Omar Gonzalez posted a hilarious YouTube video called Do You Suffer from Fujifilm Sim Depression?, which is a parody of pharmaceutical commercials, except that it’s about Fujifilm film simulations and not prescription drugs. It’s incredibly well done and funny! I don’t want to spoil it if you haven’t watched it, but the conclusion is that Omar likes the Provia film simulation. So watch the video if you haven’t yet seen it, and if you are suffering from “Fujifilm Sim Depression” let me offer you are this cure: the PROvia Film Simulation Recipe. Perhaps Omar someday will see it and try it; if so, I hope he likes it!
Provia is one of the film simulations that I personally like least… well above Sepia, but towards the bottom of the list nonetheless. Ouch. As it turns out, I was never meant to like it, yet it is the “Standard” film simulation on all Fujifilm cameras. This PROvia Recipe is my take on a “better” Provia, and is intended to not only look good, but also be versatile so that it could be one’s go-to Film Simulation Recipe (that’s why “PRO” is capitalized in the name). It is compatible with all X-Trans II cameras; those with X-Trans I and Bayer models can use it, too, but it will render slightly different on those models (try it anyway!).
Car Care – Tucson, AZ – Fujifilm X70 – PROvia Recipe
This PROvia Film Simulation Recipe is a Fuji X Weekly App Patron Early-Access recipe, which means if you are an App Patron, you have access to it right now. The Fuji X Weekly App is free, yet becoming a Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Patron Early-Access Recipes will eventually become available free to everyone in time, including this new one. Patrons help support Fuji X Weekly and, really, without them there would be no App, so I want to give a special “thank you” to all of the Patrons!
If you are a Fuji X Weekly App Patron, I invite you to give the PROvia Film Simulation Recipe a try today! Don’t have the Fuji X Weekly App? Download it for free today! Consider becoming a Patron subscriber to unlock the best App experience, to gain Early-Access to this Recipe, and to support Fuji X Weekly.
Example photographs, all camera-made JPEGs using this PROvia Film Simulation Recipe on my Fujifilm X70:
Sabino Creek – Summerhaven, AZ – Fujifilm X70
Saguaro Behind Palms – Tucson, AZ – Fujifilm X70
Palm Branches – Tucson, AZ – Fujifilm X70
Green Ocotillo – Tucson, AZ – Fujifilm X70
Gunfight Site – Tombstone, AZ – Fujifilm X70
Reach for the Sky – Tombstone, AZ – Fujifilm X70
Bird Cage Theatre – Tombstone, AZ – Fujifilm X70
One Way Alley – Bisbee, AZ – Fujifilm X70
Cloudy Saguaro – Tucson, AZ – Fujifilm X70
Prickly Pear Pads – Tucson, AZ – Fujifilm X70
Sunlight Through the Forest – Summerhaven, AZ – Fujifilm X70
Empty Baseball Field – Buckeye, AZ – Fujifilm X-T1 – Provia Negative Recipe
Unlike most Film Simulation Recipes, I didn’t model this one after any film or process. My first thought was this: how can I make a Recipe that’s helpful. Let me back this up a minute. Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change Recipes. For X-Trans II, there are recipes that use Auto, Daylight (which Fujifilm calls “Fine” for some reason), Kelvin, and Shade, so I thought it would be helpful to create a recipe that calls for a different white balance type that I haven’t yet used.
After some playing around, I created a Film Simulation Recipe that I was quite happy with. It reminds me a little of Fujichrome Provia 100F slide film, but less vibrant, and a tad less contrasty, too, but still kind of similar; however, I think the tonality is more similar to negative film than reversal film. That’s why I call this recipe Provia Negative. This recipe has a slight cool color cast, with white leaning towards blue. I was able to get good results in several different light situations—including indoors, overcast, and shade—but it is especially well suited for sunny daylight.
Indoor Tree – Buckeye, AZ – Fujifilm X-T1 – Provia Negative Recipe
This Provia Negative Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, so subscribers to the App have been able to use it since July; however, a new Early-Access Recipe has replaced it, so it is now available to everyone. Because it uses the Classic Chrome film simulation, it is only compatible with X-Trans II camera with Classic Chrome, which are the Fujifilm X100T, X-E2, X-E2S, X-T1, X-T10, X30, XQ2, and X70.
Classic Chrome Dynamic Range: DR400 Highlight: -2 (Soft) Shadow: +2 (Hard) Color: +2 (High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Fluorescent 3, -2 Red & -2 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Provia Negative Film Simulation Recipe on my Fujifilm X-T1 and Fujifilm X70 cameras:
Fake Leaf by Real Window – Tucson, AZ – Fujifilm X70
Cienega Creek Bridge – Vail, AZ – Fujifilm X70
Sharp Agave – Tucson, AZ – Fujifilm X70
Two Magenta Flowers – Buckeye, AZ – Fujifilm X-T1
One Bloom Remains – Buckeye, AZ – Fujifilm X-T1
Pink & Green – Buckeye, AZ – Fujifilm X-T1
Pop of Warmth – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom 2 – Buckeye, AZ – Fujifilm X-T1
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-T1
Backlit Flowers & Leaves – Buckeye, AZ – Fujifilm X-T1
Basketball in the Grass – Buckeye, AZ – Fujifilm X-T1
Go Supply – Goodyear, AZ – Fujifilm X-T1
Hobby Lobby – Avondale, AZ – Fujifilm X-T1
1:40 Diner – Benson, AZ – Fujifilm X70
Square on Block Wall – Buckeye, AZ – Fujifilm X-T1
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First, before we get into this article, I’ve got to apologize to you all. You see, I went out of town, and I didn’t answer any comments or emails while gone. I just didn’t have time. Sorry. Last night I returned back home, so I’ll try to catch up on all of that over the next several days. It might take a few days to get to them all—I just ask for a little patience. Thank you! Now to the article….
The first episode of the third season of SOOC Live aired on March 2nd. This year Nathalie Boucry and I are doing things a little different, and one of the changes is that we’re discussing themes instead of a singular Film Simulation Recipe. The very first theme is Street Photography. If you missed Episode 1 when it was live, you can watch it below. Don’t worry, the shows this year aren’t two or three hours long like they often were in the first two seasons, so it won’t require quite the time commitment that they used to. Definitely check it out if you haven’t seen it yet!
