classic Chrome a.k.a. “Kodak Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”

Exploring Nashville

Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros a.k.a. “Neopan Negative”
Eterna a.k.a. “Cinematic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Chrome a.k.a. “Kodak Film”
Classic Negative a.k.a. “Superia Negative”
Velvia a.k.a. “Velvia Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”

New York & New Jersey

Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Acros a.k.a. “Neopan Negative”
Acros+G a.k.a. “Neopan Negative”

Massachusetts

Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros+G a.k.a. “Neopan Negative”
Acros a.k.a. “Neopan Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Find these Film Simulation Recipes and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

SOOC Live is BACK!!

Posted on by Ritchie Roesch

It’s been awhile, but SOOC Live is back! Join Nathalie Boucry and myself on September 19th for Episode 5 of Season 4, as we catch you up on everything that’s been going on since out last show. As usual, we’re going to talk Fujifilm cameras, Film Simulation Recipes, and straight-out-of-camera photography, and more. It’s going to be a great time!

The last episode, Why We Love Fujifilm Film Simulation Recipes, was way back in May. Simon Hügly made a special guest appearance. If you missed that broadcast when it was live, be sure to watch it now. While you’re at it, if you don’t follow the SOOC Live YouTube Channel, make sure that you subscribe and click the bell and all that stuff. Anyway, due to busy schedules, scheduling conflicts, major life events, illnesses, etc., we’ve not been able to broadcast all summer, but that’s about to change.

In just nine days, though, Nathalie and I will be live once again! Be sure to mark your calendar now so that you don’t miss the show, which will be on Thursday, September 19th, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve imbedded the video below so that you can easily find it. It’s an interactive broadcast, so your participation is what makes it great. I hope to see you then!

Fujifilm X-E5 should have the Combo Shutter/ISO Dial

Posted on by Ritchie Roesch

Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.

Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.

There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.

The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.

While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?

It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.

Join me at Fujifilm Create With Us in Austin

Posted on by Ritchie Roesch

Join me in Austin, Texas, on September 28th! I will be co-leading two photowalks with Fred Agho, one at 1:30 PM and the other at 4:30 PM, as a part of Fujifilm’s Create With Us event. If you live in Austin (or are within driving distance of Austin), this is an event that you won’t want to miss!

What is Create With Us, you ask?

Create With Us is an opportunity for passionate image makers (that’s you!) to create, learn, and network with industry professionals. Take the chance to meet fellow creators who also see the world through a lens.

Photo and video bays give you the chance to test out Fujifilm’s latest X Series and GFX System cameras and lenses. But don’t worry, all brands are welcome! If you’re a stills photographer or videographer, you’re in.


Join like-minded individuals throughout the day, learning from top industry professionals, in workshops and immersive photowalks around the area. With so much talent under one roof, it’ll be hard not to get inspired.


When your feet get tired, sit in on demos and short film screenings. You can also treat your camera gear to a complimentary Check and Clean service.

This will be an epic day of learning, creating, networking, and more! You must be registered to attend. Space is limited, so don’t procrastinate—sign up today! I hope to see you in Austin!

Cinematic Film — Fujifilm X-T50 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe

This isn’t a new Film Simulation Recipe, but one of the 14 Fujifilm X-T50 Film Dial Recipes that I published in May when the Fujifilm X-T50 was announced. I stated in that article, “It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done.” Those eight Recipes—Standard Film, Velvia Film, Astia Summer, Kodak Film, Fujicolor PRO 160C Warm, Superia Negative, Nostalgic Film, and Neopan Negative—are all identical other than the film simulation, and are found in the App.

I left six of the 14 Recipes—Fujicolor PRO Film, Fujicolor PRO 160S, Cinematic Film (which is this Recipe), Reduced Bleach, Monochrome Film, and Sepia Print—out of the App. In the months since, I have had a number of requests to include the Cinematic Film Recipe in the Fuji X Weekly App, so—by popular demand—Cinematic Film is now available on your phone!

Hotel Chelsea – New York City, NY – Fujifilm X-T50 – Cinematic Film Recipe

This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. For the X-T4, X-S10, X-E4, and X-T30 II cameras, I recommend setting Color Chrome FX Blue to Strong (instead of Weak). For the latest GFX models, I recommend setting Shadow to -0.5 (instead of -1). For more information on how I setup and use the X-T50 Film Dial Recipes, watch this video (click here). If you don’t have an X-T50 and still want to use the Film Dial strategy, simply add the Recipe to one of your C1-C7 slots, and program a Fn button to activate the film simulation menu. The Cinematic Film Recipe is especially great for taming high-contrast light, for a soft aesthetic, and for after-dark photography.

