“The effect of one-step processing on both amateur and professional creative photography has been revolutionary.”
—Ansel Adams, Polaroid Land Camera
I woke up this morning unsure what to write about. It just so happened that I had a handful of exposures I captured yesterday evening still sitting on the SD Card in my Fujifilm X-T5. Using Fujifilm’s Cam Remote App, I transferred the pictures from the camera to my iPhone, cropped and straightened a few of them, and uploaded the images to cloud storage. It took maybe 10 minutes tops start-to-finish, and I don’t even think it was that long. One-step photography, which removes the second-step (the editing step), is truly revolutionary, just as Ansel Adams stated. Of course he was talking about instant film—something he was a big fan of—and we’re talking about straight-out-of-camera JPEGs, something that I’m a big fan of. Now I know what to write about today!
First Sign of Spring – Buckeye, AZ – Fujifilm X-T5 & Fujinon 35mm f/2 – “Vintage Bronze” Recipe
Why is shooting straight-out-of-camera (SOOC) JPEGs revolutionary?
First, it allows for a faster, more streamlined workflow. When you use Fujifilm cameras and Film Simulation Recipes, the camera does all the post-processing work for you. You don’t have to spend hours and hours sitting in front of a computer fiddling with images. This can save you an extensive amount of time and effort, which can significantly increase your productivity, plus make photography more enjoyable. It’s not only a faster workflow, but an easier workflow. Achieving a desired aesthetic is as simple as programming the correct recipe into your camera.
Next, SOOC JPEGs allow you to be more consistent. Because the camera is applying the recipes, the photographer doesn’t have to worry about inconsistencies in their editing process. This makes achieving cohesive results for a photo series or project much easier.
Also, JPEGs are more efficient than RAW in terms of storage space. You don’t need to buy a larger SD Card or external hard drive or pay for more cloud storage nearly as quickly. Upload and download times are faster. You have a ready-to-share photo the moment that it’s captured—you don’t have to wait for a program to process it first.
Jon at the Fishin’ Pond – Buckeye, AZ – Fujifilm X-T5 & Fujinon 35mm f/2 – “Vintage Bronze” Recipe
Finally, SOOC JPEGs might be considered more authentic. Film Simulation Recipes often replicate the look and feel of classic film stocks and processes, and seem less digital-like in their rendering. There is a growing sentiment among photography consumers (not photographers, but those who view pictures) that “Photoshop” is bad, and picture manipulation equals people manipulation; however, unedited images don’t carry that stigma, and can come across as more authentic.
All of this and more are why there is a revolution in photography right now. More and more photographers—from first-camera beginners to experienced pros with recognizable names—are using Film Simulation Recipes and shooting SOOC JPEGs. It’s a growing trend, and I believe it will become much bigger in the coming years. I’m truly honored to be a part of it, and I’m glad that you’ve come along for the ride.
According to Fujirumors, who has a reputation for being quite accurate, the next Fujifilm model will be the X-S20, which will be announced at the X-Summit in April. What are my thoughts on this upcoming camera?
First of all, I want to state that I have zero inside information. Fujifilm doesn’t tell me anything. I haven’t spoken with anybody who has knowledge about upcoming cameras. What I state about the X-S20—or any unreleased model—is my opinion (nothing more) and should be consumed with a grain of salt.
The X-S10 was a successful model for Fujifilm, doing what it was intended to do: attract those unsatisfied with their Canikony camera who have an interest in Fujifilm but are intimidated by the traditional dials because they have only ever used PASM. I have no doubt that the X-S20 will be just as successful, if not more so.
I believe it will have the same 40-megapixel sensor as the X-H2 and X-T5. It won’t be weather-sealed. It will be 95% the same camera as the X-S10, just with the new sensor and processor. I would be surprised if there were any big surprises. If the X-H2 is too expensive for you, or if you have an X-H2 but want a smaller and cheaper second body, the X-S20 will be the one to consider.
What will separate the X-S20 from the X-S10? Megapixels. Autofocus. Improved IBIS algorithm. Nostalgic Neg. 6K video. I don’t expect the new version to be head-and-shoulders better, but an improvement nonetheless, but with some give-and-take, so an argument could be made that the X-S10 is actually “better” (subjectively, of course), just like the X-T4 might be considered better than the X-T5 by some.
I do wonder if Fujifilm has intentions of introducing a mid-level PASM model. The X-H2/X-H2S cameras are “flagship” cameras that are true “hybrid” models (excellent for both stills and video), but unfortunately those are PASM models, which means long-time Fujifilm photographers were left out in the cold—the X-T4 and X-H1 are the only “flagship hybrid” cameras for you to choose from (yes, an argument could be made for the X-T5, but it is clear Fujifilm intends it for those who primarily are still photographers, not videographers). The X-S10 and X-S20 are entry-level (as in the new entry-level, which used to be mid-level). What’s in-between the high-end X-H2 and the low-end X-S20? For the PASM shooter, nothing. I’m not certain if something is needed, but I wouldn’t be surprised if Fujifilm is exploring that possibility, or even in the process of creating it.
I don’t think, in the current market, that it makes sense to have three entry-level models. That means either the X-E line or X-T00 line is likely on the way out. The X-T00 has historically been more popular, but the X-E line is beloved, and the X-E4 has been especially successful. I’m not sure what might get the ax or when, but it’s possible that the X-T30 II or X-E4 was the last in their respective series. Or maybe the X-T40 (or X-T50… they might skip using four because it is an unlucky number in Japan) or X-E5 will be the last. I hope I’m wrong about this, and both lines continue for years to come, but I don’t think that will be the case.
I’m disappointed that the X-S20 is the next camera to be announced. Six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models—X-T30 II—wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). I think it’s clear that Fujifilm is more interested in becoming a part of Canikony (Canikonyfilm?), which they see as their future growth potential, than to embrace and better communicate what makes them unique (and why that uniqueness is desirable). Shame. But, at the same time, the X-S line was due for an update, so I’m not too surprised that this is their next model. Still, I think with the current demand for the X100V, which Fujifilm cannot keep up with due to parts shortages, that they would expedite the X100Z (or whatever it will be called). To me, that would have made more sense.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Street photography is a unique and challenging form of photography that requires a keen eye for detail, a sense of timing, and a deep understanding of light and composition. One of the best ways to elevate your street photography is by using Film Simulation Recipes, such as Kodachrome 64, on your Fujifilm camera. These recipes can help you quickly and easily achieve a specific look and feel in your photographs that can be more difficult to replicate with other techniques.