The Film Simulation Recipes that we suggested for street photography are Kodachrome 64, Classic Kodak, Serr’s 500T, and Agfa Scala. We think that these four Recipes are excellent options for this genre of photography, and if you have an X-Trans III or newer model, there’s one that you can use. We are inviting you—challenging you, in fact—to shoot with one, two, three, or even all four of them this month. For those wanting an extra challenge, we have two: 1) use reflections and/or silhouettes in your pictures and 2) use a 1/15 shutter speed. These extra challenges are completely optional, but I am excited to see what you do with them. Upload your images by March 28: up to three of your favorite street photography photographs captured with one (or more) of the four Film Simulation Recipes that we suggested you try (click here to upload)—please include the Recipe(s) you used in the file name so that we know. The uploaded pictures will be included in the Viewer’s Images slideshow video and have a chance to be featured in the next live broadcast; those who upload are automatically entered into a Fuji X Weekly App Patron 12-month subscription giveaway. I can’t wait to see your pictures!
The next show will be live on March 30th at 10 AM Pacific Time, 1 PM Eastern. SOOC Live is now twice per month: the first Thursday and the fourth Thursday. The first broadcast is where we introduce the theme-of-the-month and challenge you to photograph using the suggested Film Simulation Recipes, and the second show is where we discuss lessons learned and show your pictures. I hope that you can join us on March 30th! I’ve included the scheduled video below so that you can set a reminder.
Here are a few of my street photography images captured with a Fujifilm X100V using the four Film Simulation Recipes we’re all shooting with this month:
I posted a comical Reel on my Instagram account about the much maligned Fujifilm Cam Remote App, and it clearly struck a nerve. Between all of the social media accounts where I posted the short video, I had over 3,000 reactions (hearts, thumbs up, etc., etc.) and about 350 comments, which is a lot more than usual. Most of the comments were in agreement: the Cam Remote App is frustrating, and doesn’t seem to work well. By far, the biggest issue is getting the camera to even connect to the app. It often takes several tries before it will work, if it does at all. There have been times that, despite my best efforts, I just couldn’t get it to work, and I gave up trying to connect the camera to the app.
It’s really unfortunate that I cannot get the app to work sometimes—and when I can it is often a frustrating experience—because it is an important part of my workflow. I shoot with Film Simulation Recipes, then transfer the JPEGs off my camera and to my phone using the Cam Remote app, straighten and/or crop if necessary, and then upload to cloud storage. 99% of the time that is the full extent of my photographic workflow. When I can’t get the app to work, it’s a significant issue for me.
I haven’t always had trouble with Fujifilm’s Cam Remote app. Years ago I would receive reports from people stating that the app sucks, but I didn’t share those experiences; however, the problems began to show up after I purchased my Fujifilm X-T30. Then it got worse and worse. What changed? I think two things: Bluetooth and multiple bodies. In my experience, the Bluetooth feature is sometimes the cause of the hangup. Also, the app didn’t seem to like when I connected to one camera and then tried to connect to another camera right afterwards. So using the app for multiple cameras, and especially if one or more of those cameras have Bluetooth, is where it went wrong for me. It could be other problems, too, that I’m just not aware of.
While most of the comments to my Reel were in agreement, there were some who reported a different experience. A small number seem to have no issues with the app at all. It could be that they are using only one camera (and not multiple) and/or they don’t have Bluetooth models, but that’s just a guess. A few of the comments and messages that I received suggested that it was user error. Someone even told me the reason why I was having trouble is because I’m technologically inept and perhaps even stupid. People can be mean sometimes. Thankfully, some other people shared that they figured out a solution, and now the Cam Remote app works just fine for them.
There were a number of ideas put forth to resolve the issue. I spent a couple of hours putting these different potential solutions to the test. What I discovered through this process is a method that (so far) seems to work every time. You have to jump through some hoops that shouldn’t be necessary. Oh, and this method is for iPhones only. I assume there must be a similar method for Android, but I’m an iPhone user and not Android, so I cannot help much with that. So if you have an iPhone, I invite you to try this solution and see if it fixes the problem for you. Hopefully you’ll find that you can now consistently connect to Fujifilm’s Cam Remote app without issue.
Step 1: Open the Fujifilm Cam Remote App and select the camera you are going to connect with. Then swipe out of the app (exit out completely).
Step 2: Turn on WiFi on your Fujifilm camera.
Step 3: Open the Settings app and select Bluetooth. Tap the green slider to turn Bluetooth Off (disable). If Bluetooth works consistently for you or if your Fujifilm camera doesn’t have Bluetooth, skip this step. For me, Bluetooth is sometimes a hangup, so disabling it allows the app to work more consistently (albeit more slowly).
Step 4: Select Wi-Fi in the Settings App.
Step 5: Find the camera’s WiFi (in the Settings app—might be found under “My Networks” or “Other Networks”). Tap the “i” with a circle around it. Toggle Off (disable) “Private Wi-Fi Address” (if it is enabled).
Step 6: Turn Wi-Fi Off on your phone (tap the green slider) then immediately turn it back On. Select your camera’s WiFi before the phone auto-connects to another network. Wait a moment to make sure that the phone is connected to the camera.
Step 7: Relaunch the Cam Remote app. It should open to the camera you are trying to connect to (because of Step 1), but if it didn’t, select your camera from your list. The app might automatically connect to the camera (it sometimes does for me, although I don’t know why), but if it doesn’t (which is what should happen most of the time), tap “Import images selected on app” and it should connect. Boom, done!
Since following these seven steps, I have been able to connect with all of my Fujifilm cameras consistently each time on the first try. I tried it over and over and over just to be sure. Yes, it’s a hassle, and more steps than should be necessary, but it works, and eventually it becomes easier and more natural (second nature). If you have had problems with Fujifilm’s Cam Remote app on your iPhone, this should solve the issue for you.
I want to thank everyone who shared their experiences with the Cam Remote app with me, and especially for those who shared their solutions. It was a big help. Thank you! Supposedly Fujifilm has been working on a new app for awhile. With any luck that app will be ready soon and will work much better. I have no inside information on that, it’s just been rumored for awhile, so hopefully it is true.
