Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.
Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vision Daylight Recipe looks like. I would describe it as warm (with a hint of green), somewhat contrasty (yet with great tonality), and subtly colorful—very summer-like—with a cinematic feel. It has a strong Kodak-esque motion picture aesthetic. This Recipe is specifically intended for sunny daylight situations, but can be interesting in other light, too.
The Vision Daylight Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. This is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vision Daylight Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.
The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips.Footage by AV, Dave Geffin, Sahand Nayebaziz, Kyler Steele, and Jeffrey Sun.
Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.
What I love about the Retro Cinematic Video Recipe is that it emphasizes both warm and cool tones. In the right light, it almost has a split-tone effect. Depending on the situation, it can appear to have a warm cast or a cool cast. While this Recipe is intended for use in sunny daylight, it can also be great for showcasing the blues of twilight and for emphasizing the warmth of artificial light. The Retro Cinematic Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. The YouTube video that I’ve embedded below is a good sampling of what the Retro Cinematic Recipe looks like.
Retro Cinematic is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Retro Cinematic Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.
The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.
Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.
Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vivid Fujichrome Recipe looks like. I would describe it as vibrant and leaning warm; slightly contrasty with deep blacks. This is a bold Recipe for colorful subjects, and has a distinctive Velvia quality. It’s specifically intended for sunny daylight, but it can sometimes produce good results in other light situations. It’s especially great for sunset and blue hour.
Vivid Fujichrome is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vivid Fujichrome Recipe is compatible with most fourth-generation Fujifilm cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with many GFX cameras, too.
Film Simulation: Velvia White Balance: 5000K, +2 Red & 0 Blue Dynamic Range: DR200 Highlight: -1 Shadow: -2 Color: +2 Sharpness: 0 High ISO NR: -4 Interframe NR: Auto ISO: up to ISO 6400
The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.
Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Stop Time – Buckeye, AZ – Fujifilm X-T5 – Summer of ’59
This Fujifilm Recipe began as an attempt to recreate the aesthetic of some of Saul Leiter’s color photographs from the 1950’s and early-1960’s, particularly images like Paris 1959, Foot on El 1954, Bus 1954, San Carlo Restaurant 1952, Taxi 1957, Near the Tanager 1954, Phone Call 1957, and Pipes 1960—among others—with the greatest emphasis on Paris 1959. While I don’t think it’s possible to faithfully reproduce that look exactly on Fujifilm cameras, this Summer of ’59 Recipe is definitely at times pretty darn close. Also, some of Saul’s other photographs from that same era had a divergent aesthetic, and this Recipe isn’t good for replicating those.
During this time, Saul Leiter was using the first era of Kodachrome film. Something interesting that I learned while researching this is that Saul preferred shooting Kodachrome that was past the expiration date. He liked the way the film looked when expired, and especially the serendipity of not knowing what the precise aesthetic was going to be. An alternative name for this Fujifilm Recipe could be Expired Vintage Kodachrome.
Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI – Summer of ’59
Saul Leiter liked reflections, shooting through glass, and using layers. He kept his eyes out for catchy colors. He wasn’t afraid of shadows. His favorite lenses were telephoto, particularly 90mm and 150mm. If you are really trying to replicate his look, those are things you’ll want to consider. Vintage lenses will likely help, too (although I didn’t use vintage glass for these images).
This Summer of ’59 Recipe isn’t new—it was an App Patron Early-Access Recipe, and Patrons have had access to it for the last two years. Now that it has been replaced by a different Early-Access Recipe, it’s freely available to everyone. I really like this one, personally, and use it from time-to-time. My wife, Amanda, used it recently, too, and she seemed to really like it. I never intended for Summer of ’59 to be unavailable to everyone for so long, and I’m working to improve that going forward. In the meantime, I hope that you enjoy this Recipe.
Mint Chocolate Shake – Avondale, AZ – Fujifilm X-T5 – Summer of ’59
This Recipe is fully compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It can also be used on the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. You can also use this on “newer” fourth-generation cameras (X-T4, X-S10, X-E4, and X-T30 II), but it will render very slightly different (try it anyway!). One consideration is White Balance Shift: I wen’t back-and-forth on both Red and Blue, and I think +5 Red could alternatively be used, and/or -7 Blue could be alternatively used. All of the sample pictures in this article are with the WB Shift as published, and not the divergent options mentioned above.
Film Simulation: Eterna Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Strong White Balance: Auto, +4 Red & -8 Blue Dynamic Range: DR400 Highlight: +3 Shadow: +0.5 Color: 0 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this Summer of ’59 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:
All Way Stop – Phoenix, AZ – Fujifilm X100VI
Hanging Glass – Buckeye, AZ – Fujifilm X-T5
Falling Water in a Fountain – Buckeye, AZ – Fujifilm X-T5
Lion Water – Buckeye, AZ – Fujifilm X-T5
Pet Waste Station – Buckeye, AZ – Fujifilm X-T5
Red & White Blooms – Buckeye, AZ – Fujifilm X-T5
Bougainville & Palm Tree Trunk – Buckeye, AZ – Fujifilm X-T5
Summertime Feelings – Buckeye, AZ – Fujifilm X-T5
Founder’s Day Weekend – Buckeye, AZ – Fujifilm X-T5
Blue Flags – Buckeye, AZ – Fujifilm X-T5
Power Lines – Avondale, AZ – Fujifilm X-T5
An Arizona Home – Buckeye, AZ – Fujifilm X-T5
Corner – Buckeye, AZ – Fujifilm X-T5
Yellow Car – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along a Sidewalk – Buckeye, AZ – Fujifilm X-T5
Santa Coffee – Buckeye, AZ – Fujifilm X100VI
Jogger – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy Sign – Buckeye, AZ – Fujifilm X-T5
Next Time – Avondale, AZ – Fujifilm X-T5
Sunlit Lamp – Buckeye, AZ – Fujifilm X-T5
Fake House Plant – Buckeye, AZ – Fujifilm X-T5
Bedroom Plant – Buckeye, AZ – Fujifilm X-T5
1000 Record Covers – Buckeye, AZ – Fujifilm X-T5
Fountain Pot – Buckeye, AZ – Fujifilm X-T5
Jo in the Backyard – Buckeye, AZ – Fujifilm X-T5
Bench End – Goodyear, AZ – Fujifilm X-T5
Twin Seats – Goodyear, AZ – Fujifilm X-T5
Fashion – Buckeye, AZ – Fujifilm X-T5
Outdoor Potted Plant – Buckeye, AZ – Fujifilm X-T5
Desert Cactus Landscape – Buckeye, AZ – Fujifilm X-T5
The Boys – Buckeye, AZ – Fujifilm X-T5
Red Hots – Avondale, AZ – Fujifilm X-T5
Protection – Avondale, AZ – Fujifilm X-T5
Pick Up – Avondale, AZ – Fujifilm X-T5
Find this Fujifilm Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
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Blooms by the Pavilion – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe
I love this Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great! Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.
This was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s freely available because a new Early-Access Recipe has replaced it. So this isn’t a new Recipe, only newly available to everyone. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
This Kodak Emulsion Recipe is compatible with all “newer” fourth-generation Fujifilm cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; however, not the X-T3 or X-T30). Technically it is compatible with fifth-generation models, but, because X-Trans V renders blue more deeply on some film simulations, it will look very slightly different (probably not a big enough difference that you’ll notice or care, so give it a try!). This Recipe is best for sunny daylight conditions, but it can be good in other natural light situations, too.