One of the key benefits of using Film Simulation Recipes is that they allow you to emulate the look and feel of traditional film stocks. The Kodachrome 64 recipe, for example, is known for its warm, saturated colors and high contrast, which can add a sense of nostalgia and emotional depth to your street images. By using this recipe, you can give your photos a vintage look that is both timeless and evocative.
SS At 35th – Phoenix, AZ – Fujifilm X-E4 – “Kodachrome 64”
Another benefit of using recipes on your Fujifilm camera is that they can help you achieve a more consistent aesthetic across your photos. This is especially important for street photographers who often work in rapidly changing light conditions. Using just one recipe over a series of pictures can ensure that your photos have a consistent color palette and tonal range, which can help to tie your photos together and give them a cohesive feel. With that said, it’s important to consider how to use recipes in a way that is true to your personal vision and style. While it can be tempting to simply use (for example) Kodachrome 64 with every exposure, it’s important to remember that each recipe has its own unique characteristics and should be used in a way that complements the subject and mood.
Also, it’s important to remember that Film Simulation Recipes are not a substitute for good technique and composition. While they can help to add a sense of style and character to your photos, they are not a magic bullet that can fix poor technique or composition. In order to achieve the best results, it’s important to combine the use of these recipes with good technical skills and an understanding of light and storytelling.
Going Out of Business – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer“
Using recipes with your Fujifilm camera can be a powerful tool for street photographers who want to add a unique and personal touch to their work. These recipes can help you quickly and easily achieve a specific look and feel in your photos. By combining the use of these recipes with good technique and composition, you can take your street photography to the next level and create truly stunning and evocative images.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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!
Orange & Blue – Phoenix, AZ – Fujifilm X-T5 – “CineStill 400D v2”
CineStill 400D is a cinematic color negative film meant for C41 processing that’s been around for less than a year. Unlike other cinematic films, the “D” doesn’t apparently stand for “Daylight” (even though it is Daylight balanced), but “Dynamic” because it has a large latitude for push processing. I’ve had a number of requests to create a Film Simulation Recipe that mimics the aesthetic of CineStill 400D. The problem I encountered is that this emulsion has a lot more variance than most films. All films can produce different looks depending on a host of factors, including how shot, developed, and scanned, but CineStill 400D seems especially so. As I understand, this film “scans flat” and some degree of post-processing is necessary, which likely accounts for some of that variance, as each photographer will manipulate the file to their own tastes to produce a final image.
No one recipe will ever come close to replicating all of the possible aesthetics from CineStill 400D, so instead I’m publishing a series of CineStill 400D Film Simulation Recipes, each a facsimile of a different look produced by the film. This recipe—CineStill 400D v2—has less contrast and leans more red/purple than the previous version. I think it is especially well suited for “golden hour” photography, but it is also a good option for overcast, shade, and midday sun. While it is certainly usable for many genres of photography, I particularly appreciate this one for urban and street photography.
This CineStill 400D v2 recipe was a joint effort between myself and Nestor Pool (Instagram, TikTok, Facebook, YouTube). We went back-and-forth on the settings, trying to match some examples of the film. After a few attempts, we decided it was best to focus on the “right feel” for what we wanted than an exact replication of the emulsion, especially since there was so much variance. After more fine-tuning, this is the recipe we created together. Nestor recommends using a 5% Moment CineBloom filter with these settings, although I didn’t do that with these pictures because my filter doesn’t have the right thread size for the lenses I used. It was a real honor to work with Nestor Pool, and I want to give him a special “thank you” for his efforts on this!
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – “CineStill 400D”
This CineStill 400D v2 Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and all X-Trans V models—as of this writing, X-T5, X-H2, and X-H2S. Unfortunately, it is not compatible with the X-T3 and X-T30. Those with newer GFX models should be able to use it, too, but the rendering will be slightly different (try it anyway). Click here for CineStill 400D v1.
Film Simulation: Astia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Fluorescent 1, -2 Red & +4 Blue Dynamic Range: DR200 Highlight: -2 Shadow: 0 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “CineStill 400D v2” Film Simulation Recipe on my Fujifilm X-T5:
Hiker, Birdwatcher & Fisherman – Gilbert, AZ – Fujifilm X-T5
Faded Trail Sign – Gilbert, AZ – Fujifilm X-T5
Masonic Walker – Phoenix, AZ – Fujifilm X-T5
Waiting in Yellow – Phoenix, AZ – Fujifilm X-T5
Alleyway Bike – Phoenix, AZ – Fujifilm X-T5
Green Land Rover – Phoenix, AZ – Fujifilm X-T5
No P – Phoenix, AZ – Fujifilm X-T5
Urban Palms – Phoenix, AZ – Fujifilm X-T5
Cross Palms – Phoenix, AZ – Fujifilm X-T5
Closed Church – Phoenix, AZ – Fujifilm X-T5
Building Blue – Phoenix, AZ – Fujifilm X-T5
Orange Reflection – Phoenix, AZ – Fujifilm X-T5
Building Within a Building – Phoenix, AZ – Fujifilm X-T5
Arrogant – Phoenix, AZ – Fujifilm X-T5
Vegan – Phoenix, AZ – Fujifilm X-T5
Haircut – Phoenix, AZ – Fujifilm X-T5
11 – Phoenix, AZ – Fujifilm X-T5
Sidewalk Dog – Phoenix, AZ – Fujifilm X-T5
Boarded Doors – Phoenix, AZ – Fujifilm X-T5
Cars & Closed Church – Phoenix, AZ – Fujifilm X-T5
Urban Skateboarder – Phoenix, AZ – Fujifilm X-T5
Orpheum – Phoenix, AZ – Fujifilm X-T5
Spanish Baroque Tower – Phoenix, AZ – Fujifilm X-T5
Night Beacon – Phoenix, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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!