Film Simulation: Eterna
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak 
White Balance: Auto White Priority, +2 Red & -4 Blue
Highlight: -1.5
Shadow: -1
Color: +3
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 captured using this “Cinematic Film” Film Simulation Recipe on a Fujifilm X-T50:

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Top 25 Most Popular Film Simulation Recipes in August 2024

Posted on by Ritchie Roesch

Architecture Archway – San Diego, CA – Fujifilm X-T50 – Pacific Blues

I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (August 2024).

The last time that I did one of these articles was for May, so June and July were both skipped. By request, I have returned with the most popular Recipes of August. There are usually some surprises when comparing one month to the next, but for the most part it’s pretty predictable; however, skipping a couple of months… there are a couple of major surprises, but it’s still pretty predictable.

Sticks – Denver, CO – Fujifilm X-T50 – Kodak Tri-X 400

Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation—in fact, the Top 7 are all Classic Chrome Recipes. Three of the Top 25 are Classic Negative Recipes; shockingly, the Reala Ace Recipe (not to be confused with the Reala Ace film sim) dropped out of the Top 5 all the way to #18! Two of the Top 25 are based on the Reala Ace film simulation, and one each are based on Acros, Nostalgic Neg., Eterna, and Eterna Bleach Bypass.

Without any further delay, below are the most popular Recipes of last month!

Top 25 Most Popular Film Simulation Recipes of August 2024

#1:

Kodachrome 64

A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. There is a pretty big gap between this and second place.

#2:

Kodak Portra 400 v2

A Classic Chrome based Recipe for X-Trans IV cameras that is almost always ranked number two in these types of lists.

#3:

Vibrant Arizona

A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It was ranked #4 in May.

#4:

Reggie’s Portra

Another popular Classic Chrome based Recipe for X-Trans IV cameras. This is the most versatile of the Portra Recipes, and was ranked #3 in May.

#5:

Kodak Portra 400 v2

This is the X-Trans V version of Kodak Portra 400 v2. It rose significantly in popularity since May, likely because more people have X-Trans V cameras now.

#6:

Kodak Portra 400

This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time—it’s still in the Top 10, but hasn’t cracked the Top 5 in awhile.

#7:

Kodak Portra 800 v3

A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras, published earlier this year. It rose three spots compared to May.

#8:

Pacific Blues

Pacific Blues is currently the highest ranked Classic Negative based Recipe. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version.

#9:

Easy Reala Ace

Easy Reala Ace is the most popular Reala Ace based Recipe. It was published in June, so it’s a fairly new Recipe.

#10:

Bright Summer

Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It didn’t crack the Top 25 for a long time, but in March it suddenly made an appearance, and has ranked pretty high ever since.

#11:

Vintage Kodachrome

Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10.

#12:

Kodak Tri-X 400

By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #11 in May.

#13:

Kodak Gold 200

This is the X-Trans V version of Kodak Gold 200. This is the first time that I’ve seen it rank above the old version.

#14:

Kodak Gold 200

Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. This is in the same exact position as it was in May.

#15:

Kodachrome 64

This is the X-Trans V version of Kodachrome 64. It was ranked #18 in May.

#16:

Classic Color

I published this Recipe, which has compatibility with both X-Trans IV and X-Trans V cameras, in April. It uses Classic Chrome, and has some similarities to Kodak Portra.

#17:

CineStill 800T

This is a somewhat recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna based Recipe.

#18:

Reala Ace

Reala Ace used to be the most popular Classic Negative Recipe, typically found in the Top 10, and sometimes even the Top 5 (and even once at #1!), but it has fallen quite far in the rankings since May. This Recipe is for X-Trans V cameras.

#19:

McCurry Kodachrome

This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It was ranked #21 in May.

#20:

Classic Chrome

The very first Film Simulation Recipe on Fuji X Weekly, it is compatible with X-Trans III cameras. It ranked #16 in May.

#21:

California Summer

Published in June, this is the highest-ranked Recipe that uses the Nostalgic Neg. film simulation, which means that it is for X-Trans V cameras.

#22:

PRO Negative 160C

This was the first Recipe I published that uses the new Reala Ace film simulation. It was ranked #15 in May.