Garden Spiderweb – Buckeye, AZ – Fujifilm X-E4 – GAF 500 Recipe – ISO 12800
I remember when ISO 400 used to be consider high ISO. In fact, the “H” in Fujicolor Pro 400H means high ISO. When I shot film, I usually didn’t go higher than ISO 400, although on a rare occasion I did go wild and use an ISO 800, 1600, or (gasp!) 3200 emulsion (those were ultra-high-ISOs back then), when the expected light was dim and a tripod wasn’t practical. When I started shooting digital almost 15 years ago, I remember that ISO 1600 on my first DSLR was barely usable in a pinch, and it was best to stay at or below ISO 800. Nowadays those limitations are long gone.
Thanks to the X-Trans color array, Fujifilm is better able to differentiate color noise from color information (than with a Bayer array), allowing more control over how noise is rendered. Because of this, the APS-C sensor on Fujifilm X cameras does pretty darn well at high-ISO photography. Yes, it can get noisy, but the noise is more organic-looking and less color-splotchy (perhaps even a little film-grain-like) than non-X-Trans cameras typically produce.
Still, a lot of photographers are hesitant to try high-ISO photography. I’ve had someone tell me that they never go beyond ISO 800 on their Fujifilm cameras. Someone else said that they don’t use Film Simulation Recipes with DR400 because it requires an ISO that they’re not comfortable using. Everyone has their own preferred upper ISO limit—mine might be higher than yours, and that’s ok. What I’d like to do, though, is encourage you to step outside of your comfort zone, and try some ISOs that you would not normally—or perhaps ever—use.
You might want to use ultra-high-ISOs—which I consider to be ISO 12800 and higher, but your definition might be different—in dim light situations, such as at night or in a poorly lit room. That’s probably the most common reason. I will sometimes use really high ISOs in daylight when it’s not even necessary just for the aesthetic of it. Crazy, right?! I think sometimes digital can appear too clean, and an ultra-high-ISO can give the picture a grittier look, more similar to some film emulsions.
Of course, using ultra-high-ISOs in daylight can be problematic because the light is strong. My Fujifilm X100V has a built-in ND filter, which makes it more practical. Otherwise, screwing an ND filter onto the end of the lens will help. If you don’t have one, be sure to use your camera’s electronic shutter (instead of the mechanical one) because it is capable of faster shutter speeds. You might also have to use small apertures like f/11 or f/16 to reduce the light entering the camera.
If you want to give it a try, below are seven Film Simulation Recipes that use ultra-high-ISOs. Many of them go “up to” an ultra-high-ISO, so in that case you’d want to purposefully choose a high ISO instead of a low one. Give one or more of these Recipes a try today! Leave a comment to let me know which one (or ones) you like. My personal top favorites are GAF 500 for color and Kodak Tri-X 400 for B&W.
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Fading Flowers in the Desert – Buckeye, AZ – Fujifilm X-E4 & 27mm – “Superia Summer”
I almost always have several experimental Film Simulation Recipes programmed into each of my Fujifilm cameras. Sometimes these developmental settings become Recipes and sometimes they don’t (more don’t than do). Occasionally I forget the story behind an experimental Recipe—why the settings are the way they are, and what I was intending to mimic. It might have been a film photograph I saw, or a film stock someone requested I copy, or a certain photographer’s aesthetic—whatever it was, I just don’t remember. That’s the case with this Recipe: it was programmed into C5 on my Fujifilm X-E4 with the custom name “Exp 9/21” and no further details. I suppose I initially created it back on September 21, but I don’t remember why. The story of it is a complete mystery to me.
Just recently I noticed this Recipe in my camera, and—not remembering what it was—I decided to shoot with it. And I was blown away. The results were stunning! Why didn’t I use it back in September? I don’t know. What I do know is that it produces beautiful analog-like pictures. It reminds me of Fujicolor Superia—maybe 200 or 400—overexposed by about a stop, and shot with a warming filter (such as an 81a or 81b) or maybe with a Takumar lens that has turned yellow due to the thorium coating—perhaps printed on Kodak paper, too, instead of Fujifilm Crystal Archive. It has a strong warm cast, but still retains that distinct Superia palette, so I’m calling it Superia Summer. I cannot overstate just how much I like it!
2nd Story Windows – Buckeye, AZ – Fujifilm X-E4 & 90mm – “Superia Summer”
This Superia Summer Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. Because Blue is rendered more deeply on X-Trans V cameras, set Color Chrome FX Blue to Off in order to use it on the X-T5, X-H2, or X-H2s (or any other X-Trans V camera that is released after this writing). For the X100V and X-Pro3, I recommend using the Fujicolor 100 Gold Recipe or Superia Xtra 400 Recipe instead, which produce similar results, or simply set Highlight to -1 and Shadow to 0. For best results, use the Superia Summer Film Simulation Recipe in sunny daytime light; it does alright in cloudy conditions, too, as long as it’s not thick overcast.
Classic Negative Dynamic Range: DR400 Highlight: -1.5 Shadow: -0.5 Color: +1 Noise Reduction: -4 Sharpness: -1 Clarity: -4 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome Effect Blue: Weak White Balance: 5300K, +3 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Superia Summer” Film Simulation Recipe on my Fujifilm X-E4:
Desert Creek – Buckeye, AZ – Fujifilm X-E4 & 27mm
Wildflower Creek – Buckeye, AZ – Fujifilm X-E4 & 27mm
Riverbed – Buckeye, AZ – Fujifilm X-E4 & 27mm
Rocks in the Water – Buckeye, AZ – Fujifilm X-E4 & 27mm
Desert Stump – Buckeye, AZ – Fujifilm X-E4 & 27mm
Hiding Stump – Buckeye, AZ – Fujifilm X-E4 & 90mm
Water & Stone – Buckeye, AZ – Fujifilm X-E4 & 27mm
Young Giant – Buckeye, AZ – Fujifilm X-E4 & 27mm
Cholla in the Flower Field – Buckeye, AZ – Fujifilm X-E4 & 90mm
Red-Tipped Cacti – Buckeye, AZ – Fujifilm X-E4 & 27mm
Saguaro Wren – Buckeye, AZ – Fujifilm X-E4 & 90mm
Saguaro Sky – Buckeye, AZ – Fujifilm X-E4 & 27mm
Palm Tree Three – Buckeye, AZ – Fujifilm X-E4 & 27mm
Roof Vent – Buckeye, AZ – Fujifilm X-E4 & 90mm
Bougainvillea Villa – Buckeye, AZ – Fujifilm X-E4 & 90mm
Vibrant Red – Buckeye, AZ – Fujifilm X-E4 & 90mm
Morning Light – Buckeye, AZ – Fujifilm X-E4 & 90mm
Falling Door – Litchfield Park, AZ – Fujifilm X-E4 & 27mm
Abandoned Building Through Broken Window – Litchfield Park, AZ – Fujifilm X-E4 & 27mm
Blurry Building – Litchfield, Park, AZ – Fujifilm X-E4 & 27mm
Crack of Light – Buckeye, AZ – Fujifilm X-E4 & 27mm
Chairback Window – Buckeye, AZ – Fujifilm X-E4 & 90mm
Comparison:
Superia Summer Recipe
Fujicolor 100 Gold Recipe
Fujicolor Xtra 400 Recipe
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Recently I shared videos by Leigh and Raymond Photography, Andrew Goodcamera, and Mango Street that mention Fuji X Weekly and/or Film Simulation Recipes. That’s awesome! Those are pretty big names in the camera world. But if you look on YouTube, there are so many other photographers who are shooting with Recipes and making some wonderful content. They don’t (yet) have the large following of those well-established channels, but they deserve some love and recognition for what they are doing. That’s what this post is about. I want to share with you some of those videos that I found, which perhaps didn’t come up in your feed, but are worthwhile to watch.