Film Simulation: Classic Chrome Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Shade, -2 Red & +2 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak Emulsion Recipe on my Fujifilm X100V:
Autumn Sun – Buckeye, AZ – Fujifilm X100V
Autumn Tree Leaves on a Shrub – Buckeye, AZ – Fujifilm X100V
Minolta SLR – Buckeye, AZ – Fujifilm X100V
Homework – Buckeye, AZ – Fujifilm X100V – Flash On
Vines Along a Shaded Wall – Buckeye, AZ – Fujifilm X100V
Sunlit Table & Chairs – Buckeye, AZ – Fujifilm X100V
Potted Flowers & Pavilion – Buckeye, AZ – Fujifilm X100V
Flowers at a Neighborhood Park – Buckeye, AZ – Fujifilm X100V
Palm Tree & White Building – Buckeye, AZ – Fujifilm X100V
Hanging Lightbulbs – Buckeye, AZ – Fujifilm X100V
Flag in the Wind – Buckeye, AZ – Fujifilm X100V
Bougainvillea Branch on a Bright Day – Buckeye, AZ – Fujifilm X100V
Yellow Wildflowers in the Desert – Buckeye, AZ – Fujifilm X100V
Yellow Flowers Blooming – Buckeye, AZ – Fujifilm X100V
Tall Saguaro Behind Dead Tree – Buckeye, AZ – Fujifilm X100V
Reaching Saguaro Fingers – Buckeye, AZ – Fujifilm X100V
Damaged Saguaro – Buckeye, AZ – Fujifilm X100V
A Desert Landscape – Buckeye, AZ – Fujifilm X100V
Dirt Road After Rain – Buckeye, AZ – Fujifilm X100V
Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
I wanted to give a heads up that something big is coming very soon. This is something I’ve been working on for over a year, and it’s finally nearly ready. Within the next few days, I will make an announcement and publish it. This will require that I post a bunch of articles nearly all at once. I know that some of you receive email notifications whenever new articles are posted, so I’m warning you now: you’re going to get inundated with emails. It will be a massive content dump, but that’s just the way it has to be. My apologies in advance, to anyone who might be annoyed by that. Hopefully the content itself will make it worthwhile.
What is this upcoming thing? Well, you’ll just have to wait a bit longer to find out. I don’t know if everyone will appreciate it, but I think some of you will be thrilled. It’s something I’ve wanted to do for probably four or five years now, and it took 14 months from start-to-finish once I began working on it. It was a team effort, with eight people involved in one way or another. I can’t wait to share it with you!
In unrelated news, I’ve experienced something unusual lately, and I’m not sure what to do with it, but I feel the need to share this story. To start, let’s go back in time six years. This was about four years after I first began to make Fujifilm Recipes, and a handful of months before I launched the Fuji X Weekly App. Recipes were just starting to gain popularity within the community. It was before Fujifilm was even aware that their users were creating, sharing, and using camera setting combinations that were being dubbed “recipes”. Fuji X Weekly was (by far) the main source of Recipes back then, but others began to make and publish their own. One day I received a message from someone accusing me of copying another person’s recipes, only changing the names. As it turned out, the exact opposite was true: I created those Recipes and published them months or even years before the other person. They were copied from Fuji X Weekly and the names were simply changed. This was not the first or (anywhere near) the last time that happened, but it was the first time that I was accused of stealing my own creations. I think it happened because the accuser visited that other person’s website prior to discovering this one, so the order in which they saw the Recipes made them believe that I had copied them instead of vice versa, and they didn’t pay attention to the dates.
Fast forward to 2026, and it’s happened twice this year, just within the last couple of months. What I’ve come to realize is that whenever I publish a new Recipe, it’s being republished on different websites and/or uploaded to different apps within days, sometimes within hours. Often enough, it’s with my own photos, used without permission. This happens constantly. Sometimes the Recipe has the same name; sometimes the name has been changed. The uninitiated, who is maybe new to Fujifilm and the whole Recipe thing, knows nothing about the history. Maybe they’re getting their settings from a different website or app and aren’t very familiar with Fuji X Weekly. They just see the same settings that they found elsewhere, and make the (false) assumption that I copied it from that place whenever they find it here, instead of the correct answer, which is that it was copied from Fuji X Weekly.
After the most recent accusation, I looked at one app, and found my Kodak Portra 400 v2 Recipe listed 15 times. Sometimes it was under that name, but a lot of times the name was changed. In one instance it had my photos. Twice there was a setting that was different, and I’m not sure if that was a tweak or a typo (how could anyone know?). In none of the 15 examples was my name or this website mentioned, each time the credit was given to someone else instead. I repeated this for a handful of other Recipes, and the results were similar.
In the article, The Evolution of Fujifilm Recipes, I stated, “Credit isn’t about ownership, it’s about storytelling. It helps to trace how an aesthetic came to be, and it honors the shared journey that got us there.” I wrote that before these recent incidents. It demonstrates very clearly why it’s important. Apparently it needed to be said, and it bears repeating. It’s frustrating to spend hours—if not days, weeks, or (on a rare occasion) even months—getting the settings “just right” for a new Recipe, thinking of all the work and care that oftentimes goes into it, only for someone else to take credit whose only effort was copy-and-paste. And it’s incredibly disheartening to be accused of stealing your own Recipes and photos.
Like I said, I don’t really know what to do with that, other than to emphasize the quote in the last paragraph. When you see the same Recipe listed across the internet or in various apps, and you don’t have any idea who actually created it or why (because a lot of different people are listed as the creator), that history, journey, and deserved honor are lost. I’m far from the only one affected by this, because I found several other people’s Recipes (and photos) in the same boat. If you’ve ever created and shared a Recipe, there’s a reasonable chance it has happened to you, too, and maybe you’re not even aware of it. The creators deserve the credit, and those discovering Recipes should have the opportunity to join the journey, and learn the backstory. Both sides are shortchanged, and that’s unfortunate.
I don’t want to end what started out as an exciting and positive article on a sour note, so let me circle back to the top. And maybe this ties the two points together: when the upcoming thing is announced in the coming days, please don’t take credit for it as if you were the creator. I know it’s not you all, that this is preaching to the choir, but maybe one of the people involved will read this by chance (because they obviously come to this website sometimes), and—if so—I hope that it causes a change of heart. Anyway, coming very soon is something that I’m extremely excited to share. I hope that you’re a bit curious, and perhaps a little excited, too. Within a few days, the mystery will be revealed.
Route 66 in Rural Arizona – Seligman, AZ – Fujifilm X-E5 – Agfa Scala
For much of the last 200 years, photography was largely in black-and-white. Early photographic processes couldn’t capture color, so black-and-white became the foundation upon which the medium was built, shaping how photographers learned to see light, contrast, and form. Once color processes arrived, it was expensive, inconsistent, and slow, making it less practical than B&W. When color film finally matured, the photographic community was slow to accept it. It wasn’t until the 1970’s that color photography really gained a foothold, yet black-and-white persisted for decades as the top choice for many photographers. When I learned photography in college in the late-1990’s, B&W was a much more major part of the program than color. In the age of digital cameras, where the standard profile is color, B&W seems to be significantly less popular than it was just 25 years ago, and much less popular than it was 50 years ago.
Personally, I love B&W photography. By removing one layer of reality (color) to emphasize another (form), it’s inherently abstract. Shapes are more important, light more deliberate, and emotions less tied to the literal. Oftentimes it’s a more intentional way of seeing. Viewers engage differently with B&W images, reading the photographs rather than simply recognizing the subject and location.
Leaning Fence – Buckeye, AZ – Fujifilm X-E5 – Kodak Tri-X 400 (captured this morning in my backyard)
There are 50 B&W Recipes for Fujifilm cameras in the Fuji X Weekly App. Something that I’ve noticed for a long time now is that B&W Recipes tend to be much less popular than color. Anecdotally, when I post B&W photos on social media, they tend to get noticeably less attention than color images. There just seems to be less interest in it than there used to be. Still, if I could only ever use one Recipe for the rest of my life, it would be black-and-white. And I’d love for Fujifilm to make a monochrome-only camera—I’d be first in line to buy it.
For today’s article, I thought I would encourage you to shoot black-and-white. Find a Recipe—such as one of the five below—program it into your camera, and create something interesting. Look for contrast and design rather than colors. If none of the ones below interest you, there are a bunch of others in the Fuji X Weekly App, and you can easily find them by Filtering by Black and White. Also, be sure to let me know in the comments which B&W Recipe is your favorite, whether one of the ones mentioned here or one that’s not in this list.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. With this Recipe, the higher the ISO the grainer the results. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article. This is by far the most popular B&W Recipe.
Classic B&W is a newer monochromatic Recipe that I really like. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models. I could see this becoming a lot of people’s favorite.
Agfa Scala is a new adaptation of an old Recipe for use on fourth and fifth-generation X-series cameras, as well as newer GFX models. I’ve loved the Agfa Scala Recipe for a long-time, and it was long-overdue for an update for the latest cameras.
Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W
Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
The Kodak Plus-X 125 Recipe was made by Dylan Van Matre with some help from Anders Linborg. It’s just a little less contrasty and grainy than some of the other options, which makes it preferable for some subjects and situations.
Find these Fujifilm Recipes and many more on the Fuji X Weekly App!Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Just a couple of years ago, a friend of mine (who’s not a photographer) asked me what camera he should buy. He wanted something with better image quality than his phone, something that he could possibly learn on and grow with, should he decide that he wants to pursue photography as a hobby. I asked him what his budget was, and he told me, “$500 max, preferably less.” When I told him that there’s nothing brand-new, and slim pickings on the used market (I suggested a few options), he was very surprised and disappointed. He ended up not buying a camera.
I mention this because maybe it’s a more common problem than some realize. There seems to be a disconnect among the price expectations of some potential first-time buyers and the actual cost of cameras nowadays. Once upon a time you could walk into Costco and buy a DSLR bundled with a lens for $500. Of course a lot of things were cheaper back then, but finding a brand-new camera body and lens together for under $1,000 isn’t easy. In the Fujifilm world, there’s only one: the X-M5 bundled with the 15-45mm f/3.5-5.6 zoom, which retails for $999. That’s it.
If you’re on a tight budget, you are really limited, and you might have to stretch the budget to even afford a basic camera. Not terribly long ago, Fujifilm offered the X-M1, X-A1, and X-A10 as low-budget models. The X-M1 was $800 when bundled with a lens, the X-A1 was $600 with a lens, and the X-A10 was only $500 with a lens. The fact that Fujifilm can offer the X-M5 with a lens for only $200 more than the X-M1 is quite remarkable. Where is the lowest-budget, bottom-floor, base-level model? The X-M5 is currently serving that purpose (just like the X-E4 did in the previous generation), but what’s missing is something even lower, something just a little more affordable as an entry into the X-series for those on a tight budget.
From what I’ve heard from camera stores, some folks I know at Fujifilm, online reports, and even Fujirumors, the X-T30 III is currently Fujifilm’s top-selling camera. It’s their second-cheapest interchangeable-lens model, retailing for $1,000 for the body-only, and $1,150 with a lens. Back in October, before it was officially announced, I stated, “Fujifilm will quietly sell a whole lot of these. It’s not going to go viral like the X100VI. It’s not going to make major headlines. It’s not going to be a hot topic on Reddit or Facebook groups. But Fujifilm will sell a bunch of X-T30 III cameras, more than most other models offered by the brand.” It turns out that I was understating the point, because the camera isn’t outselling most other Fujifilm models, it’s outselling all of them.
Not far behind is the Fujifilm X-M5, which is the lowest budget APS-C option. In some markets this camera is hotter than others, but overall it might be Fujifilm’s second or third best-seller, depending on who you ask. It goes to show that there’s plenty of room for the X-T30 III and X-M5 to coexist—they aren’t eating away at each other’s sales.
Fujifilm’s lowest budget X-series camera is the X half, which is a fixed-lens 1″ sensor camera intended for fun more so than as a serious photographic tool (although it can be in the right hands). I love my X half, but it’s not a camera for everyone, and probably a bit overpriced for what it is (despite being the cheapest X-series model). This is Fujifilm’s most polarizing camera, with so-so sales in some markets, while being the hottest camera from any brand in other markets. Overall worldwide, it’s one of Fujifilm’s best sellers, but just not everywhere.
What I think is missing from the lineup is an interchangeable-lens camera that’s even more affordable than the X-M5, something that is $100 or $200 cheaper, for those who find the more expensive cameras just out of reach. Maybe an X-T300, a plasticky Bayer-sensor model? Another 1″ sensor camera, maybe with a fixed zoom lens along the lines of the XQ2 or X30, would be good, too. There is an obvious market for lower-tier budget-friendly models, but there aren’t many options anymore. If those who have an interest in photography don’t explore it because it’s financially out of reach, the industry will slowly whither away, becoming smaller with each generation. An affordable camera with a low (or even non-existent) profit margin can turn into significant profits in the long run, by bringing new people into the fold, who maybe someday will have more to spend. How many people got into Fujifilm with an X-A camera who now own an X-T30 III or X-E5 or another newer model? Probably more than a few.
I’m not surprised in the least that the Fujifilm X-T30 III is selling so well. It’s not surprising to see it outsell the X-T50, which is a wonderful camera, and technically better. Not every camera needs the greatest specs or the latest technology in order to be successful. Sometimes it’s having just enough with a price tag that isn’t too high. A 20mp Bayer APS-C camera with lesser specs and cheaper build but with Fujifilm’s renown Film Simulations would sell like hotcakes. Not because it’s the best, but because it’s attainable.
Someone pointed out something interesting to me: the new DJI Osmo Pocket 4 has “Film Tones” that take close inspiration from Fujifilm. Specifically, CC Film and NC Film are “Fuji-inspired” (as DJI puts it), and are obviously similar to Fujifilm’s Classic Chrome and Classic Negative Film Simulations (apparently, CC Film more so than NC Film). These are intended to give a finished look straight-out-of-camera.
First, as Oscar Wilde famously stated (or maybe he didn’t, it’s apparently debatable), “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” That’s not a dig on DJI, but simply noting that 1) Fujifilm’s Film Simulation are both great and popular, and 2) someone’s approximation of it will never be quite the same as the real thing (but maybe it doesn’t need to be). If something is successful, there will be copycats—sometimes close copies and sometimes more of an “inspired by” situation. I’m not sure what type of copyrights and trademarks Fujifilm may have for (say) Classic Chrome, or if DJI infringed on it, but my guess is that legally speaking, it’s all ok (I’m not an attorney, though).
I personally don’t take issue with DJI copying Fujifilm; however, maybe they should have been more discrete about it. As Albert Einstein famously stated (or maybe he didn’t, it’s apparently debatable—a theme in today’s post), “The secret to creativity is knowing how to hide your sources.” Flaunting it is a little brash. Call it Chrome Color Film and Negative Color Film and don’t mention that it’s trying to emulate Fujifilm’s Film Simulations. Or, the other option is to be upfront and honest about the origins and intentions, giving Fujifilm credit for the inspiration. I like that better, actually. And maybe there’s a point to it.
The problem when you use multiple camera brands to record clips that will be included in the same video is that they look different. With enough grading, you can get them to be similar enough, but that’s a lot of work. Now imagine that you have an X-H2s or X-S20 or some other Fujifilm camera, and you’re using the Classic Chrome Film Simulation to record clips (so as to reduce or eliminate color grading) for a YouTube video; you also have the DJI Osmo Pocket 4 for some clips, and on it you’re using the CC Film Tone. In that situation, you’re going to spend less time in software because all of the clips are going to have a similar aesthetic out of the camera.
So, if you’re a videographer that uses Fujifilm cameras and Film Simulations, you might find the new DJI camera to be an intriguing option for certain situations, as a companion to your larger gear. Perhaps that’s their point: not necessarily to convince people to buy their camera instead of a Fujifilm model, but as a potentially complimentary tool for Fujifilm photographers. At least that’s my take on it. The addition of Fujifilm-like profiles is appealing to me as a Fujifilm photographer; however, at least for the time being, the DJI camera is not available in the US.
Does 2026 feel different to you? I mean, as far as Fujifilm X and GFX cameras are concerned, it’s been quiet. Really quiet. In most years, by the end of March there’s already been one camera announcement. Last year it was the GFX100RF. The year before it was the X100VI. Not every year has an announcement within the first three months (neither 2022 nor 2023 did), but in 12 of the last 16 years Fujifilm announced a camera sometime between January 1st and March 31st.
We’re here at the end of April, and it’s still really quiet. No rumblings or rumors of an upcoming camera, aside from the X-T6 in September. That’s a long ways out. This is a good indication that nothing is coming by the end of May, or else we’d likely have heard something already. If that’s true, and nothing is announced by the end of May, this would be the first time since 2011 that no new camera was announced within the first five months, and at that time the X-series had exactly one camera in the entire lineup: the original X100. There was one recent year—2022—that nearly saw no new cameras within the first five months, as the X-H2s was announced on May 31st, barely making the cutoff. This year could be similar.