Illumination in the Dark Desert – Buckeye, AZ – Fujifilm X-T5 – “CineStill 400D v1”
CineStill 400D is a cinematic color negative film meant for C41 processing that’s been around for less than a year. Unlike other cinematic films, the “D” doesn’t apparently stand for “Daylight” (even though it is Daylight balanced), but “Dynamic” because it has a large latitude for push processing. I’ve had a number of requests to create a Film Simulation Recipe that mimics the aesthetic of CineStill 400D. The problem I encountered is that this emulsion has a lot more variance than most films. All films can produce different looks depending on a host of factors, including how shot, developed, and scanned, but CineStill 400D seems especially so. As I understand, this film “scans flat” and some degree of post-processing is necessary, which likely accounts for some of that variance, as each photographer will manipulate the file to their own tastes to produce a final image.
No one recipe will ever come close to replicating all of the possible aesthetics from CineStill 400D, so instead I will publish a series of CineStill 400D Film Simulation Recipes, each a facsimile of a different look produced by the film. This recipe—CineStill 400D v1—has more contrast and leans more green/yellow than the other versions that will follow. I think it is especially well suited for sunny daylight conditions, but it is also a good option for dreary overcast days. While it is certainly usable for many genres of photography, I particularly appreciate this one for landscapes.
This CineStill 400D v1 Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and all X-Trans V models—as of this writing, X-T5, X-H2, and X-H2S. Unfortunately, it is not compatible with the X-T3 and X-T30. Those with newer GFX models should be able to use it, too, but the rendering will be slightly different (try it anyway). Click here for the CineStill 400D v2 recipe.
Film Simulation: Astia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +3 Shadow: +1 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “CineStill 400D v1” Film Simulation Recipe on my Fujifilm X-T5:
Red Pipe – Buckeye, AZ – Fujifilm X-T5
Dreary Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Raindrop on Curled Leaf – Buckeye, AZ – Fujifilm X-T5
Fujifilm X100V on a Wet Table – Buckeye, AZ – Fujifilm X-T5
Autumn Sidewalk – Buckeye, AZ – Fujifilm X-T5
Suburban Bush – Buckeye, AZ – Fujifilm X-T5
Reflection on the Floor – Buckeye, AZ – Fujifilm X-T5
Dog Waste – Buckeye, AZ – Fujifilm X-T5
Stone Blooms – Buckeye, AZ – Fujifilm X-T5
Tree in the Cloudy Desert – Buckeye, AZ – Fujifilm X-T5
Suburban Stop Sign – Buckeye, AZ – Fujifilm X-T5
Joy – Gilbert, AZ – Fujifilm X-T5
Saguaro Storm – Buckeye, AZ – Fujifilm X-T5
Reflecting on Perspective – Buckeye, AZ – Fujifilm X-T5
Evening in the Desert – Buckeye, AZ – Fujifilm X-T5
Cactus Reflected – Buckeye, AZ – Fujifilm X-T5
Light & Clouds on Mountain Ridges – Buckeye, AZ – Fujifilm X-T5
Sunset Clouds – Buckeye, AZ – Fujifilm X-T5
Desert in Shadow & Light – Buckeye, AZ – Fujifilm X-T5
Last Sunlight Pouring Through a Pass – Buckeye, AZ – Fujifilm X-T5
Saguaro Fingers – Buckeye, AZ – Fujifilm X-T5
Dark Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus in Golden Light – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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!
Kodak Ultramax 400 is a consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.
Kissed by Light – Buckeye, AZ – Fujifilm X-T5 – “Kodak Ultramax 400”
This Kodak Ultramax 400 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. This recipe is highly versatile—a great option for daylight, overcast, indoor, nighttime, landscapes, portraits, etc.—really, it’s good most any type of photography.
Film Simulation: Classic Chrome Grain Effect: Strong, Large Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -5 Blue Dynamic Range: DR-Auto Highlight: +1 Shadow: +1 Color: +4 Sharpness: 0 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 “Kodak Ultramax 400” Film Simulation Recipe on my Fujifilm X-T5:
Watching Firecrackers – Buckeye, AZ – Fujifilm X-T5
Red, Fire & Blue – Buckeye, AZ – Fujifilm X-T5
Sparkler – Buckeye, AZ – Fujifilm X-T5
Dressed for the Holiday – Buckeye, AZ – Fujifilm X-T5
Mango – Buckeye, AZ – Fujifilm X-T5
Days – Buckeye, AZ – Fujifilm X-T5
Rainy Day Window – Buckeye, AZ – Fujifilm X-T5
Happiness and Wondering – Gilbert, AZ – Fujifilm X-T5
Wet Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Sunny Day Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lakeside Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus Bird – Buckeye, AZ – Fujifilm X-T5
Cactus on a Hill – Buckeye, AZ – Fujifilm X-T5
Rocks Among Clouds – Buckeye, AZ – Fujifilm X-T5
Victory Mountain – Buckeye, AZ – Fujifilm X-T5
Desert Ridge with Lifting Clouds – Buckeye, AZ – Fujifilm X-T5
Blue Sky Moon – Buckeye, AZ – Fujifilm X-T5
Dusk Sky – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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!
This Vintage Bronze Film Simulation Recipe was an accident. It came about when Fuji X Weekly reader Dan Allen was first trying Anders Lindborg‘s Ilford FP4 Plus 125 recipe, and he accidentally selected the Eterna Bleach Bypass film sim instead of Monochrome. The results were pretty interesting, with a vintage alternative-process aesthetic—which I happened to really like—so I decided to make it an official recipe.
The Eterna Bleach Bypass film simulation is intended to replicate the look of motion picture film that has had the bleach step reduced or skipped. With this Vintage Bronze Film Simulation Recipe, there are some similarities to that (Michael Radford’s 1984 comes to mind), but it also reminds me a little of Kodak ColorPlus film cross-processed in E6 chemistry. Obviously, it’s not modeled after any specific film or process, so any similarities are simply happy accidents. I don’t think this recipe is necessarily a close facsimile to bleach-bypassed motion picture film or cross-processed ColorPlus, and not really an exact match to anything that I have seen, but it’s in the general neighborhood of those alternative-process aesthetics. I think an argument could be made that Kodacolor that’s faded a little is also somewhat similar.
Paperflowers – Buckeye, AZ – Fujifilm X-T5 – “Vintage Bronze”
Because of the blue color rendering difference between X-Trans IV and V, this Vintage Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. You can use it on those X-Trans IV cameras with Eterna Bleach Bypass, but the rendering will be slightly different (give it a try anyway). I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain.