#23:

Kodak Portra 160

This is a Recipe that I’m surprised doesn’t rank higher. This version is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V.

#24:

Fujicolor Super HG v2

A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). This one typically either just makes the Top 25 or just misses.

#25:

1960 Chrome

1960 Chrome was published in July and is compatible with both X-Trans IV & X-Trans V cameras. It is based on Eterna Bleach Bypass, a film simulation that doesn’t typically make it onto these type of lists.

See also:
How To Add Film Simulation Recipes To Your Fujifilm Camera
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Join me at the NAB Show in New York City!!

Posted on by Ritchie Roesch

Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pushed Analog Recipe

Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.

Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!

Fujifilm X-T50 + Fujinon 56mm f/1.2 + Cinematic Film Recipe

I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.

The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!

I hope to see you in New York City in October!

Impressions of the new Fujinon 16-50mm F/2.8-4.8 R LM WR Lens

Posted on by Ritchie Roesch

Just to be clear right up front: this is not a review of the new Fujinon 16-50mm f/2.8-4.8 R LM WR kit lens. Someone let me use their copy for half a day while I was in Denver to lead a photowalk (thanks, Matt!), so this is just a quick impression after a handful of hours of use. Everything that I say about it should be taken with a grain of salt, since I don’t own the lens and only used it briefly. My goal is simply to help bring some clarity to those who might be considering it—I’m not certain if I’ll be able to accomplish that, but I hope so.

The Fujinon 16-50mm f/2.8-4.8 is Fujifilm’s successor to the much-beloved 18-55mm f/2.8-4 kit lens, which has been discontinued. I’m not a zoom-lens guy—I prefer prime lenses—but I do own the 18-55mm f/2.8-4, and it’s the only zoom lens that I use even close to somewhat regularly. I don’t use it all the time, but definitely more than any other zoom that I own. It’s an excellent kit lens, perhaps even the best kit lens offered by any brand. I was actually a little sad when Fujifilm announced that they were replacing it. I think the primary reason for its discontinuation is that it cannot fully resolve the 40mp X-Trans V sensor.

There’s actually quite a lot different between the 16-50mm f/2.8-4.8 and the 18-55mm f/2.8-4. Some advantages of the 16-50mm are: optically superior, internal zoom, lighter, smaller (the lenses are the same size, but the 18-55mm extends when you zoom while the 16-50mm doesn’t), weather-sealed, wider focal length, and better minimum focus distance. Some advantages of the 18-55mm are: optical image stabilization, larger maximum aperture at the telephoto end, longer telephoto reach, and can be found cheaper used than the 16-50mm new. Each has advantages and disadvantages, so it’s difficult to say that one is “better” than the other; however, if I had to pick one as better, it would be the new 16-50mm.

I was actually pretty impressed with the sharpness of the 16-50mm f/2.8-4.8 lens. It’s tack sharp, with the crispness that one would expect from a prime lens. I didn’t notice any vignetting, either. The new lens is optically the winner; the old lens isn’t a slouch, but the 16-50mm is quite obviously the better of the two. Having the 16-50mm is like owning a whole bunch of prime lenses, albeit ones without impressive maximum apertures.

Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Ektachrome E100 Recipe

The difference between 16mm and 18mm is larger than the difference between 50mm and 55mm; however, my personal preferences is to have more telephoto reach. For me, I want 55mm f/4 more than I want 16mm. I almost never used 16mm during the short time with the lens, but you might use 16mm often and 50mm rarely. Toping out at f/4.8 at 50mm is odd, since it is a half-stop intermediate aperture. Half-stops were once common a long time ago, but they’re pretty rare nowadays. There’s not a significant benefit in depth-of-field, compression and bokeh (using that term incorrectly) from 55mm f/4 compared to 50mm f/4.8, but there is a difference nonetheless. For me, though, the biggest problem with f/4.8 is dust. You see, living in Arizona, I constantly battle a dirty sensor, and dust on the sensor won’t show at f/4 but it will begin to show at f/4.8.