Today is Wednesday, which is also sometimes called Hump Day because it is in the middle of the week. If today is a struggle and you are in need of inspiration and/or entertainment, this will surely help! Find a video or two (or more!) below that look interesting, and give it a watch. At the end, if you liked it, don’t forget to give it a thumbs up and consider subscribing to that person’s channel. Let them know that you appreciate their content!
I’m sure I missed several wonderful videos. If you published one recently that I didn’t include, or if you’ve seen one by someone else that should have been in this list, feel free to leave a link to it in the comments. The videos below are simply the ones that YouTube presented to me, and I appreciated them so I thought you might, too.
I shared with you yesterday that Mango Street posted a YouTube video entitled If Camera Brands Were People, where they (in all humor) suggested that Fujifilm photographers use Film Simulation Recipes to capture images of basketball hoops. Of course that’s true, at least to some extent, because I have photographed a few hoops over the years, and I imagine that some of you have, too. To be fully honest, I’ve been photographing basketball hoops long before I ever picked up my first Fujifilm camera. Also, I should disclose that basketball hoops are rarely in my pictures, only occasionally.
Despite my limited experience in this specific genre, just for fun and to expound on Mango Street’s comedy, I will suggest to you seven Film Simulation Recipes for photographing basketball hoops. These are certainly not the only Recipes that will work well for this, and they might not even be the best, but they are ones that I have personally used, so I am happy to recommend them to you. You’ll find the seven Recipes below.
This is, of course, my least serious article of this type. The other posts where I suggest Recipes for different scenarios are intended to be helpful, and not funny like this one. Even so, I do hope that at least one of these seven is worth your consideration the next time you encounter an interesting basketball hoop somewhere out in the wilds of suburbia. You might want to bookmark this page, just in case.
Find these Film Simulation Recipes and so many more in the Fuji X Weekly App! Download for free today; consider becoming an App Patron to unlock the best experience and support the work of this website.
Green Hills – Goodyear, AZ – Fujifilm X-T5 – Kodachrome 25 Recipe
This Film Simulation Recipe is intended to mimic Kodachrome 25 color transparency film, which was introduced in 1974, replacing the similar Kodachrome II emulsion. I was fortunate to shoot a few rolls of Kodachrome 25. It was a beautiful film, and probably the sharpest color film ever made, but its low ISO made it difficult to use. Kodachrome 64, which was still a low-ISO film, was significantly faster. The major differences between the two Kodachrome emulsions is that the ISO 25 version was sharper and less grainy, while the ISO 64 version was more contrasty, vibrant and a hair warmer. Both were very similar, though, and it would be hard to spot the differences without a close inspection. Some people preferred the slightly more subtle tones and finer detail of Kodachrome 25, and some preferred the faintly punchier pictures rendered on Kodachrome 64. Kodak discontinued Kodachrome in 2009.
No Lifeguard at 8 – Oceanside, CA – Fujifilm X-T5 – Kodachrome 25 Recipe
This Kodachrome 25 Film Simulation Recipe is intended for Fujifilm X-Trans V models, which (as of this writing) include the X-H2, X-H2S, and X-T5 cameras. It’s compatible with newer GFX models too, but will likely render slightly different on those cameras. Those with an X-T4, X-S10, X-E4, or X-T30 II, try the Kodachrome 25 Recipe for those models (click here).
Film Simulation: Classic Chrome Grain Effect: Off Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Daylight, +2 Red & -4 Blue Dynamic Range: DR400 Highlight: +0.5 Shadow: -0.5 Color: +1 Sharpness: +3 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 1600 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodachrome 25” Film Simulation Recipe on my Fujifilm X-T5:
Veteran – Gilbert, AZ – Fujifilm X-T5
Dormant Trees Reflected – Buckeye, AZ – Fujifilm X-T5
White Flowers Faux – Buckeye, AZ – Fujifilm X-T5
Sunrise Light – Buckeye, AZ – Fujifilm X-T5
Pink on a Grey Day – Oceanside, CA – Fujifilm X-T5
Backyard Joy – Buckeye, AZ – Fujifilm X-T5
Wet Haired Boy – Litchfield Park, AZ – Fujifilm X-T5
Raymond Photographing Flowers – Goodyear, AZ – Fujifilm X-T5
Cholla Arms – Goodyear, AZ – Fujifilm X-T5
Rock Ridge – Goodyear, AZ – Fujifilm X-T5
Flowers in the Dry Desert – Goodyear, AZ – Fujifilm X-T5
Remnants of a Tree – Goodyear, AZ – Fujifilm X-T5
Prickles – Goodyear, AZ – Fujifilm X-T5
Desert Cacti – Gilbert, AZ – Fujifilm X-T5
Tall Cactus – Goodyear, AZ – Fujifilm X-T5
***Note: When this Kodachrome 25 Film Simulation Recipe was first published, this article mistakenly listed Auto instead of Daylight for White Balance. In the Fuji X Weekly App it has always been correct.***
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If a movie was ever made about your life, who would play you? That’s a fun question that is sometimes used as an icebreaker. I’ve never really thought much about it myself. I’ve been told several times that I have a slight resemblance to Elvis Presley (although I don’t really see it personally), so maybe someone like Austin Butler? If it were up to me, I’d choose Gerardo Celasco, who is not only a good actor, but a super cool guy who shoots with Fujifilm cameras.