Film Simulation: Eterna Bleach Bypass Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, +6 Red & -8 Blue Dynamic Range: DR200 Highlight: 0 Shadow: -1 Color: 0 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to 0 (typically)
Example photographs, all camera-made JPEGs using this “Vintage Bronze” Film Simulation Recipe on my Fujifilm X-T5:
Sunset Over White Truck – Surprise, AZ – Fujifilm X-T5
Ford Wagon – Surprise, AZ – Fujifilm X-T5
5 & 6 – Surprise, AZ – Fujifilm X-T5
Cart Lock – Avondale, AZ – Fujifilm X-T5
Bus – Goodyear, AZ – Fujifilm X-T5
Jon in December – Surprise, AZ – Fujifilm X-T5
Johanna & Lens Flare – Buckeye, AZ – Fujifilm X-T5
Outdoor Lightbulbs – Buckeye, AZ – Fujifilm X-T5
Projector – Surprise, AZ – Fujifilm X-T5
Abstract Snow – Surprise, AZ – Fujifilm X-T5
Christmas Song – Surprise, AZ – Fujifilm X-T5
Winter Guitar – Surprise, AZ – Fujifilm X-T5
A Gift For You – Buckeye, AZ – Fujifilm X-T5
Joy, Unsure – Goodyear, AZ – Fujifilm X-T5
Reading the Paper in December – Goodyear, AZ – Fujifilm X-T5
Sprinkled Donut – Goodyear, AZ – Fujifilm X-T5
Softdrinks – Buckeye, AZ – Fujifilm X-T5
Rudolph – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
What’s the coolest online camera store? Moment! The Marketplace for Creatives. To say that it’s just a camera store is incorrect, because it’s an experience. Whether you are a beginner, a journeyman, or advanced photographer or videographer, there’s something on Moment’s website for you.
The point is, no matter your skill level—from first-camera beginner to seasoned pro—Moment has something for you. In fact, much more than I just shared above, so check out all of their courses, reviews, and experiences.
iPhone 11 + Moment 58mm – RitchieCam App – “Faded Film” – Canyonlands NP, UT
I know this sounds like a paid sponsored post, but I promise it’s not. I just think Moment is the coolest online camera store out there, and I wanted to say so—this is my website, so I’m allowed to do that. I do have a history with Moment. You might recall that back in 2021 I jointly wrote an article with them, Why I Never Shoot RAW — FujiFilm Simulations, Recipes, and More! Also back in 2021, Fuji X Weekly and Moment teamed up to give away some CineBloom filters. Anyway, even though I’m not getting paid to do so, I thought I’d take this opportunity to introduce you to Moment just in case you’ve never visited their wonderful website, which is the marketplace for creatives.
More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – “1970’s Summer” recipe
Fujifilm cameras have color profiles called Film Simulations, which can be customized to create various looks, including emulating the aesthetics of different types of film. Fuji X Weekly Film Simulation Recipes, which are a set of specific camera settings that produce many different looks in-camera without the need for editing, can be used to easily apply various vintage film looks to photos taken with Fujifilm cameras. These recipes can be used without the need for post-processing because they are essentially a set of camera settings that are tailored to emulate the aesthetic of a specific type of film—you get the retro analog look straight-out-of-camera.
One of the benefits of using these Film Simulation Recipes is that they can save a significant amount of time in post-processing. Instead of having to manually adjust various settings in editing software to achieve a vintage film look, photographers can simply apply the appropriate recipe in-camera and get the desired look straight-out-of-camera. The photos are finished and ready to share the moment that they are captured. You don’t even need to involve a computer at any point in your workflow, if you don’t want to. Not editing is a huge timesaver that allows photographers to be more productive thanks to a streamlined workflow.
Another benefit of using the Fuji X Weekly Film Simulation Recipes is that they can help new photographers achieve vintage film looks without having to learn cumbersome, intimidating, and expensive software. These recipes provide an easy way to experiment with different analog aesthetics. Film is expensive, and recipes are a quicker, more convenient, and cheaper alternative that still produces film-like results. And there is instant gratification when the unedited picture looks good, as if it had been post-processed or shot on film.
There are four reasons why photographers might want their pictures to have a retro analog look:
Aesthetics — Vintage looks can evoke a sense of nostalgia and give photos a timeless quality that can be pleasing to the eye.
Branding — Some photographers may want to apply vintage looks to their work as a way to set their brand apart or to appeal to a specific target market that appreciates the vintage aesthetic.
Storytelling — Applying a vintage look to a photo can also help to tell a story or convey a certain mood or atmosphere that may be difficult to achieve with a more modern look.
Experimentation — Some photographers may also want vintage looks as a form of creative experimentation or as a way to add an extra layer of meaning to their photos.
Film Simulation Recipes that produce a nostalgic aesthetic are popular. Below are 10 of my favorite Film Simulation Recipes that recreate vintage film looks.
Obviously, there are a lot more options than just these 10—in fact, there are over 250 Film Simulation Recipes published on Fuji X Weekly and found in the Fuji X Weekly App! There are a lot to choose from, and if you are not sure, the list above should provide you with at least a few to try.
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Above-Left: Kodak Portra 400 v2 recipe — Above-right: same recipe, but slightly modified.
Film Simulation Recipes are one way to replicate the look and feel of traditional film on your Fujifilm camera. You can do something like this by editing RAW files and applying Alien Akin, VSCO, RNI, etc., presets during post-processing; however, using recipes cuts out this step, saving you a lot of time and hassle. One-step photography (as discussed by Ansel Adams in his book about Polaroid photography, which he was fascinated with) is an easier approach. Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time). There are over 250 Film Simulation Recipes published on Fuji X Weekly, which are also available on the Fuji X Weekly App.
Even though there are a lot of recipes to choose from, you may not always find one that’s the perfect fit for your personal style, subject matter, or lighting condition. I’ve often said that it is fine to “season to taste” any recipe to make it work for you, because making it work for you is preferable to rigidly adhering to a recipe and being dissatisfied with the results (the notes section in the App underneath a recipe is an excellent place to keep track of your modifications). In this post, we will discuss some reasons why someone might choose to modify a Film Simulation Recipe to suit their personal style.
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The Fujifilm X100V is a popular camera with social media influencers—so much so that it’s become hard to find and expensive. One of the main reasons why social media influencers love the camera is its retro design, which gives it a timeless and stylish look that stands out in a sea of modern and generic-looking camera bodies. The X100V’s sleek and compact form factor also makes it easy to carry around, which is ideal for influencers who are often on the go and need a camera that they can take with them wherever they go.