The Fujinon 16-50mm f/2.8-4 R LM WR makes the most sense when paired with the cameras that have the 40mp X-Trans V sensor and IBIS, which (as of this writing) are the X-H2, X-T5, and X-T50. My guess is that the majority of those who own the X-H2 and X-T5 are not using kit zooms (although I’m sure some are… I use the 18-55mm on my X-T5 sometimes), so that means the Fujifilm X-T50 is the camera that this lens makes the most sense for, in my opinion (I’m sure Fujifilm will release more models in the future that this lens pairs especially well with). For the models without the 40mp sensor but with IBIS—the X-H2s, X-S20, X-S10, and X-H1—you could go either way. Pairing this lens to a weather-sealed body is quite logical, so maybe that could be a deciding factor. For cameras without IBIS, I would recommend the 18-55mm f/2.8-4 lens, since it has OIS.

Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Ektachrome E100 Recipe

I have no intentions of purchasing the Fujinon 16-50mm f/2.8-4.8. Don’t get me wrong: I would be happy owning it, but I’m also happy owning the Fujinon 18-55mm f/2.8-4, and I just don’t have a need for two kit zooms right now. But, if you’re trying to decide, I think the Fujifilm X-T50 and Fujinon 16-50mm f/2.8-4.8 combo could be an especially excellent lightweight travel kit. Also, the internal zoom of the 16-50mm is a major plus for those who will be using it with a gimbal, since you won’t have to rebalance whenever you adjust the focal length. The $699 MSRP is a bit steep (it’s the same price that the 18-55mm was), but if you buy it bundled with a camera body, it’s basically $300 cheaper, and for that price I think it could be worthwhile.

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

Fujinon 16-50mm f/2.8-4.8 R LM WR:
Amazon, B&H, Moment, Wex, Nuzira

Photographs captured using the Fujifilm X-T50 and Fujinon 16-50mm f/2.8-4.8 R LM WR:

Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Velvia Film Recipe
Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + 1976 Kodak Recipe
Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Kodak Portra 400 v2 Recipe
Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Ektachrome E100 Recipe
Fujifilm X-T50 + Fujinon 16-50mm f/2.8-4.8 + Kodak Tri-X 400 Recipe

Aerochrome v2 — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Posted on by Ritchie Roesch

Yellow Bus – Plymouth, MA – Fujifilm X-T4 ES – Aerochrome v2

I’m in love with this Aerochrome v2 Film Simulation Recipe! It’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “normal” cameras. You must have a full-spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning). So if you have the right gear, you’ll want to try out this Aerochrome v2 Recipe today!

Not only do you need the “right” camera—a full-spectrum model like the Fujifilm X-T4 ES—but you also need the “right” filters. This Recipe requires three: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).

Architecture – San Diego, CA – Fujifilm X-T4 ES – Aerochrome v2

This Recipe produces Aerochrome-like pictures, but it doesn’t behave exactly like the film. Even so, the fact that you can get this look straight-out-of-camera is amazing! If this was the only Recipe that I could ever use on my Fujifilm X-T4 ES, I’d be very happy. I do have an Aerochrome v1 Recipe that has less green and yellow hues and a more pronounced blue tint, plus I’m working on a handful of others, so if this isn’t the look that you want, there are (or will be shortly) other options. But this Recipe… it’s what I hoped to achieve when I purchased the camera a couple of months ago. Oh, and surprisingly, it’s excellent for night photography.

Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8
Film Simulation: Velvia
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Daylight, +7 Red & +6 Blue
Highlight: +2.5
Shadow: -0.5
Color: +4
Sharpness: 0
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Aerochrome v2 Film Simulation Recipe on my Fujifilm X-T4 ES:

Grass & Sand – Plymouth, MA – Fujifilm X-T4 ES
Driftwood Log – Plymouth, MA – Fujifilm X-T4 ES
Red Beach – Plymouth, MA – Fujifilm X-T4 ES
Red Rock – Plymouth, MA – Fujifilm X-T4 ES
Boards & Boats – Plymouth, MA – Fujifilm X-T4 ES
Vans – Plymouth, MA – Fujifilm X-T4 ES
Red Trees Behind Rooftop – Plymouth, MA – Fujifilm X-T4 ES
House at Dusk – Plymouth, MA – Fujifilm X-T4 ES
Flowers in the front Yard – Plymouth, MA – Fujifilm X-T4 ES
Seaweed by the Rocks – Plymouth, MA – Fujifilm X-T4 ES
Girl Holding a Dead Crab – Plymouth, MA – Fujifilm X-T4 ES
Mayflower – Plymouth, MA – Fujifilm X-T4 ES
Boats in the Bay – Plymouth, MA – Fujifilm X-T4 ES
Tree behind Columns – Plymouth, MA – Fujifilm X-T4 ES
Parthenon – Nashville, TN – Fujifilm X-T4 ES
Parthenon Pillars – Nashville, TN – Fujifilm X-T4 ES
Patina – Buckeye, AZ – Fujifilm X-T4 ES
Kids at a Lake – Nashville, TN – Fujifilm X-T4 ES
Steps to the Water – Plymouth, MA – Fujifilm X-T4 ES
Reflected Red – Nashville, TN – Fujifilm X-T4 ES
CSX Train – Nashville, TN – Fujifilm X-T4 ES
Turning – Nashville, TN – Fujifilm X-T4 ES
City Trees – Nashville, TN – Fujifilm X-T4 ES
Boats off the Water – Nashville, TN – Fujifilm X-T4 ES
Little Dam – Nashville, TN – Fujifilm X-T4 ES
Palm, Architecture & Moon – San Diego, CA – Fujifilm X-T4 ES
Lily Pond – San Diego, CA – Fujifilm X-T4 ES
Palms & Structure – San Diego, CA – Fujifilm X-T4 ES
Kelp Washing Ashore – San Diego, CA – Fujifilm X-T4 ES
Surfer – San Diego, CA – Fujifilm X-T4 ES
Sidecar Dog – Philadelphia, PA – Fujifilm X-T4 ES
Not Always Sunny – Philadelphia, PA – Fujifilm X-T4 ES
Autumn in August – Philadelphia, PA – Fujifilm X-T4 ES
Window with a View – Philadelphia, PA – Fujifilm X-T4 ES
Lifeguard Tower 5 – San Diego, CA – Fujifilm X-T4 ES
Luke’s 32 – Nashville, TN – Fujifilm X-T4 ES
Cookin’ & Drinkin’ – Nashville, TN – Fujifilm X-T4 ES
Food Mart – San Diego, CA – Fujifilm X-T4 ES
Broadway – Nashville, TN – Fujifilm X-T4 ES

Comparison:

Aerochrome v1 Recipe
Aerochrome v2 Recipe

Pushed Analog — Fujifilm X-T50 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe

I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.

Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.

Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe

This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.

Film Simulation: Reala Ace
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Fluorescent 1, -3 Red & -2 Blue
Highlight: +1.5
Shadow: +2
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:

Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Maria Pepe – Hoboken, NJ – Fujifilm X-T50
Two Motorcycles – Boston, MA – Fujifilm X-T50
Lost Shoes – Salem, MA – Fujifilm X-T50
Apartment Reflections – Hoboken, NJ – Fujifilm X-T50
Lego Bricks – Boston, MA – Fujifilm X-T50
Troupe – Braintree, MA – Fujifilm X-T50
Back Door – Braintree, MA – Fujifilm X-T50
Green Cans – Nashville, TN – Fujifilm X-T50
Church Parking – Salem, MA – Fujifilm X-T50
St Stephen’s – Boston, MA – Fujifilm X-T50
Fire – Boston, MA – Fujifilm X-T50
W.B. Mason – New York City, NY – Fujifilm X-T50
PHX – Boston, MA – Fujifilm X-T50
Bova’s Bakery – Boston, MA – Fujifilm X-T50
Paul Revere’s House – Boston, MA – Fujifilm X-T50
John P. Felt House – Salem, MA – Fujifilm X-T50
St. Anthony’s Feast Parade – Boston, MA – Fujifilm X-T50
New York from New Jersey – Hoboken, NJ – Fujifilm X-T50

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

It’s Been Awhile… Still on the Road — It’s going great!

Posted on by Ritchie Roesch

Frank – Hoboken, NJ – Fujifilm X-T50 & Fujinon 27mm – Kodak Tri-X 400 Recipe

I’ve been on the road almost all of August. I’ve traveled from the west coast to the east coast, and stopped at a few places in-between. It’s been an epic three weeks of travel, and I’m not home yet.

Because I’ve been so busy, I haven’t been able to publish anything on Fuji X Weekly (until today …briefly, anyway), answer your comments, or respond to your emails. I will get to them as soon as I have the opportunity—I apologize for the delay, and appreciate your patience.

I have so much content to share! I have many various articles and photographs to post, and I hate that I can’t just type it all out right now. Once I’m back home, I will busily get it all ready for publication. Expect most of it to be published throughout September.