In a recent YouTube video by Mango Street entitled If Camera Brands Were People, the portrayal of Fujifilm reminds me a lot of me. It’s a little too accurate. It hits close to home. The video is a lot of fun to watch—I literally laughed out loud several times. I’ve included it below, so if you haven’t seen it, you can do so now. The picture at the top of this post will make more sense afterwards.
So who played me? Unexpectedly, it was Rachel Gulotta (and, unfortunately, not Gerardo… maybe next time). Of course, the video was all in good fun, and meant as comedy. Is it accurate? Are you Fujifilm if Fujifilm was a person? Is Rachel playing the part of you? Tell me what you think!
It’s quite amazing that “Film Simulation Recipe” has become a part of camera culture. For several years the phrase was neologism and used only within a fairly small circle, but it has now become a normal part of photography phraseology. In the Fujifilm world it is (amazingly!) common jargon; “Fujifilm” and “Film Simulation Recipe” are almost inseparable. Now it is beginning to spill outside of that and into the general photography lexicon. It’s hard for me to wrap my head around that, because I never thought this would grow so big, and that so many people would use Fuji X Weekly Recipes on their Fujifilm cameras. Incredible!
After yesterday’s Take the BlindBlind Film Simulation Recipe Test article, I’ve been asked a couple of times what were the 10 Film Simulation Recipes that I provided to Andrew Goodcamera. You see, he asked me to give him a list of the Top 10 most popular Film Simulation Recipes of 2022. Now, I have no way of knowing which are the most used; however, I can tell which are the Top 10 most viewed Recipes on the Fuji X Weekly website. Are page-views a good indication of use? Probably, but it’s also quite possible that some Recipes are overrepresented and others are underrepresented. Unfortunately I don’t have a more accurate metric, so this will have to suffice.
Below you will find the Top 10 most popular Film Simulation Recipes of 2022 based on page-views, in order from least to most popular. Seven of them are X-Trans IV Recipes (for the X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II cameras), and three are X-Trans III Recipes (plus compatible with the X-T3 & X-T30). X-Trans V Recipes are pretty new—the oldest published in the third week of November—so it make sense that none made this list, and I suspect that they’ll become increasingly more popular throughout 2023. The Recipes for X-Trans I, II, Bayer, and GFX just aren’t nearly popular enough to crack this list (not likely a Top 20 list, either). The majority of people who shoot using Film Simulation Recipes are doing so on X-Trans III and newer cameras, and the largest group are shooting with X-Trans IV models.
Interestingly, the Classic Chrome Recipe, which is the second one ever published on Fuji X Weekly, ranks pretty high. Black-and-white Recipes aren’t usually as popular as color, so I’m happy to see the Kodak Tri-X 400 Recipe climb the list. I’m not surprised by much else, so let’s get to that list!
Which of these Film Simulation Recipes do you use most? What is your favorite Recipe not found on this list? Let me know in the comments!
I also thought it would be interesting to see if 2023 is trending different so far, or if the Recipes rank the same. While the top half of the list looks nearly identical, there are some notable differences in the bottom half. Pacific Blues is one of my top-favorite recipes, so I’m happy to see it crack the Top 10.
Andrew Goodcamera (formally known as Andrew & Danae) just published a YouTube video in which he conducts a blind film simulation and Film Simulation Recipe test. In the video Andrew shows six sets of 15 pictures. The images are a mix of stock film simulations (no recipe) and various Film Simulation Recipes. As you watch, you are supposed to take note of which pictures stand out to you—perhaps even take a guess at which Recipe you think was used for your favorite—and maybe discover a new Recipe to try that you didn’t realize you’d like. It’s a fun little experiment!
Back in January Andrew reached out to me because he had a video idea, and he needed a list of popular Film Simulation Recipes for it. He didn’t tell me what his video idea was, only that he was going to mention Fuji X Weekly and needed a list of Recipes. I happily provided him with what he requested, and that was the end of the story until today when I noticed he posted a new video. I’m very appreciative for his kind words and honored for the shoutout—thank you, Andrew!
I’m not going to say anything more until you’ve watched the video. I have some commentary that I want to add, but don’t want to spoil it for you, so take a moment right now to watch the video. Don’t scroll past the video below until you’ve watched it! Oh, and make sure you have a notepad handy to keep track of your picks.
Did you watch it? If so, keep scrolling down and let’s compare notes. If not, this is your last chance before you encounter some spoilers, so don’t go any further until you’ve seen the above video!
I had provided Andrew with 10 Film Simulation Recipes, which were the top ten most popular (by page views) from 2022. I wasn’t sure if he had used all of them or not, and I didn’t find out until the reveal that he had used six. I didn’t try to guess which pictures were which Recipes, but just wrote down which three images I liked most (best, second best, and third best) in each set.
What I picked most was picture J. In almost every set (four out of six) I chose that one as my favorite, and if it wasn’t number one it was second or third favorite (six selections total). I had a strong suspicion that it was Pacific Blues, and it turns out that it was indeed that Recipe. Pacific Blues is one of my absolute favorite Recipes, and this blind test just affirms that.
My next most-picked picture was O, although it was not my top favorite in any of the sets, only second or third (picked four times total). I wasn’t really sure which one that was, and was surprised when it was Vintage Kodachrome. I haven’t shot much with that particular Recipe in awhile, so I guess I need to!
The third-most picked picture was G (picked three times total: once number one and twice number two). I had a hunch that it was Kodachrome 64, but I wasn’t certain; turns out my hunch was right.
Picture I, which turned out to be Kodak Portra 400, was picked once for number one and once for number two. Picture H, which turned out to be Kodak Ektar 100, and picture D, which was my Classic Chrome Recipe, were each selected once for third favorite. The only stock film simulation (non-Recipe) picture that I selected was E, which is default Classic Negative, chosen once for third favorite.
Now it’s your turn! What were your top picks? Were you surprised by your findings? Comment below to let me know!
One last note: if you missed today’s SOOC Live broadcast about Street Photography, you can watch it now (click here). We had a great show, which was the first with the new format, so you’ll want to make sure to give it a view. Also, I want to give a big “thank you” to everyone who tuned in and participated!