Another reason why the X100V is popular with social media influencers is its image quality. The camera is equipped with a 23mm f/2 lens, which produces sharp and detailed images. The X100V also features a 26-megapixel APS-C sensor that, thanks to the X-Trans array and processor, delivers excellent low-light performance and a wide dynamic range. These features, combined with Fujifilm’s renowned color science, produce images that are rich and vibrant with a film-like quality that is highly sought after by influencers.
The X100V is also popular with influencers because of its advanced manual controls. Unlike most compact cameras, the X100V provides users with the ability to effortlessly manually adjust settings—such as shutter speed, aperture, and ISO—giving them more creative freedom and control over their images. This makes the X100V an ideal camera for influencers who want to take their photography to the next level and produce professional-looking content.
And, of course, Film Simulation Recipes allow social media influencers to quickly get finished photographs straight-out-of-camera that are ready to share the moment that they are captured. This not only makes photography easier (and perhaps more fun), but it also saves a lot of time over post-processing RAW files. While there are literally hundreds of recipes that you could use, below are five Film Simulation Recipes that every influencer should try on their Fujifilm X100V.
Once Was a Gas Station – Avondale, AZ – Fujifilm X100V – “Kodak Portra 400 v2”
Kodak Portra 400 is one of the most popular film stocks available today, so it shouldn’t be surprising that the Kodak Portra 400 Film Simulation Recipes are some of the most popular. Of these, Kodak Portra 400 v2 is my personal favorite. One film can produce many different looks depending on a host of factors—including how it was shot, developed, and scanned—and this recipe closely mimics the aesthetic of one photographer’s Portra pictures—feel free to also try Kodak Portra 400, Kodak Portra 400 Warm, and Reggie’s Portra. This Kodak Portra 400 v2 recipe produces bright and warm images, and is particularly great for portraits and golden hour photography. Use it in daylight natural light situations for best results.
Fox Holding Flower – Buckeye, AZ – Fujifilm X100V – “Pacific Blues”
The Pacific Blues recipe mimics the aesthetic of Lucy Laucht‘s Spirit of Summer series, particularly the Positano Bluesphotographs. It is especially well suited for a summer day at the beach, but it is also great for many other situations, including shade, fog, and even night photography. It’s a bold recipe, yet is still good for portraits. Use it for travel, or even just snapping pictures around the house.
Kodachrome is such an iconic film that once graced the covers of National Geographic, Arizona Highways, and most travel magazines. Sadly it has been long-discontinued; however, thanks to Fujifilm cameras, you can still shoot a reasonably close facsimile of the film today! Kodachrome 64 is one of my favorite recipes for travel photography, producing results reminiscent of classic images from the ’70’s, ’80’s and ’90’s.
“This is an artist’s recipe!” That’s what I said of the Vintage Color Film Simulation Recipe. It produces painterly results that are reminiscent of famed Hudson River School painter Albert Bierstadt, particularly his Yosemite paintings. While not modeled after any film stock, it does have a vintage film-like quality that’s easy to appreciate. It’s best suited for sunny daylight situations, yet it is also a good option for shade or overcast.
Kodak Tri-X 400 is probably the most well-known black-and-white film stock, so it should be no surprise that the most popular black-and-white recipe is Kodak Tri-X 400. While color recipes tend to be much more popular than monochrome, if you want to emulate a classic photographic aesthetic, this recipe should be one of your top considerations. Producing moody images, Kodak Tri-X 400 allows you to focus on the elements within the frame without the distraction of color. In one word, Timeless is how I would best describe this recipe.
Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – “Kodachrome 64”
Film Simulation Recipes are a great way to achieve consistent results when shooting with Fujifilm cameras. These recipes allow you to replicate the look and feel of various film stocks by applying specific settings to your camera. For a certain photo series or project, you might want all of the images to appear cohesive, and recipes are an easy way to do that. Let’s go over some quick tips for achieving consistent results using Film Simulation Recipes.
First and foremost, it’s important to understand the different Film Simulation Recipes available to you—there are over 250 on this website and the Fuji X Weekly App—and how they differ. Fujifilm offers a variety of film simulations, each with its own unique look and feel, that are then customized to create specific aesthetics. Most, but not all, are designed to mimic the look of classic film stocks or analog processes. Some are more ideal for certain light situations or subjects. Experimenting with various recipes can help you find the one that best suits your style and subject matter.
Once you’ve chosen a Film Simulation Recipe, it’s important to stick with it. Consistency is key when it comes to achieving consistent results. This means using the same recipe for all of the shots in a given series or project. This will ensure that all of your images have a cohesive look and feel, rather than appearing disjointed due to using multiple recipes.
Another tip for achieving consistent results is to make sure your camera is set up properly. This might include using or not using flash, shooting through just one lens, using a certain filter, or even selecting a particular aperture or ISO, depending on how strict you want to get. These factors can all impact the final look of your images, so it’s important to get them right throughout the entirety of the project.
In addition to setting up your camera properly, it’s also important to consider the lighting conditions when using Film Simulation Recipes. Different lighting conditions can have a big impact on the final look of your images, so it’s important to take this into account when shooting. For example, if you will be photographing in artificial light, you may want to choose a recipe that is designed to mimic the look of a Tungsten film stock. You might consider using similar light for all of the photographs within the series.
Finally, it’s worth noting that Film Simulation Recipes are just one aspect of achieving consistent results. Other factors, such as composition and subject matter, can all have an impact on the final look of your images. However, by following the tips outlined in this article, you can get started on the path towards achieving consistent results with your Fujifilm camera.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Film Simulation Recipes are JPEG camera settings that produce a specific look—often based on classic film stocks—straight-out-of-camera, no editing required. I have published over 250 Film Simulation Recipes on this website, which can also be found on the Fuji X Weekly App for easy access on the go. Using recipes on Fujifilm cameras is an excellent way to streamline your workflow while still getting great results that appear as though you post-processed or perhaps even shot with film. Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time).
Many of the Film Simulation Recipes are intended to produce an analog aesthetic. You might even find a recipe that mimics your favorite film stock. Here are some of the most popular ones:
There are, of course, many more—the list above is simply some of the most popular.