Today, while I have a quick opportunity, I wanted to briefly shoutout both the Nashville and Philadelphia photowalks. These were the last two on the tour. It was so great to meet you all in your hometowns, and it was an honor to photograph with you. Those two photowalks, which were just two days apart, were such a great way to conclude the series.

41 people showed up for the Nashville photowalk. It was in the middle of the week, which I think made it a little more difficult for people attend. I’m so thankful to everyone who did make it out. There was a bit of a mixup in the meetup location, which delayed the start. Once we began… Broadway is such a busy road! I had never been to Nashville, and I had no clue that the there would be gobs and gobs of people on the sidewalks. Because of this, there were a ton of photo opportunities everywhere (literally every spot you looked), but also it was impossible to stay together as a group, and difficult to have conversations. Still, it seemed like everyone had a great time. A special thanks to Gabe Wasylko for co-leading the photowalk, to Fujifilm for all the behind-the-scenes work to make it happen, and The Pixel Connection for all your help and support!

Here are a few photos that I captured on the Nashville photowalk:

Fujifilm X-T50 + Fujinon 27mm + Velvia Film Recipe
Fujifilm X-T50 + Fujinon 27mm + Fujicolor PRO 160C Warm Recipe
Fujifilm X-T4 ES + Fujinon 35mm f/2 + upcoming IR Recipe

The Philadelphia photowalk was great… but we also got soaked. I counted 49 people, who came out despite the forecasted rain (apparently it’s not always sunny in Philadelphia…). I gave a short presentation on film simulations and Film Simulation Recipes, then we headed out with our cameras to tour the historic Old City district. As we were making our way back the sky broke open and it just poured. It didn’t last long, but those without weather-sealed gear (myself included) got to test out if the rain would really ruin our cameras. The X-T50 I had made it through unscathed. Anyway, thank you to all those who braved the weather to come along—it was so great to meet you! Also, a special thanks to Allan Ali for co-leading the photwalk, to Fujifilm for all the behind-the-scenes work, and Unique Photo for hosting!

Here are a few photos that I captured at the Philadelphia photowalk:

Fujifilm X-T50 + Fujinon 27mm + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm + Nostalgic Americana Recipe
Fujifilm X-T50 + Fujinon 27mm + Nostalgic Americana Recipe

San Diego was Epic — Nashville & Philadelphia are next!!

Posted on by Ritchie Roesch

Architecture Archway – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe

The Film Simulation Summer Photowalk in San Diego was epic… even if it got off to a rocky start. You see, the photowalk was at Balboa Park, which is typically a popular place, and parking can normally be somewhat challenging; however, the San Diego Zoo, which is also in Balboa Park, just so happened to get some Giant Pandas from China the day before, creating a panda-monium. Needless to say, parking was a nightmare!

Even so, somewhere around 60 photographers came out to the event, which is a very large group. A number of people showed up late (due to the parking situation), so it was impossible to get an accurate head count. I bet more would have been there had the parking situation been better, so I apologize to everyone who tried to come but just couldn’t find parking. Once we got going, it was a lot of fun, and I think everyone had a good time. It was great to meet everyone and talk cameras and photograph with you all. Thanks so much to everyone who braved the parking situation and came out for the photowalk—you made it epic!

Tom – San Diego, CA – Fujifilm X-T50 – Pacific Blues Recipe

This was a collaborative effort. It took a lot of people to pull it off. I want to shout-out Tom Baumgaertel (bewaremyfuji) who co-lead the photowalk. Tom is amazing! It was great to hang with him for the day. Thanks to Fujifilm for all the behind-the-scenes work, and also helping out during the walk. Thank you to Nelson’s Photo & Video for being a big part of it. I don’t know how many individuals it took to make this photowalk happen, but it was a lot!

Next up is Nashville on August 15th, which is this coming Thursday. There are only a few slots left, so be sure to register (click here) if you haven’t done so yet. Philadelphia is two days later on August 17th, and it is completely booked. If you are attending one of those photowalks, I will see you very soon!

Below are some photos from the San Diego photowalk that I captured on a Fujifilm X-T50:

Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe
Fujifilm X-T50 + Fujinon 27mm f/2.8 + Pacific Blues Recipe

Below are some photos from the San Diego photowalk that Amanda captured on a Fujifilm X-T5:

Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch
Fujifilm X-T5 + Fujinon 56mm f/1.2 + Pacific Blues Recipe – by Amanda Roesch

Camera Makers are Trading Image Quality for Speed — Should Fujifilm join them?