For those who don’t know, SOOC Liveis a (now) bimonthly broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow. Each episode will be a different theme, and Season 3 kicks off with the topic of Street Photography. If that’s something you are interested in, be sure to tune in.
Today’s broadcast begins at 9:00 AM Pacific Time (Noon Eastern Time). It’s an interactive program, so your participation makes the show better. I hope to see you soon!
I’m really excited for the March 2023 issue of FXW Zine. You see, my favorite genre of photography is abandoned buildings, sometimes called urban exploration (or urbex for short). I don’t get to do this type of photography as often as I’d like, but every once in awhile the opportunity comes. I think it is important to document these dilapidated structures, because they represent what once was—plus how society deals with that—and they’ll eventually be gone. I like how Troy Paiva put it, “accepting loss and finding beauty and nobility in decay.” This issue celebrates abandoned building photography, taking a look at four different locations.
Obviously this type of photography is risky. You have to consider property laws such as trespassing—many abandoned buildings are on private property—and what kind of dangers one might encounter, such as broken glass, crumbling structures, asbestos, lead paint, transients, etc., etc.. I’m not encouraging you to break laws or enter sketchy abandoned buildings, but if you should decide to do it on your own accord and at your own risk, I do encourage you to use extreme caution. Now that the disclaimer is out of the way, let’s get to Issue 16!
The March issue is 20 pages long and features 26 pictures. The FXW Zine is a part of the Fuji X Weekly Creative Collective, so if you are a Creative Collective subscriber you can download it now! If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first fifteen issues, too!
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We’re almost done with the first two months of 2023! Time is just flying by—I wish it would slow down a little. Anyway, I thought it would be interesting to look at the lenses that I’m using the most so far this year.
The number-one most used lens is the one permanently attached to my Fujifilm X100V. So far, I’ve been picking up that model more this year than last. I’ve had the X100V for almost three years now, and it remains my favorite camera. For the sake of this article, though, I will only be discussing interchangeable lenses and not fixed, so the one on the X100V doesn’t count.
The methodology of this Top 5 list is simple: I reviewed my pictures captured in 2023, and noted which lenses were used. After tallying the results, I made this list. In other words, this list is simply my most-used lenses, which doesn’t necessarily mean best or favorite, although it certainly indirectly speaks something to that effect—if I didn’t like it, I wouldn’t use it so much, right? With that said, here are my Top 5 lenses so far in 2023!
The Fujinon 100-400mm f4.5-5.6 is my most expensive lens, and one of my least used. It comes in handy every once in awhile; however, it’s big and heavy, and not particularly convenient for carrying around, so it often stays at home unused. I’ve made a couple half-hearted attempts to sell it, but (for now) I still own it. I used it a couple of times in January, but on both occasions I switched it out for another lens after only a short while.
Surprising to me, the 100-400mm lens was used more than any of my vintage lenses. I love shooting with old manual lenses, but so far this year I haven’t done much of that; instead, the 100-400mm—despite limited use—was attached to my camera more, and snuck into number five on this list.
Green Desert Trail – Gilbert, AZ – Fujifilm X-T5 + Fujinon 100-400mm – CineStill 400D v1
#4: Fujinon 18-55mm F/2.8-4
The Fujinon 18-55mm f/2.8-4 lens came bundled with my first Fujifilm camera, the X-E1. I used the lens for a few months and then sold it, because I’ve always been a prime lens photographer, and not a zoom. This last November I purchased a Fujifilm X-T5 bundled with the 18-55mm f/2.8-4 lens, and I used this lens a lot for the first five or six weeks, but have since slowed down considerably, choosing prime lenses much more often instead of the zoom. My wife has found that she likes it for video, so she borrows it sometimes.
As far as zooms go, the 18-55mm f/2.8-4 is pretty darn good. I like the lens. I find myself using it at certain focal lengths—18mm, 23mm, 35mm, 55mm—and it’s amazing that one compact zoom can do the work of four primes. But I still prefer primes, so this lens only made it to number four, and a pretty good distance behind the next.
Before I purchased the Fujinon 27mm f/2.8, the Fujinon 35mm f/2 was my favorite and most used lens. It was almost always attached to my camera. But, after the arrival of the 27mm pancake, it got put on the shelf. Then my wife, Amanda, discovered that she really likes the 27mm lens, too, so now we share it. Whenever Amanda is using the 27mm, I’m often using the Fujinon 35mm f/2. Yes, it might be a consolation prize, but it is still a fantastic lens that I like using.
Let me point out something about the Fujinon 35mm f/2 lens that I have noticed: whenever I use it, I seem to have a pretty strong hit rate. I really like the pictures I capture with it. For that reason, there have been a couple of times where the 27mm pancake was available, but I chose the 35mm instead.
I have used the Fujinon 27mm f/2.8 pancake lens just barely more often than 35mm f/2 so far this year. I’ve often said that the 27mm f/2.8 is my favorite lens, and it was by far my most used lens in 2022 (even more than the one permanently attached to my X100V). I love the small size, focal length, and image quality. When I purchased this lens, I had no idea that I’d like it so much.
Through the first two months, the Fujinon 27mm f/2.8 not only slipped to number two, but it almost fell one more spot. I do suspect that I’ll continue to use it often, and it is still one of my favorite lenses, but I’m not sure I can confidently state that it is my absolute favorite lens like I have previously. I still love it, though.
When I reviewed my pictures from 2022, I noticed that, despite using the Fujinon 90mm f/2 less than some other lenses, many of my favorite pictures were captured through its glass. So, in 2023, I’m trying to use it more. I find the focal length challenging sometimes, but when it does work out, the results are stunning. The 90mm lens is my wife’s other favorite lens, so I share it with her, and it’s not always available when I want to use it.
I hope when I look back at the end of the year, the Fujinon 90mm f/2 will continue to be at the top of this list. The pictures that I capture with it are some of my favorites, so it only makes sense to use it as often as I can.
Street photography is a very popular genre, and I get asked fairly frequently what my favorite gear is for it. While I do dabble in street photography, it’s not my most common photographic subject; however, I’ve done enough street photography that I feel comfortable giving gear recommendations for it. In this article I’ll tell you what I use and why.