It’s definitely possible that Fujifilm is trying hard to keep some forthcoming announcement under wraps. For example, it was a massive surprise when the Instax Evo Cinema was announced back in January. They did a great job keeping it a secret. A lot of people within Fujifilm’s own camera department had no idea it was coming. It could simply be a similar situation for whatever they plan to release next. It’s possible that they’ve figured out where the leaks are coming from, and have taken measures to ensure secrecy. But, then again, we already have rumors about a September release, so I’m not sure that this theory has validity.
Now mind you, I’m not complaining. Far from it, actually. I’ve been advocating for years that (generally speaking) new cameras are released much too soon. I would like to see a five-to-eight year manufacturing lifecycle for digital cameras. When a successor does come, it should be a meaningful update. The X-T5 was announced in November 2022, so I would prefer that the X-T6 not come until late-2027 or early-2028 at the earliest. Why are we so eager for a new iteration when the current one is still really good and a new version won’t be all that much better? Letting a little more time pass is not a bad thing.
And maybe that’s what Fujifilm is doing this year. The fifth-generation cameras are still selling like hotcakes. Why rush the sixth-generation? Give more time to work out kinks and bugs, finalize refinements, and build up anticipation. It wouldn’t bother me at all if Fujifilm postponed the introduction of the next generation until next year, and announced exactly zero new cameras in 2026. I doubt that will happen, I’m just saying that it wouldn’t upset me if it did.
Fujifilm could spring a surprise on us, and announce a new camera sometime next month, making 2026 similar to 2022. Or it could be the first time since the very beginning of the X-series that they don’t. All I know is that it’s been abnormally quiet, which isn’t necessarily bad. New-gear-chatter, which (don’t get me wrong) can be fun, is oftentimes a distraction to what actually matters, and that’s making meaning photographs with the gear we already have.
Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Among landscape photographers, Fujichrome Velvia is legendary. This line of color slide films was introduced by Fujifilm in 1990, and quickly became the gold standard for vibrant photography. The first iteration was called Velvia RVP, which had an ISO of 50, delivering ultra-fine grain, exceptional sharpness, and intensely saturated hues (especially in greens and reds). Now it’s called Velvia 50, which is nearly identical to the original emulsion (the largest difference is the clear plastic base). There have also been two ISO 100 versions: Velvia 100 and Velvia 100F. Velvia 100, which was initially only sold in Japan before later becoming available internationally, is very similar to Velvia 50, but slightly less vivid, making it better for portraits. Velvia 100F was the most different, with the lowest saturation and leaning less warm, and overall a little more Provia-ish than Velvia 50. Mostly, when people say “Velvia” they mean Velvia 50.
One of the architects of the Velvia Film Simulation also worked on the Velvia 100 and Velvia 100F emulsions. This Film Simulation was intended to closely mimic the aesthetic of the film; however, Fujifilm has stated that technology precluded them from initially achieving what they wanted, and so Velvia has had to evolved a bit over time. While some might prefer the Velvia Film Simulation from one sensor generation over another (which is great, as each has its own charm), the current output from fifth-generation cameras is probably the most refined, the most like how Fujifilm wanted it to be in the first place. Factory-default Velvia looks nice, and seems to aim in-between Velvia 100 and Velvia 100F. With some adjustments, one can tweak it to achieve a lot of various looks, many of them only subtly different.
Factory-default Velvia Film Simulation (no Recipe)
Vivid Chrome Recipe
Vivid Velvia Recipe
I’ve published 30 Recipes that use the Velvia Film Simulation. By utilizing the Filter By Simulation feature in the Fuji X Weekly App (available for both Apple and Android), you can quickly and easily find all of them. For the sake of this article, I wanted to compare some of the most recently published Velvia-based Recipes, specifically: Velvia Film, Vivid Velvia, Vivid Chrome, Velvia Slide, and Velvia 100F. The differences between these five Recipes might not be immediately obvious, so I wanted to compare them, to provide a better idea.
Velvia Film is a part of the Film Dial Recipe set. It’s unintentionally similar to Velvia 50 with a warming filter. Because it uses the Auto White Priority White Balance, it’s an extremely versatile Recipe, and is great for night photography. Vivid Velvia is intended to be similar to The Rockwell Recipe, just slightly less extreme. It’s also very versatile, and is also along the lines of Velvia 50 with a warming filter. Those two are the most similar among these five Recipes. Vivid Chrome is the newest Velvia Recipe. It was intended specifically for colorful travel photography, and is by chance in the general ballpark of Velvia 100. Velvia Slide was an attempt to replicate Velvia 100, and it seems to do so pretty well in some circumstances and less so in others. This is currently a Patron-only Early-Access Recipe available only to Fuji X Weekly App subscribers. Last but not least is Velvia 100F, which is a part of the Universal Negative Recipe set. It’s unintentionally in the general ballpark of Velvia 100F, although not a perfect match.
Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide
Small Flowing Creek – Queen Creek, AZ – Fujifilm X100VI – Velvia 100F
These five Recipes have their strengths and weaknesses. They’re good for various subjects and scenarios, and less good for others. Velvia Film and Vivid Velvia are the most colorful and warm; Velvia Film leaning slightly warmer and Vivid Velvia leaning slightly more vibrant, but overall very similar. Both are quite versatile. Vivid Velvia is the sharpest. You might find these two Recipes to be just a bit too wild sometimes, but perfect for landscapes where you want the colors to pop. Vivid Chrome is just slightly more subdued, producing bold images without being over-the-top. In a lot of ways, this is a Goldilocks option. Velvia Slide and especially Velvia 100F are less warm, with cooler cast; the Velvia 100F Recipe leans a little green. These two also are less vibrant than the others, especially Velvia 100F, which is the least saturated of these five. In situations where the others are too warm and colorful, you might like these last two.
Below are each of these five Recipes in three different scenes (the third scene was captured by my wife, Amanda). When you compare the Recipes side-by-side, the differences stand out more. Maybe you’re drawn more to one, and maybe there’s one that you especially dislike. We all have our own tastes and styles. I do think that each of these five can be excellent for the right subject and lighting. Let’s take a look!
It’s your turn! Which of these five Fujifilm Recipes was your favorite in each scene above? Which was your least favorite? Which Velvia-based Recipe do you like that I didn’t include in this exercise? Let me know in the comments!
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Windmill – Solvang, CA – Fujifilm X-E5 – Nostalgic Air
I first met Hayden Goldsworthy on a photowalk nearly two years ago. He is extraordinarily knowledgable about Fujifilm cameras (that’s a massive understatement), and is extremely well acquainted with Film Simulations, the various JPEG options, and Fujifilm Recipes. He has lead some Fujifilm events and workshops, and been to many others. Some of you may have met him. When I saw that he had created a Recipe, I knew it would be a good one. I immediately asked if I could share it with you all on Fuji X Weekly, and he happily agreed. Thank you, Hayden!
“Ever since Nostalgic Negative was introduced in 2022,” Hayden told me, “I’ve been drawn to it. It really lives up to Fujifilm’s description—warm, amber, and nostalgic—but what stood out to me the most was how flexible it felt as a base for creating something unique. One of the first NN Recipes that really clicked for me was 1976 Kodak. I used it extensively, including on multiple paid wedding shoots, and I never felt the need to adjust it. That Recipe has a consistent everyday look that works in a wide range of situations, and it’s a big part of why I developed a soft spot for Nostalgic Negative in the first place.”
Sunset Saguaro – Apache Junction, AZ – Fujifilm X-E5 – Nostalgic Air
“Since then,” he continued, “I’ve spent a lot of time experimenting and gradually refining my own take on it. Nostalgic Air is the result of that process—something that’s been slowly shaped over time rather than built all at once. It really came together during a trip to Destin, Florida. The bright blue skies, warm sand, and sunlit buildings made the strengths of the Recipe stand out. The colors felt light and pastel without losing their vibrancy, and the overall rendering had a soft, open quality that matched the environment perfectly. That was the moment it clicked as something worth keeping.”