Posted on by Ritchie Roesch

Skates & Hoop – Tempe, AZ – Fujifilm X-E4 – Astia Azure Recipe

PetaPixel published an interesting article today entitled Camera Makers Are Increasingly Happy to Trade Image Quality for Other Benefits by Jaron Schneider. I found it fascinating, particularly in light of my Let’s talk Fujifilm AF article that I published a little over a week ago. When I typed that post, I hadn’t considered that there might be an actual cost to image quality in order to produce blazing fast cameras with extraordinarily exceptional autofocus.

In my article, I said, “Fujifilm’s autofocus is very good—fantastic, actually. However, Sony and Canon (and arguably Nikon) have a bit more fantastic autofocus system than Fujifilm (as you’d expect). I really don’t understand the complaints about Fujifilm’s autofocus. It is like complaining that a Corvette isn’t a Maserati, and calling the Corvette garbage because it isn’t more like a Maserati. If you want a Maserati, buy a Maserati! Otherwise, appreciate that you have a Corvette.”

Corvette Abstract – Buckeye, AZ – Fujifilm X-H1 – Mystery Chrome Recipe

PetaPixel’s article essential states that the big three camera makers—Canon, Nikon, and Sony (a.k.a. Canikony)—are chasing faster camera processing, improved autofocus, and increased video specs at the expense of pure image quality. It might be that they’re so focused (pun intended) on those things that improving image quality for still photographs just isn’t a priority, so it remains stagnate from one model to the next. Perhaps they simply feel that image quality has neared the ceiling for the current tech, so there’s no need to push things further. On the other hand, the tech they’re using in some cameras to achieve speed plus autofocus and video specs is actually detrimental to image quality, particularly for dynamic range and high-ISO noise.

I’ve never even been inside of a Maserati or Corvette, but perhaps the Corvette, while not as fast or agile as the Maserati, offers a more comfortable ride for significantly less money, while still delivering a thrill. No camera is perfect, and each has advantages and disadvantages—what I can say for certain is that I’d choose a “Corvette” camera over a “Maserati” any day of the week. And I’m glad that Fujifilm is not compromising still image quality in pursuit of speed and specs. Jaron wrote, “One company that is finding its products suddenly becoming more compelling because of this: Fujifilm.”

Hit – South Weber, UT – Fujifilm X-T30 – Fujichrome Sensia 100 Recipe

I hope that Fujifilm doesn’t cave in to the negativity by some who would prefer that they simply become a part of the Canikony brands (Canikonyfilm?). In my opinion, Fujifilm should continue to blaze their own trail, and not concern themselves too much with what the other brands are doing. They need to continue to produce compelling cameras—trendworthy and timeless products—and do more to communicate with potential customers why their unique approach is desirable and maybe even preferable.

I really don’t want Fujifilm to pursue a path that leads to reduced image quality. Those who appreciate image quality above technical specs and extreme performance will turn to—and have already been turning to—Fujifilm as the Canikony brands ignore them. Those who prefer speed and specs above all else have three brands to choose from—for certain those things sell cameras (or else they wouldn’t be doing it), but those who actually need it are a very small percentage of the total customers. Most of those who buy those cameras do so because of marketing or hype or FOMO; however, they don’t need a “Maserati” by any stretch, and would be quite happy with a “Corvette” instead.

What is your opinion? Should Fujifilm give up some image quality in order to make faster cameras like Canon, Nikon, and Sony have been doing? Or should Fujifilm work more towards improvements in image quality instead? Comment below with your opinions!

Ektachrome E100 — Fujifilm X-T50 (X-Trans V) FXW App Patron Early-Access Recipe

Posted on by Ritchie Roesch

Garden Flower – Denver, CO – Fujifilm X-T50 – Ektachrome E100

Several weeks back I stumbled on a review of Kodak Ektachrome E100 color reversal film (the current version), and I thought: That looks a lot like the Reala Ace film simulation. I took a guess at some settings, but didn’t put much effort into testing or refining them. I got busy with some other things (such as planning and preparing for a four-city photowalk tour), and neglected to do anything more. More recently, Fuji X Weekly reader Dan Allen messaged me with the same exact observation about Ektachrome E100 and Reala Ace, which made me revisit the project.