Do Film Simulation Recipes actually resemble film? Fujifilm has tapped into their vast experience with analog photography—even utilizing their still-active film department—to create their film simulations, so that they more closely resemble film than the typical digital capture from other brands. With further tweaks and adjustments, one can get even closer to the look of actual analog stocks. There are three important things to note: 1) one film can produce many different aesthetics depending on a host of factors (how shot, developed, scanned, etc.), 2) digital and film render differently (each with unique strengths and weaknesses), and 3) Fujifilm has limited tools (recipes are created within those limitation). With that said, it is surprising that one can achieve a close facsimile to actual film stocks using Fujifilm X cameras.
Below are some videos that compare Film Simulation Recipes to actual film. Are the recipes close enough to film that you could use your Fujifilm camera instead of your analog camera? You will have to judge that for yourself. For me personally, the answer is yes, absolutely!
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!
Many Fujifilm photographers use Film Simulation Recipes, which are JPEG camera settings that produce a specific look (often based on classic film stocks) straight-out-of-camera, no editing required. I have published over 250 Film Simulation Recipes on this website, which can also be found on the Fuji X Weekly App for easy access on the go. Using recipes on Fujifilm cameras is a great way to streamline your workflow while still getting great results that appear as though you post-processed or perhaps even shot with film.
Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time). Because there are so many recipes to choose from, it can be difficult to know which recipe to use when; perhaps none of them are precisely what you are looking for, or you are just feeling adventurous, so you want try your hand at crafting your very own Film Simulation Recipe.
A lot of people don’t have an interest in creating recipes; instead, they want one that’s already been perfected and matches their style. For most people, a Film Simulation Recipe currently exists that works well for them, it’s just a matter of figuring out which one (or ones, as it could be several, situationally dependent). Or maybe you enjoy trying them all! There’s no singular approach to using recipes with your Fujifilm camera.
Those who do want to try to make their very own recipe—because they haven’t found “the one” yet, or because they want a look that’s unique to them, or because they’re feeling creative and adventurous—might not know how to do it or even where to start. This article is intended to help with that. I will walk you through the process of crafting a Film Simulation Recipe, so that you know how to make your own.
Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Each Film Simulation Recipe has its own origin story. Very rarely did two come about the exact same way. Most, however, begin with an aesthetic idea—what look do I want the recipe to resemble? A lot of times it’s a specific film stock, usually specific images from a certain film. One film can usually produce many different looks depending on a whole host of factors, including (but not limited to) how it was shot, developed and scanned. I study pictures to get a good sense of what the aesthetic is, so that I can recreate it as closely as possible on my Fujifilm camera. It’s never a perfect facsimile because the tools on the camera are limited, film and digital behave divergently, and one film can produce many looks; however, I surprise myself sometimes just how close one recipe can come to the aesthetic I was trying to mimic. There’s a lot of trial-and-error involved. A lot of testing. But the beginning is almost always an idea or inspiration. For the Film Simulation Recipe example in this article—Emulsion ’86—the origin was the pilot episode of Little House on the Prairie. I was really attracted to the cinematography, and wanted to recreate the look.
Once you know the aesthetic that you want to achieve, the next step is figuring out a base starting point—the Film Simulation. I decided the film simulation that most closely matched the cinematography was Nostalgic Neg., which is only found on the newest cameras, including the Fujifilm X-T5. Eterna is similar, too, but I felt not vibrant enough or warm enough in the shadows—it could also be a good starting point, and I considered using it, but opted for Nostalgic Neg. instead. Each film simulation produces a different look, so you want to find the best base film simulation for your recipe. If you want to learn more about the various film simulations, there is a video by Vistek that’s definitely worth watching (click here).
Once you have the base figured out, it’s time to fine-tune it to achieve your desired look. There are a lot of different settings, some of which are only available on the newer models. We’ll only briefly discuss each, because I don’t want to get bogged down in the details. I’ll link to an article or video for the settings, in case you need further explanations. You can find these settings in the IQ Menu subset and in Edit/Save Custom Settings. If you are unsure of how to program a Film Simulation Recipe into your Fujifilm camera, click here and here.
– Dynamic Range. Choose either DR-Auto (the camera will choose either DR100 or DR200), DR100, DR200, or DR400 (note: D-Range Priority or HDR can be used in lieu of a DR setting, and can also be considered). The Dynamic Range settings are primarily for protecting highlights, but affect the luminosity curve. DR100 protects highlights from clipping the least, while DR400 protects the highlights from clipping the most; however, DR400 requires a higher ISO and produces a lower-contrast image. Click here, here, here, here, and here to learn more. For my recipe, I wanted to protect highlights the most because I planned to expose the image more, so I chose DR400. – Grain. Only X-Trans III and newer cameras have a faux Grain option (Off, Weak, or Strong), and only the X-Pro3 and newer have the option for Grain Size (Small or Large). The Acros film simulation is the only one with built-in grain (the faux Grain options can be used in addition to the built-in Acros grain). High-ISO digital noise on Fujifilm cameras can produce a film-grain-like effect, too, and is something else to be considered. Click here, here, here, and here to learn more. For this recipe, I decided I like Grain set to Strong/Small after testing a couple options. – Color Chrome Effect and Color Chrome FX Blue. These settings deepen the tonality of certain colors (renders them darker) so that they retain more details when they are especially vibrant. For each, the options are Off, Weak, or Strong. For more information, click here, here, and here. I chose Color Chrome Effect set to Strong (for darker reds) and Color Chrome FX Blue set to Off (for lighter blues).
Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
– White Balance and Shift. This is an important tool for altering the aesthetic of the base film simulation. First, it’s important to understand that most color films were either Daylight balanced (around 5500K) or Tungsten balanced (around 3200K), so if you want to mimic film, choosing a similar white balance is a good option. You can significantly manipulate the cast using white balance and shift together. Unfortunately, cameras older than the X-Pro3 cannot save a WB Shift within C1-C7 Custom Settings Presets. Click here, here, and here to learn more. After much experimenting, I landed on Daylight White Balance with a Shift of +2 Red & -1 Blue. – Highlight and Shadow. This is found within Tone Curve on newer cameras. Highlight and Shadow is what adjusts the luminosity curve. -2 is the least (least highlight, least shadows), and +4 (or +2 on older models) is the most (strongest highlights, deepest shadows). This also highly affects contrast. To learn more, click here and here. I set Highlight to -2 to soften them and protect them from clipping, and I set Shadow to +2 to deepen shadows and increase contrast. – Color. This sets the vibrancy, from -4 (least vibrant) to +4 (most vibrant). For more information, click here. I wanted more highly saturated colors, so I went with +4. – Sharpness and Noise Reduction. Choose between -4 and +4 (-2 and +2 on older models). On newer cameras, Noise Reduction is renamed High ISO NR, but it’s the same thing. I typically (but not always) stay within -2 and +2 Sharpness (-1 and +1 on older models). I feel that Fujifilm’s Noise Reduction is too strong, so I like to use a minus setting. Click here, here, and here to learn more. I set Sharpness to -2 and Noise Reduction to -4 for this new recipe. – Clarity. This is a micro-contrast adjustment, either more (+1 to +5) or less (-1 to -5), with 0 being Off. Using a minus Clarity setting is similar to using a diffusion filter. Clarity does slow down the camera, as there is a “Storing” pause after each exposure, and continuous shooting modes (CL and CH) disable this setting. Only the X-Pro3 and newer models have Clarity. Click here and here for more information. I wanted a softer look, so I set Clarity to -3.