“From there,” Hayden stated, “I made a few final adjustments to improve its consistency across different lighting conditions. While it naturally shines in sunny environments, I’ve found it to be just as reliable outside of golden and blue hour, which made it feel like a strong everyday option. My goal was to create something soft, airy, and natural—leaning into peachy highlights and calm blues—while still maintaining flexibility. Despite looking great straight out of camera, I intentionally built this Recipe to leave room for subtle curve adjustments when needed. At times I like to gently crush the shadows, and more often I’ll shape the highlights to add a bit more pop. That flexibility is a big part of why I named it Nostalgic Air. “
Small Boat Dock – Avalon, CA – Fujifilm X-E5 – Nostalgic Air
“Nostalgic Negative can sometimes introduce greens and yellows that feel a bit off to me,” he said, “so the White Balance Shift helps push warmer peach-like tones while keeping a subtle teal balance. I tend to slightly overexpose when using this Recipe, using +2/3 to +1 exposure compensation; in higher-contrast scenes, like golden hour or harsh light, I’ll expose for the highlights to keep things under control. I also love pairing this with a Tiffen Glimmerglass 1 diffusion filter.” Nostalgic Air is compatible with all fifth-generation Fujifilm cameras: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Thanks again, Hayden! It’s an honor to use your Recipe, and host it on Fuji X Weekly.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, +5 Red & -1 Blue Dynamic Range: DR-Auto Highlight: -1 Shadow: 0 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all unedited camera-made JPEGs using this Nostalgic Air Film Simulation Recipe on my Fujifilm X-E5:
Fog in Avalon Bay – Avalon, CA – Fujifilm X-E5
Welcome to Avalon – Avalon, CA – Fujifilm X-E5
Onboard Docked Boat – Avalon, CA – Fujifilm X-E5
Empty Cafe Table – Avalon, CA – Fujifilm X-E5
Suzuki – Avalon, CA – Fujifilm X-E5
In-N-Out – Rialto, CA – Fujifilm X-E5
Thank You – Rialto, CA – Fujifilm X-E5
Rural Flowers – Buellton, CA – Fujifilm X-E5
Western Wear – Weatherford, TX – Fujifilm X-E5
Rocks Framed by Cactus – Apache Junction, AZ – Fujifilm X-E5
Flash Flood Area – Apache Junction, AZ – Fujifilm X-E5
Golden Light on Hidden Saguaro – Apache Junction, AZ – Fujifilm X-E5
Tall Cholla – Apache Junction, AZ – Fujifilm X-E5
Sunset Cholla – Apache Junction, AZ – Fujifilm X-E5
Aquila – Apache Junction, AZ – Fujifilm X-E5
Aquila Place Hotel – Apache Junction, AZ – Fujifilm X-E5
Nighttime Windmill – Solvang, CA – Fujifilm X-E5
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Assuming that Fujifilm’s sixth-generation cameras are right around the corner—probably five or six months out—what should be different about it? I don’t want to answer that question in this article, but it is what made me think of today’s topic: which Film Simulation should come next? Looking back, Classic Chrome was introduced with X-Trans II, Eterna with X-Trans III (sort of), Classic Negative and Eterna Bleach Bypass with X-Trans IV, and Nostalgic Neg. and Reala Ace with X-Trans V. There’s a significant chance that a new Film Simulation or two will arrive during the next generation. What should they be?
I don’t think that Fujifilm should concentrate solely on introducing new Film Simulations. There are plenty of opportunities for improvements and advancements throughout the cameras, and I’m sure they are working on all of that. Within the Recipe realm, there are a number of potential options, including split-toning (for both color and B&W), faded blacks, vignetting, halation, and light-leaks. Since there is a good likelihood that a new Film Sim is coming, let’s briefly discuss some options that Fujifilm could possibly choose from.
I know that there’s already PRO Neg. Hi and PRO Neg. Std, both of which are reminiscent of the Fujicolor PRO line of films. While Fujifilm has claimed that Reala Ace is modeled after the film of the same name, it really isn’t; it’s much more similar to Fujicolor PRO 160C and not Reala Ace, which is in the Superia line. Classic Negative is a much closer match to actual Reala Ace film. The Reala Ace Film Simulation is essentially a third PRO Neg., and it probably should have been called PRO Neg. C (although Reala Ace is a much better name for marketing purposes). Since there’s already three PRO Neg. Film Simulations, why do we need another? The answer is simple: none of them are quite like Fujicolor PRO 400H. That film stock is legendary, especially among wedding photographers. It famously turns pastel with overexposure. If Fujifilm can make a Film Simulation that closely resembles PRO 400H film and behaves similarly with overexposure, that would be an instant hit. Of course making a Film Simulation that can withstand a stop or two of overexposure without blowing out the highlights would be a challenge, but I have faith that Fujifilm could pull it off.
Fortia
Rose in Frame 7 – Buckeye, AZ – Fujifilm X100V – Pop Color Advanced Filter
Urban legend says that Fortia was an accident, a botched batch of Velvia 50 that was wildly vivid. Instead of trashing it, they sold it as a special run in Japan during the cherry blossoms. It was such a hit that they recreated it and sold it (only in Japan and now under the name Fortia SP) from 2005 to 2007 around the time of the cherry blossoms. Interestingly, Pop Color in Advanced Filters is surprisingly similar to Fortia. I think it’s time for it to graduate from an Advanced Filter to Film Simulation, so that we can add Grain, Color Chrome Effect, etc., to it. While the Velvia Film Simulation is indeed vivid, I think some nature and landscape photographers would welcome one that’s beyond Velvia.
Velvia XPRO
Red Caboose – Boron, CA – FED 5c – Fujichrome Velvia 50 cross processed
Back in the day, cross processing was a fun experiment. Cross processing, also sometimes called xpro, was simply developing film in chemistry that was not intended for that film. It could mean a lot of things, but most commonly it was developing slide film in C41 chemistry. My personal favorite film for this was Velvia 50. It would be really cool if Fujifilm made a Film Simulation that replicated cross processed Velvia. Or maybe this is something that could be added to Advanced Filters should Pop Color become a Film Simulation.
Infrared Chrome
Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2 Recipe
I love infrared photography with my full-spectrum Fujifilm X-T4 ES. RNI has an app that replicates Aerochrome on any digital photo. I don’t see why Fujifilm couldn’t make a Film Simulation that resembles Aerochorme, but obviously they’d need to change the name. I think a lot of people are interested in IR photography, but full-spectrum cameras aren’t particularly common and the cost to convert a camera is expensive. This would give a faux-IR experience in a non-IR camera, and without the need of various filters.
Expired Film
Railroad Museum Diptych – Savannah, GA – Fujifilm X half – Expired Film Filter
Expired Film is a really cool Filter on the Fujifilm X half. It’s definitely not for every subject or situation, but it can be great occasionally. If they don’t make it a Film Simulation, at the very least it should be added to Advanced Filters on other X-series cameras.
Now it’s your turn! In your opinion, what Film Simulation should Fujifilm make next? Let me know in the comments, I’d love to hear your ideas.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
I’ve been asked a couple of times lately which Fujifilm Recipes are the best. Someone also asked which Recipes are my favorite for each Film Simulation. Of course “best” is a subjective term, making it impossible to answer; however, if you consider “best” as a synonym to “my personal favorite” then we can move forward answering these questions. Instead of compiling a list of (say) the Top 10 Best Recipes, I decided to tackle this by sharing my favorite Recipe for each Film Simulation.
Some of these were difficult decisions because I have so many favorite Recipes for Classic Chrome, Classic Negative, Reala Ace, Nostalgic Neg. and Eterna. I’m not 100% sure that I actually chose the best, and it probably depends on what day of the week you ask me. If I had written this yesterday or if I procrastinated until tomorrow, some of the selections might be different. I guess take this list with a small grain of salt.
I also included a “runners up” selection for each Film Simulation. Those Recipes were in the running as possible picks for the best, but didn’t quite make the cut. For Classic Chrome and Classic Negative, I could have made the runners up list much longer, and I still would have felt like I left some worthy contenders out. And I know that I did leave a large number of excellent Recipes out of this list, but that’s just the way it goes. So feel free to tell me in the comments what you agree with, what you disagree with, and which Recipes should have been mentioned but weren’t.
Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
Provia Slide is a Recipe for X-Trans III cameras, plus the X-T3 and X-T30 by setting Color Chrome Effect to Off. It’s probably the most ideal Provia Recipe, just really lovely. Generally speaking, I’m not a big fan of the Provia film sim, but this Recipe forces me to like it.
Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2
I love Velvia for colorful landscape photography, and there are a number of excellent options. Being pressed to choose my favorite, the obvious answer is Aerochrome v2, a Recipe for full-spectrum infrared cameras, like the X-T4 ES. This Recipe is an absolute thrill; unfortunately, most can’t use it.
Astia is a Film Simulation that I have to warm up to, it’s not one that I typically choose. But there are a number of good Recipes that use Astia as the base, and my favorite is CineStill 400D v2, which was collaboratively created by Nestor Pool and myself.
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
Classic Chrome is the king of Film Simulations. There are probably 25 or more Recipes that could have been chosen to represent the “best” but Kodachrome 64 jumped out to me as the one I should pick. There are so many excellent ones, and I feel like the five “runners up” below is a significantly insufficient selection—lots of great Recipes were unfortunately excluded.
Service – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm
Even though this is the newest Film Simulation, there are a lot of excellent Reala Ace Recipes. I went back-and-forth a bit, but decided on Fujicolor PRO 160C Warm, which is a part of the Film Dial set. The Reala Ace film sim is essentially a “better” PRO Neg.—as Fujifilm put it, a negative for the new era.
Spiky Arms – Saguaro National Park, AZ – Fujifilm X-T5 – PRO Negative 160C
Between PRO Neg. Hi and PRO Neg. Std, I tend to choose the latter much more often than the former. Now that we have Reala Ace, I don’t go for either very often anymore. But there are some good Recipes to choose from, and for PRO Neg. Hi, PRO Negative 160C is my favorite.
Urban Binding – Salt Lake City, UT – Fujifilm X-T30 – Fujicolor 100 Industrial
I have several favorite Recipes for PRO Neg. Std, but Fujicolor 100 Industrial, which is for X-Trans III cameras (plus the X-T3/X-T30), is something special.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Classic Negative is one of my top favorite Film Simulations. Like Classic Chrome, choosing a top favorite and narrowing to just five “runners up” was difficult, and I’m certain I left a number of excellent ones off the list. With that said, Pacific Blues seemed like a good choice to represent this film sim as the best Recipe.
The Nostalgic Neg. film sim is one that seems to work very well or only so-so, just depending on the subject and lighting. Of the various color Film Simulations, I would probably rank this one fifth best. There are a number of excellent Recipes that use Nostalgic Neg. as the base, and 1970’s Summer is probably my top favorite.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D
The Eterna Film Simulation is probably most often used for video, but it is excellent for stills, too. It has a unique tonality that can be fun to experiment with. While I chose Kodak Vision3 250D as my favorite, it was a difficult decision, and any of the five below could have just as easily been chosen instead.
Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400
I feel like Eterna Bleach Bypass is one of the least used color film simulations, maybe even the least used. But that doesn’t mean it’s not good, because it certainly can be great. My favorite Recipe that uses Eterna Bleach Bypass is Ferrania Solaris FG 400, but the runners up below are good, too.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400
When people ask what my favorite Recipe is, I often tell them Kodak Tri-X 400, which was created by Anders Lindborg. This is my favorite B&W Recipe, and one of my top Recipes, period. Acros is such a great Film Simulation, and this Recipe really makes the most of it.
Horsetail Falls From Bridge – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400
I don’t like the Monochrome Film Simulation (which is simply Provia without color) nearly as much as Acros, but it can still be a good base for black-and-white Recipes. Ilford HP5 Plus 400, which was also created by Anders Lindborg, is my favorite that uses the Monochrome Film Simulation.
Last and least is Sepia. After Fujifilm introduced Monochromatic Color on X-Trans IV, which allows custom toning of B&W photos, the Sepia Film Simulation seemed obsolete. Still, it’s found on every Fujifilm camera. I haven’t created very many Sepia-based Recipes, but there are a few. B&W Sepia, which is a part of the Universal Negative set, is my personal favorite.
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Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome
Fujifilm Nordic asked if I’d be interested in making a Film Simulation Recipe specifically designed for Denmark that would be unveiled at the upcoming Fujikina event in Copenhagen next month. Of course I said yes! I made three Recipes, and then traveled to Solvang and Catalina Island in California to test them out. Solvang is probably the most Danish town in America, so that was an obvious choice. Catalina Island has more of a Mediterranean vibe than Baltic Sea, but it’s colorful and leans slightly European, making it another good option. After photographing with each of the three Recipes at those two locations, the winner was obvious to me. That Recipe will be unveiled in Copenhagen in a little less than a month, and published on Fuji X Weekly a short time later. Second place was Avalon Ace, which is currently available in the Fuji X Weekly App. This Recipe, called Vivid Chrome, came in last; however, it’s very nice, and I’m sure many of you will appreciate it. Even though it didn’t win, it’s still a winner.
Vivid Chrome is probably most reminiscent of Fujichrome Velvia 100, but it’s not intended to be a replication of that or any other specific film. The idea was more to produce good results for colorful scenes. This Recipe produces punchy, vibrant colors; however, it’s also slightly restrained, and avoids being too over-the-top. This is a great option for landscape photography, and also for travel if you’ll be someplace colorful. This Recipe works best in sunny daylight, and can be ok for nighttime photography in the right lighting situations.
The Vivid Chrome Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with “newer” fourth-generation models: X-T4, X-S10, X-E4, and X-T30 II. Additionally, it works well on the latest GFX cameras, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Velvia Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -2 Blue Dynamic Range: DR400 Highlight: -1 Shadow: -0.5 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Vivid Chrome Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:
Green Pleasure Pier & Boats in the Bay – Avalon, CA – Fujifilm GFX100RF
Shoreboat – Avalon, CA – Fujifilm X-E5
Nautical Preparations – Catalina, CA – Fujifilm X-E5
Docked Boats in Avalon Bay – Avalon, CA – Fujifilm X-E5
Green Rope on a Dock – Avalon, CA – Fujifilm X-E5
Yellow Rope in the Water – Avalon, CA – Fujifilm GFX100RF
Ready for a Ride – Avalon, CA – Fujifilm GFX100S II
Avalon Morning – Avalon, CA – Fujifilm GFX100S II
Hotel St. Lauren – Avalon, CA – Fujifilm GFX100RF
Atwater Hotel at Dusk – Avalon, CA – Fujifilm GFX100RF
Christmas Window – Solvang, CA – Fujifilm X-E5
Patina Rooftop – Solvang, CA – Fujifilm X-E5
Office – Solvang, CA – Fujifilm GFX100S II
Windmill Morning – Solvang, CA – Fujifilm GFX100S II
Hamlet Square Ice Cream – Solvang, CA – Fujifilm GFX100RF
Golden Light on Windmill – Solvang, CA – Fujifilm GFX100RF
Last Light on Solvang – Solvang, CA – Fujifilm GFX100S II
Windmill Closeup – Solvang, CA – Fujifilm X-E5
Danish Design – Solvang, CA – Fujifilm X-E5
Hotel – Solvang, CA – Fujifilm GFX100S II
Green Apex – Solvang, CA – Fujifilm GFX100S II
Pinnacle – Solvang, CA – Fujifilm GFX100S II
Flower Bed – Solvang, CA – Fujifilm GFX100RF
Field of Flowers – Buellton, CA – Fujifilm GFX100RF
Flower Field – Buellton, CA – Fujifilm X-E5
Prickly Cactus – Apache Junction, AZ – Fujifilm X-E5
Superstition Mountains – Apache Junction, AZ – Fujifilm X-E5
Western Desert Girl – Apache Junction, AZ – Fujifilm X-E5
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Avalon Bay – Avalon, CA – Fujifilm GFX100RF – Avalon Ace
There was a social media post today from an account that’s not mine, that purported to be my advice for better landscape photography. It included five tips, but I never said those things, and some of them were quite antithetical to what I believe, pretty much the opposite of what I would say. I would not have given much of the advice that the post claimed came from me. When I brought it to the attention of the account holder, they were very apologetic, and rectified the situation. Most of you probably never saw it, but a few of you might have.