Dan actually captured some side-by-side photos with Ektachrome E100 and a Fujifilm camera using the Reala Ace film simulation; however, he couldn’t quite get it to match. Interestingly, the settings that he had come up with as the closest facsimile were quite similar to mine. It was thought that the particular scanner used likely played a role in the exact aesthetic of the Ektachrome images—one film can produce a variety of looks depending on how it was shot, developed, and printed, projected, or scanned, among other things. Being a slide film, E100 is inherently designed to be projected. While this Recipe isn’t an exact match to Dan’s Ektachrome slides (although it’s not terribly far off, either), it does share a lot of resemblance with some Ektachrome E100 images that can be found online.

Kodak introduced Ektachrome in 1946. I counted once, and there are over 40 different emulsions that have been called Ektachrome over the years, not including slight revisions or improvements to the same film. The “E” development process was invented for Ektachrome film… it began with E1; the E6 process that’s used today was introduced in 1977. Each different Ektachrome and development process produced a divergent look. Kodak discontinued Ektachrome in 2012, but in 2018 they brought back Ektachrome E100. Some have suggested that this new version is simply a revision of Ektachrome E100G, but I don’t believe that’s been verified—it may or may not be.

Caution Light – Buckeye, AZ – Fujifilm X-T50 – Ektachrome E100

While Reala Ace can be made into a pretty close match to Kodak Ektachrome E100, there are some issues that prevent it from being even more accurate—I would love a +5 Color option, for instance. Skin tones aren’t perfect, either—it’s possible to improve that, but at the expense of other attributes. I also think DR-Auto would be a good option, but the camera doesn’t jump to DR200 quickly enough, in my opinion. This Recipe is not perfect, but after a lot of tries over the years, this is the most satisfied I’ve been with any of my attempts, and I think it’s convincing enough to be given the Ektachrome E100 name.

This is an App 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. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can also be used on the latest GFX models; however, it will likely render slightly different (try it anyway).

Example photographs, all camera-made JPEGs using this Ektachrome E100 Film Simulation Recipe on a Fujifilm X-T50:

Corn Dog – Denver, CO – Fujifilm X-T50
Window Succulent – Buckeye, AZ – Fujifilm X-T50
Airline Club – Phoenix, AZ – Fujifilm X-T50
Terminal Passenger – Phoenix, AZ – Fujifilm X-T50
Green Plant on a Red Desk – Buckeye, AZ – Fujifilm X-T50
Concrete Wall & Shrubs – Buckeye, AZ – Fujifilm X-T50
Empty Table – Buckeye, AZ – Fujifilm X-T50
Jon – Buckeye, AZ – Fujifilm X-T50
Tommy Christie – Denver, CO – Fujifilm X-T50
Sunlit Vine – Buckeye, AZ – Fujifilm X-T50
Backlit Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T50
Bougainvillea Afternoon – Buckeye, AZ – Fujifilm X-T50
Water Feature – Buckeye, AZ – Fujifilm X-T50
Happy – Buckeye, AZ – Fujifilm X-T50
Folding Chair & Empty Pot – Buckeye, AZ – Fujifilm X-T50
Flag Flanked by Palms – Buckeye, AZ – Fujifilm X-T50
Palm Trees & Blue Sky – Buckeye, AZ – Fujifilm X-T50
Summer in Arizona – Buckeye, AZ – Fujifilm X-T50
Beach Ball – Buckeye, AZ – Fujifilm X-T50
Poolside Table & Chair – Buckeye, AZ – Fujifilm X-T50
Josh after a Swim – Buckeye, AZ – Fujifilm X-T50
Sunset over the Desert Hills – Buckeye, AZ – Fujifilm X-T50
Sunset above the Treetops – Buckeye, AZ – Fujifilm X-T50
Fares, Flexibility & Feet – Buckeye, AZ – Fujifilm X-T50
Union Station – Denver, CO – Fujifilm X-T50
Sunlight through an Urban Tree – Denver, CO – Fujifilm X-T50
Leaning Mailbox – Denver, CO – Fujifilm X-T50
Parking Garage – Denver, CO – Fujifilm X-T50
Circle K – Denver, CO – Fujifilm X-T50
Change – Denver, CO – Fujifilm X-T50
Printing – Denver, CO – Fujifilm X-T50
Sleep in Arkansas – Denver, CO – Fujifilm X-T50
No Parking Any Time – Denver, CO – Fujifilm X-T50
Red Spines – Denver, CO – Fujifilm X-T50

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-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

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