There are two other important parts of a recipe. First, you have to decide the maximum (and maybe minimum) ISO. I like to use Auto-ISO the majority of the time. For color photography, I feel most Fujifilm cameras do well up to ISO 6400, but that’s just my personal tolerance. You might want to top it out at ISO 3200 or ISO 12800, or whatever you prefer. To learn more, click here, here, and here. For this recipe I set Auto-ISO to be up to ISO 6400. Finally, you have to decide how much Exposure Compensation you typically want. Do you want brighter or darker results? This works hand-in-hand with the luminosity curve you’ve created with DR, Highlight, and Shadow. A word of caution is that each exposure should be judged individually, and typical exposure compensation is merely a starting point, and not a rule. Click here and here to learn more. For my recipe, I wanted a brighter picture, so I usually increase the exposure over what the meter says, typically by +2/3 to +1-1/3 stop.
The very last step is to give your new Film Simulation Recipe a name. Even though the pilot episode of Little House on the Prairie was the initial inspiration for my recipe, after visiting Balboa Park in San Diego, I had a change of perspective. You see, Balboa Park has hosted two different World Expositions (in 1915 and 1935)—remnants of which are still prominent to this day—which reminded me of my own World’s Fair experience: when I was six years old, my family and I went to Expo ’86 in Vancouver, Canada. I found many old pictures of that event—personal, in books, and online—and this recipe was highly reminiscent of some of those photographs. This Film Simulation Recipe produces a nostalgic analog aesthetic that is similar to some pictures from the mid-1980’s (presumably primarily Kodak emulsions, but I’m not certain), so I named it Emulsion ’86.
If you like your recipe creation, consider sharing it with the Fujifilm community so that others can use it, too. If you don’t have a place to share it, the Fuji X Weekly Community Recipes page is for you!
Old California Architecture – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
This Emulsion ’86 Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This recipe does well for both sunny daylight and rainy overcast photography.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -1 Blue Dynamic Range: DR400 Highlight: -2 Shadow: +2 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1-1/3 (typically)
Example photographs, all camera-made JPEGs using this “Emulsion ’86” Film Simulation Recipe on my Fujifilm X-T5:
Bobcat on the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Rainy Day at the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
No Lifeguard on Duty – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Two Surfers Walking – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
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!
It’s 2023! That means the 14th issue of FXW Zine is out now, and if you are a Fuji X Weekly Creative Collective subscriber, you can download today!
What’s in the January issue? My top 50 favorite photographs of 2022. There are 50 pictures, including the cover, across 32 pages.
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first thirteen issues, too!
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Why should I? I’m not a wedding photographer. Sure, like many who carry a camera, I have been asked a few times to capture the big day for family and friends. But that’s not something I’m interested in doing as a career. It’s too much work. Oftentimes, the wedding photographer is the first to arrive and one of the last to leave. Twelve hours of photography might equal 24 hours of culling and editing. Besides that, people sometimes don’t like pictures of themselves, because they see their own perceived flaws as flaws in the pictures, which is an unfortunate predicament for the photographer who photographs people. I’m also not a TikTok influencer. Yeah, I have social media accounts, and my Instagram has nearly 35,000 followers; while I never thought it would ever grow anywhere near that big, it’s still small-potatoes to be considered within “influencer” territory.
The article—what I missed the first time I read it—is about the power of swiftness. People are turning to TikTok creators to capture their wedding day because they can get ready-to-share pictures and videos quickly. People nowadays are less interested in a photo-book or DVD of their big day; instead, they want something that they can post to their social media accounts. Yeah, those polished products with a one or two week turnaround are great, but by the time the married couple receives them, the wedding is old news. Instant can be better than perfection. The younger generation in particularly would rather sacrifice “quality” for quickness.
Something else the article brings up is that people are interested in intimate and genuine content. “[Taylor Richardson] focuses on taking ‘raw footage’ and ‘candid’ images,” the article states, “which have a more ‘personal’ and ‘organic’ feel.” Richardson is then quoted, “The results end up looking like I was attending the wedding myself, like an amazing friend who never put her phone down the entire day.” It’s like the whole blurry picture trend—imperfections make it seem more true, more real, less staged. That’s what the younger crowd wants—authenticity. Or, at least, perceived authenticity.
What does any of this have to do with Fujifilm? Well, you all have a huge advantage! You can shoot straight-out-of-camera pictures using Film Simulation Recipes, and deliver amazing edited-looking pictures very quickly. Because you don’t need to edit, aside from perhaps some cropping, straightening, and maybe occasional very minor touchups, your biggest challenge is culling and delivery, not post-processing. That’s huge! Remember, it’s not perfection the client wants, but authentic pictures, quickly.
It’s not just photographs that the newlyweds want, but also ready-to-share videos. Video editing is even more slow and cumbersome than photo editing, but it doesn’t have to be. You can use Film Simulation Recipes for video, too (note that Grain, Clarity, and Color Chrome Effects are unavailable in video mode), so no need to color grade. You will have to splice clips to make under-a-minute short videos that are oriented tall and not wide. Consider having one camera dedicated to video and another for stills. If you don’t have much experience filming and editing short-form videos, that’s something you’ll want to get comfortable with well before the wedding day, and I suppose that’s why TikTokers have a leg up on everyone else. Storytelling is much more important than perfection, so consider ahead of time which clips you want to get to tell the story that you want to create.