But that made me think: what advice would I give? What are my five tips for better landscape photography? I contemplated that question this afternoon, and the answer might surprise some of you. At least a couple of the suggestions below are probably a bit unorthodox, and not the normal advice that you’re likely to find on the internet. Let’s dive right in!
1. Carefully Choose Your Fujifilm Recipes
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
Not every Fujifilm Recipe is ideal for every subject or situation. Just like film, you should carefully consider which one(s) are best for your specific subject, light situation, and desired aesthetic. For vivid landscapes, a Velvia-based Recipe is probably what you want; however, other Film Simulations can be good, too, infusing a different feel or emotion into the image. The new Filter By Categories feature is a helpful tool if you are unsure which Recipes are especially well suited for landscape photography. Using Recipes on your Fujifilm camera will save you time, allowing you to be more productive and efficient.
Great photographs often require great light, and great light is most obvious and prevalent during Golden Hour, which is the first hour after sunrise and the last hour prior to sunset. If you look hard enough, you can find great light anytime of the day or night, or you can even add it yourself with a flash or other lighting equipment. Pay close attention to light, and recognize when it is especially good for photography. With that said, the easiest way to improve your pictures is to be out with your camera during Golden Hour.
There are a lot of “rules” in photography. A lot of people will tell you what you should or must do. You need specific cameras. You need to use certain settings. You need a particular lens. You should compose your pictures this way or that way. You should only do this and never do that. The rules are there to ensure consistently good photos; however, great photos sometimes happen when you break the rules. Carefully following the rules might prevent you from creating better images. Do photography however you want to do it, and ignore all of the gatekeepers.
Depending on where you live, there might be plentiful photographic opportunities close by, or you may need to travel someplace a good distance away. Beautiful photos are much more easy to create in beautiful locations. So, my advice is to spend less on new gear and more on going to interesting places with the cameras and lenses you already own. Invest more in experiences rather than gear.
In the September 1955 issue of Arizona Highways magazine, photographer Chuck Abbott addressed the question: how does one become a better photographer? His answer was to return to the same subject or location over and over again. Try it on a different day, at a different time, in a different season, and in a different light. Come back to it again and again, even after you create a photo that you’re satisfied with. As Chuck stated, you’ve got to go back to get the good ones.
Dark Cloud Over The Dark Mountain – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push-Process
Some people like grainy photos, and some people don’t. Back in the film days, there were photographers who chose their film based on the grain. Kodachrome 25 was a one of the finest-grained color films, and some liked it for the near lack of grain. Kodak Tri-X 400 had a strong grain structure, and some preferred the character of it over options with finer grain. Personally, I like grain in my photos, because it adds texture and feels more organic. Digital photography can be super clean, essentially “grain-free” (noise free, really), but to me that’s a bit clinical or sterile. With your Fujifilm camera, you can choose to keep the ISO low and Grain set to Off for a clean image, or you can bump up the ISO and select Strong/Large Grain for texture and character, or anything in-between. There’s no right or wrong approach, only what each photographer wants for their pictures.
For those who desire a lot of grain and not just a little, below are 10 Fujifilm Recipes that will produce grainy pictures. These aren’t the only ones (this is not an exhaustive list by any means), just some that I think you might like. For more, use the Filter By Categories feature in the Fuji X Weekly App, and select Grain. If grainy photos are something you’re after, take a look at these Recipes.
Pickup Truck Taillight – Litchfield Park, AZ – Fujifilm X-T5 – Ilford HP5 Plus 400 Push-Process
The Ilford HP5 Plus 400 Push-Process Recipe is super grainy not only because Grain is set to Strong, but also because it requires ISO 25600 or 51200. It’s a combination of the Grain setting, the built-in Grain that the Acros Film Simulation has (which increases as the ISO increases), and the digital noise from the ultra-high ISO that makes it especially grainy, the most of any Recipe. It’s not the easiest to use in sunny daylight (an ND filter helps), but it produces a lot of texture, if that’s something you want. Besides, it can come in handy in low-light situations. This Recipe is specifically for the X-T3 and X-T30; to make it compatible with newer cameras, set Grain size to Large, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0.
Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
The Kodak T-Max P3200 Recipe was a collaborative effort between Anders Lindborg and the lateJohn Sevigny. This is one of the best black-and-white Recipes, producing dramatic and grainy images. For more grain, use ISO 3200 and higher. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400
My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. This Recipe requires a minimum ISO of 1600, and the higher you go the grainier it gets. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article.
Classic B&W is a newer monochromatic Recipe that I really like. For grainer photos, increase the ISO (all the way to 12800 if you’d like). It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4 – GAF 500
Mimicking the aesthetic of the highest ISO color slide film of the ’60’s and ’70’s, the GAF 500 Recipe requires using an ultra-high ISO: 12800! This Recipe is compatible with fourth-generation X-series cameras; for fifth-generation, simply reduce Color Chrome FX Blue to Weak (instead of Strong). You can use it on newer GFX cameras, too.
Protect our Wildlife – San Simeon, CA – Fujifilm X100V – Urban Dreams
Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25 due to its pronounced grain. This Recipe is not an exact match for that film, but not terribly far off, either. It’s for fourth-generation models; while it can be used on fifth-generation cameras, the results will be just slightly different.
Fujicolor Natura 1600 is a Recipe that mimics one of the highest ISO color films. I really like this one, personally. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer
One of my personal favorite Recipes is 1970’s Summer. It seems to either work really well or only ok, but when it works really well it is absolutely fantastic! It’s compatible with fifth-generation cameras and the latest GFX models.
Church – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues
Last but certainly not least is Pacific Blues, another personal favorite Recipe. While intended for a sunny day at the beach, this one delivers dramatic photos in a variety of situations. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.
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Pal2Tech posted a video entitled Fujifilm Settings That Work Against You, and one of the settings he mentioned is Clarity. Specifically, he notes that Clarity set to anything other than 0 causes a short “Storing” pause. His recommendation is to keep it at 0 so as to avoid the delay. When Fujifilm debuted Clarity on the X-Pro3, their official recommendation was (likewise) to keep Clarity at 0, and if you really want Clarity, add it after-the-fact by reprocessing the RAW file in-camera or with X RAW Studio.
My take is a lot different than Pal2Tech and Fujifilm. While I would like Fujifilm to address and improve the Clarity pause on future models, things that slow me down help me to better anticipate the decisive moment and be better prepared for when it comes. In other words, if I slow down a little, I’m a better photographer, and I create stronger images. The Clarity pause, which is about the same amount of time as advancing to the next frame on a film camera, forces me slow down. It doesn’t have to be viewed negatively. Still, Fujifilm should work on shortening or eliminating it, because sometimes you do need to be quick. In the meantime, switching the camera to either CL or CH burst modes disables Clarity (sets it to 0), and when you do need speed, that’s an easy way to get it; switch back to S when it’s time to slow back down.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues (-3 Clarity)
I published an article six years ago explaining Clarity, but I think a lot of people don’t know what it is, and why you might want to use it. Most of my Recipes have Clarity set to either a positive or negative value, and only a small number have it off (set to 0). I thought I would briefly go over it again, for those who are unaware. So let’s dive into what Clarity is and why you should use it in your photography.
Clarity is a micro-contrast adjustment that concentrates on the mid-tones. It affects highlights and shadows, but it primarily affects the various zones in-between, with only small changes to highlights and shadows. Increasing this micro-contrast (positive Clarity value) makes the image appear more crisp; decreasing this micro-contrast (negative Clarity value) makes an image appear more soft. Most simply, it either increases or decreases the contrast; however, it’s very sophisticated, changing how neighboring tones separate from one another within the photo rather than the global tonal map, which is largely—but not completely—untouched. Let’s take a look at some examples:
Clarity +5
Clarity +2
Clarity 0
Clarity -2
Clarity -5
I’m sure you were able to spot the differences in the above images, especially +5 Clarity compared to -5 Clarity. You might think of positive Clarity as similar to a dehaze tool in software. Or you could consider it like using a lens with strong micro-contrast, such as Leica Summicrons. I’m reminded of sharp slide films like Kodachrome 25. Whichever way you want to think of it, the important thing to know is that using a plus-Clarity setting will produce more definition, providing a “pop” or crispness to your pictures.