While there is no definitive explanation, street photography is best described as pictures of chance encounters in public places. It often takes place in urban environments (such as downtown city centers), but it is certainly not limited to that. Some will say that humans must be included in the pictures for it to be street photography, but others will argue that the effects of humanity within the environment is acceptable, and some believe that any urban image fits within the genre. It is commonly understood that street photography involves candid (unstaged) pictures, but some will state that it is the chance encounters that are most important, and it is okay to provide some direction to that randomness in order to create a stronger picture. In other words, there’s no universal answer to what exactly street photography is, but most of the time you recognize it when you see it.
If you’ve never done street photography but want to try, the first place to start is understanding the laws and customs of the place you are photographing. Each country is different, and it may even vary from specific location to specific location. You want to understand your rights as a photographer in a public location, and the rights of those potentially being photographed. Besides the legal question, there is the ethical one: should you? While something might be legally ok, it does not necessarily mean that it is moral. These are all things that you should consider before attempting any street photography. Research the local laws. Consider what you are comfortable photographing and why, and what you are not comfortable photographing and why not. I cannot emphasize this step enough, and I encourage you to spend some time on these questions before heading out with your camera.
After that, the next step is to go to a public place and capture some candid images. The most common location is an urban environment, such as the center of a large city, but it can be anywhere where people are. If you don’t have easy access to a large downtown, consider what is nearby where you live. Even if you live in a small town or a rural location, I bet there are opportunities nearby if you look hard enough.
Now, let’s discuss gear. To be clear, you can use any camera. I’ve done street photography with most of my gear. There are a few tools that I do prefer over others, but if you don’t have these don’t worry too much about it, because whatever gear you currently own is good enough. The list below is simply the cameras that I personally prefer for street photography.
Fujifilm X100V
This is my favorite camera for street photography. Actually, it’s my favorite camera, period. The Fujifilm X100V is my “desert island” model—if I could own only one camera for the rest of my life, it would be this. There are a few things that make it especially good for street photography.
First, it’s pretty small. It’s good for carrying as you walk around for awhile, and people don’t often get intimidated by it like they would with a larger body. Second, the leaf shutter is basically silent, and allows you to be more stealthy. Yes, electronic shutters are silent, too, but they do have a couple of drawbacks that might affect your photography (situationally dependent), so a silent mechanical shutter is an excellent feature. Third, the optical viewfinder allows you to see outside the frame to better anticipate the decisive moment. There are many other things that make the camera great, such as the build quality, weather sealing, traditional tactile controls, built-in ND filter, etc., etc.; this isn’t a review of the X100V, just some reasons why it is my favorite tool for street photography.
Perhaps the top thing that makes the Fujifilm X100V great for street photography are all the Film Simulation Recipes that you can program into the camera. Almost no matter the aesthetic you want to achieve, there is a Recipe that will allow you to get the look straight-out-of-camera, no editing needed. This can make street photography more fun, while saving you time and frustration later.
The Ricoh GR III is a super small and compact camera that you can literally carry with you everywhere, since it fits so easily into a pocket or purse. If you own a Ricoh GR III, there is no excuse for not having it with you. Since photo opportunities aren’t always planned, it’s important to have quick access to a camera at all times, and this model makes it easy. I try to carry my GR III with me whenever I go out, even if it is just to the grocery store.
There are a few reasons why I like the GR III for street photography in particular. Since it is so small and unassuming, most people won’t figure you to be a photographer; if they even notice that you have a camera, they’ll likely think you are a snap-shooter or tourist, and will often disregard you. The 27.5mm (equivalent) lens gives a wide view, which can be good for showing context. Like the X100V, the GR III has a nearly silent leaf shutter. If you don’t want to be noticed, this camera is probably the best bet. There are certainly drawbacks to the GR III (no model is perfect), but for the size and weight it is pretty darn excellent.
There are Recipes for the Ricoh GR III, although not nearly as many as there are for the Fujifilm X100V. If you want to skip picture editing (called one-step photography), the GR III is a solid option that should be strongly considered. In fact, the Fujifilm X100V and the Ricoh GR III compliment each other, and can coexist comfortably in your camera bag.
Urban Crescent – Salt Lake City, UT – Ricoh GR III – Royal Supra
Speak Up or It Will Be Flat – Salt Lake City, UT – Ricoh GR III – Kodak Chrome
Bike with Basket – Scottsdale, AZ – Ricoh GR III – Aged Print
Since you always have your phone, you always have a camera. If you accidentally left your “real” cameras at home, no worries! Your cellphone camera is a perfectly capable photographic tool. My current cellphone is an iPhone 11. I don’t think your cellphone make and model matter much—any cellphone camera will suffice—but I personally prefer Apple, since I can use the RitchieCam camera app, which is only available for iOS (click here).
The iPhone is great for street photography because nobody thinks twice about seeing someone with their phone out. Even if you do get “caught” capturing a picture, you can easily fake that you are taking a selfie or texting someone or some other typical phone action. Many cellphones have multiple focal length options, so they’re surprisingly versatile. My favorite accessory is the Moment Tele 58mm lens.
While I do use my phone for photography, I also use it for another important reason: Apps! Specifically, the Fuji X Weekly App (Android, Apple) and the Ricoh Recipes App (Android, Apple). In my opinion, those are essential tools to accompany your Fujifilm and Ricoh cameras.
Fame, Fortune – Moab, UT – iPhone 11 + RitchieCam App – Standard Film
Yield then Stop – Panguitch, Utah – iPhone 11 + RitchieCam App – Night Negative
Exxon in Winter – Moab, UT – iPhone 11 + RitchieCam App – Night Negative
Let me show you a few more street images that I captured recently.
The three above pictures, despite being pretty different overall, all have something in common (besides being street photography). If you want to know what it is, you’ll have to tune into SOOC Live on March 2. Nathalie Boucry and I will be discussing the theme of street photography, including things like gear and Film Simulation Recipes and such. Mark your calendars now! Be sure to subscribe to the SOOC Live YouTube channel so that you don’t miss out on all the great upcoming broadcasts.
Getting an analog color negative film look from your Fujifilm camera is super easy! Pick a Film Simulation Recipe, program it into your camera, and photograph with it. You can get straight-out-of-camera analog-like results that don’t require any editing. But with almost 300 Recipes published on this website and the Fuji X Weekly App, it can be difficult to know which ones to choose. If you are not sure, let me suggest to you the five below. Yes, there are many others that will also get you a color negative film look, so this list is by no means definitive, but it might be a good starting point.