You might think of minus Clarity as similar to a diffusion filter (like CineBloom or Pro Mist). It’s also along the lines of using a vintage lens. Some might describe it as taking the digital edge off your pictures. However you want to think of it, the important thing to know is that using a minus-Clarity setting will produce less definition, providing a softer picture aesthetic. A 5% CineBloom or 1/8 Pro Mist diffusion filter is roughly similar to -1 or -2 Clarity, a 10% CineBloom or 1/4 Pro Mist is roughly similar to -3 or -4 Clarity, and a 20% CineBloom or 1/2 Pro Mist is roughly similar to -5 Clarity. It is certainly ok to use a diffusion filter in lieu of minus Clarity, or even in conjunction with it for a more pronounced effect.
Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400 (+4 Clarity)
There are times when adding Clarity is most appropriate. There are times when reducing Clarity is most appropriate. It all depends on the feeling you want: hard or soft, gritty or dreamy, punchy or smooth. And, of course, Clarity set to 0 is right in the middle. There’s no right or wrong answer, but Clarity does have a notable effect on the image, so it does matter what you choose. The majority of Fuji X Weekly Recipes use minus Clarity, to add a little retro analog softness. There are some that use plus Clarity, either to replicate sharp slide film or gritty black-and-white. A smaller number use Clarity set to 0, which some prefer because there is no processing delay.
I’m not sure exactly what causes Clarity to take so long to process. Fujifilm has kept it all quite secret. Obviously it takes a lot of processing power, and is (by far) the most taxing of all the JPEG options. It’s clearly a complex application, whatever the camera is doing. Anything that Fujifilm can do to speed it up will be seen as positive, so I hope that is something they’re addressing for the next generation of X and GFX cameras. Clarity is one of my favorite JPEG tools; however, the Storing pause catches a lot of people by surprise. You can do what Pal2Tech and Fujifilm recommend (set it to 0), or you can accept it and use it to slow yourself down, which is what I do. There’s no right or wrong approach, only what works best for you and your photography.
I just moved into a new house. My office is full of unopened boxes with vague labels like Office and Books. I did manage to get the computer unpacked last night, so hopefully I can keep up with Fuji X Weekly while also unpacking the office and the rest of the house, too. Thankfully we’re still in the same neighborhood, so the kids aren’t losing any of their friends. I want to apologize for any delays responding to your comments and emails—I’ll do my best to catch up on everything over the coming week or so.
Did you know that the Fujifilm X half isn’t the first to feature a tall-oriented sensor? I didn’t. I researched it when the camera was released, and didn’t find anything. Still, I’m glad that I typed the phrase “as far as I know” when stating that the X half was the first with a vertical sensor, because there’s one that predates it: Sony C200X, a digicam from 2003. Never heard of the C200X? That’s because it was specifically intended for passport and ID photos, and not sold to the general public. It’s a surprisingly massive camera for only having a 1/1.8″ 4mp sensor. It also has a 36-95mm (full-frame equivalent) f/2.8-4.8 zoom lens. Anyway, if you are looking for something to do this weekend, check out a video about the Sony C200X on the snappiness YouTube channel.
Tom’s Famous X-Pro3– Avondale, AZ – Fujifilm X-E5 & Fujinon 23mm f/2.8 – 1-Hour Photo
PetaPixel published These Are the Worst Designed Cameras We’ve Ever Used, and I was surprised to see that the Fujifilm X-Pro3 made the list. Essentially, Chris and Jordon are not big fans of the hybrid OVF/EVF, they think the X-Pro series is too big and bulky, and in particular they don’t like the backwards-mounted rear LCD, which is prone to break due to a faulty cable. I agree that the cable itself was a poor design choice (something more robust was needed), and the rear screen is unusual and thus polarizing (some love it, some hate it). But the X-Pro3 is beloved by a lot of photographers. I know several who use it daily and you couldn’t pry it out of their hands. The X-Pro series, which includes the X-Pro3, is one of the most beautiful series in all of digital photography—it’s iconic. By including the X-Pro3, I have to wonder about their other selections. Perhaps none of them “stink” (as they put it). Maybe they’re all great cameras with a quirk that some people love and some just don’t get. That’s ok, because no camera is perfect, and we’re all different anyway.
My two photowalks next month in Copenhagen are already sold out, but you can still attend the Fujikina event on May 9th and 10th. I’ll be hanging around both days, and even doing a short talk on Film Simulations and Fujifilm Recipes in Studio 4 at 11:30 AM on May 9th and 11:00 AM on May 10th. Stop by and say hi! I would love to meet you and chat cameras, Recipes, or whatever you’d like. Also, Fujifilm just announced Fujikina Warsaw on June 12th and 13th. I won’t be able to make that one, but if you live in or near Poland, I’m certain that it will be well worthwhile to attend.
That’s all I have for now. Because of the move, it might take me a little while to catch up, but hopefully by the end of next week things will be back to normal. I appreciate your patience. I hope you all have an excellent Easter weekend!
Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64
I get asked fairly regularly which Fujifilm Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 26 most-viewed Recipes on the Fuji X Weekly website through the first three months of 2026.
For awhile I was doing these “25 Most Popular Recipes” type articles monthly, but the month-to-month movement is often predictable. A longer gap is more revealing. So let’s try quarterly in 2026, and see how that goes. And just for fun, I included a bonus 26th Recipe, because it’s 2026. If you’d like, you can compare these results to the 25 Most Popular Recipes of 2025.
Misty Saguaro– Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
While the order changed a little, it’s almost entirely the same group. The usual suspects made the list. The top few results remained in their same positions, but those a little lower moved around. As usual, those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are typically the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that Film Simulation. Classic Negative, Reala Ace, Acros, Eterna, and Nostalgic Neg. are neck-in-neck for the second, third, fourth, fifth, and sixth positions.
Without any further delay, below are the most popular Fujifilm Recipes of 2026 through the first quarter!
Top 26 Most Popular Film Simulation Recipes of 2026 So Far
Reggie’s Portra, which uses Classic Chrome, is the number one top Film Simulation Recipe on Fuji X Weekly. Reggie Ballesteros created it in 2022 by modifying my Kodak Portra 400 Recipe to better suit his style and needs. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. Reggie’s Portra is compatible with X-Trans IV and X-Trans V cameras. Also, take a look at his latest Recipe: Reggie’s Superia.
A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time most popular Film Simulation Recipe for Fujifilm cameras on this website. It’s a lot of people’s favorite.
This is the X-Trans V version of Kodak Gold 200; the X-Trans III/IV version is found later in the list. The Kodak Gold 200 Recipes uses the Classic Chrome Film Simulation.
The Kodak Tri-X 400 Recipe, created by Anders Lindborg, is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. This is one of my absolute top-favorite Recipes.
This is the X-Trans V version of Kodak Portra 400 v2; the X-Trans IV version is found below. This is another of my personal favorites. It uses Classic Chrome.
It’s probably unfair to include this Recipe in the list because it’s not one, but 14 Recipes. It’s intended to be used with the Film Dial, or with any X-Trans V camera by mapping Film Simulation to a customizable button. I have no way of knowing which of the 14 are the most used.
Pacific Blues is currently the most popular Classic Negative Recipe. This particular version is compatible with X-Trans IV models, but there’s also an X-Trans V version just below. This is another of my personal favorite Recipes.
This is currently the highest-ranked Recipe that uses the Nostalgic Neg. Film Simulation (not including Universal Negative). It’s compatible with X-Trans V cameras.
This version of Kodak Portra 400, which uses Classic Chrome and is compatible with X-Trans IV cameras (although it can be used on X-Trans V), was once commonly the third most popular Film Simulation Recipe on Fuji X Weekly. While it doesn’t rank nearly as high as it once did, it’s still quite popular.
The Film Dial Recipe, which is for X-Trans V cameras with a Film Dial, is another one that’s a bit unfair to include since it is actually 14 Recipes. I have no idea which of them are the most used. This is another personal favorite.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly (it was the fifth one published), and is compatible with X-Trans III cameras. This might be the most pivotal Recipe.
This Recipe, created by Anders Lindborg and the late John Sevigny, is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It’s another Recipe that uses the Classic Chrome film simulation.