Fujicolor Reala 100 is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, set Color Chrome FX Blue to Weak. Fujicolor Natura 1600 is compatible with the X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, set Color Chrome FX Blue to Weak. Fujicolor Pro 400H and Kodak Portra 400 are compatible with the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, set Color Chrome FX Blue to Off. Kodak Gold 200 is compatible with X-Trans III plus the X-T3 and X-T30; for newer X-Trans IV models, set Color Chrome FX Blue to Off, set Clarity to 0, and choose a Grain size (I recommend Small).
Find these Film Simulation Recipes and so many more in the Fuji X Weekly App! Download for free today; consider becoming an App Patron to unlock the best experience and support the work of this website.
The native aspect ratio of Fujifilm GFX cameras is 4:3. An aspect ratio is simply a mathematical expression of the shape of a sensor, film, picture, or screen. I’ve mostly shot with the 3:2 aspect ratio, which is the shape of 35mm film and many digital camera sensors, including Fujifilm X cameras, so the native GFX ratio isn’t something I’m used to.
The 4:3 aspect ratio has been around for a long time, and was the original shape of motion picture film beginning in the 1890’s. It would later become the standard shape of television screens and computer monitors for many decades, and today is the aspect ratio of most tablets, such as the iPad. It’s also the standard aspect ratio of Micro-Four-Thirds and digital medium-format cameras, and most old digicams and cellphone cameras use this ratio. 120 medium-format film can be (but isn’t always) shot in this aspect ratio, too.
While 4:3 is more square-like than 3:2, it is still a rectangle, yet I find it more challenging to compose within its shape. I personally like 3:2 and I’m quite comfortable with it. I even prefer to shoot 1:1 square instead of 4:3. The GFX aspect ratio just isn’t natural to me. It doesn’t seem like this should be a big deal, but for some reason it is for me. Over the last year I’ve challenged myself to use 4:3 more, so that I can be better at it.
Shot on an iPhone using my RitchieCam App in the 4:3 aspect ratio
Mainly I’ve used the 4:3 aspect ratio on my iPhone, which is the native shape of most cellphone cameras. My RitchieCam iPhone camera app does have many other ratios to choose from, and I don’t always use 4:3, but I’ve forced myself to use it more than ever before. This has certainly helped me not only refine my compositions within that shape, but become more accustomed to using it and seeing it. It has been becoming a bit more normalized for me. If you’ve used this ratio for years, that might seem like an odd statement, but I haven’t used it much ever (especially when compared to 3:2), so it has been outside of my comfort zone.
Fujifilm should add 4:3 as an aspect ratio choice on their X-series cameras. The current options are 3:2, 1:1, and 16:9. Why not add 4:3, 5:4, and 65:24? It doesn’t seem like it would take much programming effort to do so. Instead, if you want 4:3, you have to shoot GFX.
What about that top picture? What about the five pictures below? Which camera did I use for those to get a 4:3 aspect ratio? I didn’t crop them. They’re straight out of a Fujifilm camera—captured over the last two days and completely unedited—and they are all 4:3. Did I just buy a GFX camera, and, if so, which one? You’ll have to keep scrolling down to find out!
I did not buy a GFX camera, which you probably already guessed based on the photographs’ image quality. While I would certainly love to own one, it’s just not something that it’s in my budget. If Fujifilm ever wanted to give me one, I’d certainly accept the offer, but I’m definitely not holding my breath on that one!
So which Fujifilm camera did I shoot those images with? It couldn’t have been an X-series, right? Actually, the 2/3″ sensor X cameras—X10, X20, X30, XQ1, XQ2—do shoot naively in the 4:3 aspect ratio. But it wasn’t any of those models. And it wasn’t GFX. So what was it?
I used a lowly Fujifilm AX350 point-and-shoot digicam. This camera was number one in my The 5 Worst Fujifilm Cameras That You Should Never Own list, which was a tongue-in-cheek look at Fujifilm’s lesser appreciated models. Of course, any camera is “good enough” in the hands of a skilled photographer, including the AX350.
Interestingly, these old pocket point-and-shoot digicams are all the rage right now, particularly among Gen-Z. Why? There is a nostalgic aesthetic to their image quality. If you existed between 2000 and 2012, there’s a good chance that some of your most important or favorite life moments were captured on one of those cameras. These types of cameras were around before 2000, but film was still king by far. These types of cameras existed well after 2012, too, but more and more they were replaced by cellphones. If you were young between 2000 and 2012, you’re childhood memories are in part viewed through the aesthetic of cheap point-and-shoot digicams, so it makes sense that there would be some nostalgic feelings about it.
You can pick up these old digicams for next to nothing. If you don’t have one sitting in an old box or drawer somewhere, they commonly show up at thrift stores or yard sales for just a few dollars. I got mine from Goodwill about three-and-a-half years ago. It was in a box of various film and digital models, which I paid $40 for. I sold the two film cameras on eBay, and that paid for the lot. There were two kids cameras, which I kept—my youngest two children still play with them. There were two other point-and-shoot digital cameras that didn’t work, so they got tossed in the trash. The AX350 is the only thing that I kept for myself. I don’t use it often at all, but it’s fun to dust off every once in awhile. Although simple to operate, it’s a challenge to get quality results, so I find it to be a good photographic exercise.
I hope the Why Shooting JPEGs Is So Popular article will achieve several different things. First, I want to reach Fujifilm photographers who have never heard of Fuji X Weekly and Film Simulation Recipes (yes, there are some), and perhaps they will find it all very fascinating and give one a try. Second, I want to reach those who shoot Fujifilm cameras and have heard of Recipes, but perhaps have been too apprehensive to actually use them, and maybe now they will. Third, I want to convince some who shoot Canikony and are frustrated with their current RAW workflow to buy a Fujifilm camera and give Recipes a try. Fourth, I want to explain to those who just don’t “get it” why more and more photographers are choosing to shoot JPEGs and not edit their images, because some of those who have never tried it just can’t fathom why anyone would. Fifth, I want to encourage those who do shoot with Film Simulation Recipes and some grumpy stranger on the internet tells them that they’re doing it wrong; there’s a movement within photography, and you’re a part of it, which is really an incredible thing when you think about it.
There might be more collaboration opportunities between Fuji X Weekly and Moment—this article was simply the next step in a growing partnership. I don’t know for sure what the future collabs might be, but we definitely tossed around several cool ideas. We’ll have to wait and see which ones happen and which don’t, and if other new opportunities arise. In the meantime, I hope that you enjoy the article!