Some people will look at the Insider article with disappointment. Those darn social media influencers with their iPhones and TikToks are ruining wedding photography! Some people will look at it with indifference. Why should I care? I’m not a social media influencer or wedding photographer. For some, though, who pay close attention, there’s a great opportunity for you, and the time is now to jump on it. You are already ahead of the curve because you own a Fujifilm camera and shoot with Film Simulation Recipes. Worry less about perfection and more about authentic in-the-moment images that are perhaps more raw and candid. The quicker that you can get these pictures into the hands of the client, the better.
The real advantage that you have over “TikTok Wedding Content Creators” is quality. While the iPhone is a good photographic and videographic tool—and don’t forget the RitchieCam App (a shameless plug)—it pales in comparison to what your Fujifilm camera is capable of. Your image and video quality can be so much superior while equally quick. The fruit is ripe for you, all you have to do is harvest it. Yes, it’s easier said than done, but if this is something you’ve been thinking about, it’s time to be decisive with your decision. If you want to be a wedding photographer, your opportunity awaits.
The story doesn’t end there. Recently, Fuji X Weekly reader Dan Allen wanted to help create an Ilford FP4 Plus 125 recipe, and he purchased some rolls of the film to shoot side-by-side with his Fujifilm camera. When he told me this, I sent him Anders’ recipe to try. After he did his experiment, Dan shared with me the results, which were quite fascinating. It turns out that Dan’s Ilford frames and his Fujifilm digital pictures (using Anders’ recipe) looked similar, but the Ilford frames had less contrast, with softer highlights and shadows, so I made a few small modifications to Anders’ recipe to better match Dan’s pictures. Of course, one film can have many different looks, depending on how it was shot, developed, printed, and/or scanned. “This particular film stock,” Anders told me, “is highly tunable, ranging from super clean to ultra gritty.” No single recipe will ever recreate every possible aesthetic from the film.
“Just like the real thing,” Anders explained to me, “a slight underexposure protects the highlights and improves contrast. Centered around the upper half of the grayscale, this recipe ranges from soft and dreamy to sharp and almost graphic with pencil-like lines. It will almost never go entirely black and is great for shadow details.” Ilford originally introduced FP4 Plus 125 way back in 1968, and in 2014 they improved the emulsion, which is what’s currently available.
Bougainvillea Grey – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”
If you want to use Anders Lindborg’s recipe as he created it, set Dynamic Range to DR100, Highlight to 0, and Shadow to -1. He says that you can “really go crazy” with Clarity and Grain—try Clarity anywhere from -2 to +4, with Grain Weak/Small when using less Clarity (for a cleaner look) and Grain Strong/Large when using more Clarity (for a grittier look). Also, feel free to use the different faux filter options (+Ye, +R, +G) with this recipe.
The Ilford FP4 Plus 125 Film Simulation Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2S, and newer X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II. If you have an X100V or X-Pro3, you can use Anders’ unmodified version (explained above); for the X-T3, X-T30, plus X-Trans III, additionally ignore Clarity and Grain size. This recipe is especially well suited for mid-to-high contrast scenes, paying careful attention to the highlights so as to not clip them.
Film Simulation: Monochrome Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, +6 Red & -8 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: -1.5 Monochromatic Color: 0 WC & 0 MG Sharpness: 0 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1 to -1/3 (typically)
Example photographs, all camera-made JPEGs using this “Ilford FP4 Plus 125” Film Simulation Recipe on my Fujifilm X-T5:
Projector Light – Surprise, AZ – Fujifilm X-T5
Fog Lights – Surprise, AZ – Fujifilm X-T5
Disco Ball – Surprise, AZ – Fujifilm X-T5
Christmas Concert – Surprise, AZ – Fujifilm X-T5
Light Lines – Surprise, AZ – Fujifilm X-T5
Window Shade Pull – Buckeye, AZ – Fujifilm X-T5
Window Light on a Small Rug – Buckeye, AZ – Fujifilm X-T5
Call it a Fuji X Weekly Holiday – Buckeye, AZ – Fujifilm X-T5
Christmas Gift – Buckeye, AZ – Fujifilm X-T5
Legos for Christmas – Buckeye, AZ – Fujifilm X-T5
Was a Rose – Buckeye, AZ – Fujifilm X-T5
Backlit Petunia – Goodyear, AZ – Fujifilm X-T5
Dark Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lizard on a Wall – Buckeye, AZ – Fujifilm X-T5
Block Wall – Buckeye, AZ – Fujifilm X-T5
Gate – Buckeye, AZ – Fujifilm X-T5
Joy – Goodyear, AZ – Fujifilm X-T5
Waiting by the Pool – Goodyear, AZ – Fujifilm X-T5
Butcher – Avondale, AZ – Fujifilm X-T5
Tamale TV – Avondale, AZ – Fujifilm X-T5
Reading the Morning Paper – Goodyear, AZ – Fujifilm X-T5
Coffee Sugar – Goodyear, AZ – Fujifilm X-T5
Hydrant Top – Buckeye, AZ – Fujifilm X-T5
Geometric – Buckeye, AZ – Fujifilm X-T5
Suburban Rooftop – Buckeye, AZ – Fujifilm X-T5
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I don’t know about you, but I received several Amazon gift cards for Christmas. You might want to use those gift cards to purchase photography gear, but perhaps you are not sure what to buy. So—if you are stuck—let me offer some ideas. Since this is a Fujifilm blog, these items are mostly geared towards Fujifilm photographers.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
$25
If your Amazon gift card is $25, here are some camera things you can buy:
This recipe began as an attempt to mimic my “Nostalgic Negative” Film Simulation Recipe for X-Trans IV cameras using the new Nostalgic Neg. film simulation instead of Classic Chrome. I made that recipe before any camera with Nostalgic Neg. had even been released, when there weren’t very many samples available, and little information had been given about it. I observed “something along the lines of Eterna gradation, [with] the Classic Chrome color palette (however, with a warm shift)….” I also stated that it would “likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation….” Turns out that I was right about both.
I set out to see how close I could get to that X-Trans IV Nostalgic Negative recipe using Nostalgic Neg, on my X-T5. I was hoping that I could get a close match, but unfortunately I was only able to get it to be about 90% similar. Even though it wasn’t an exact match, I still liked the aesthetic. From there I gave it a couple of small tweaks to make it look better (but less like the X-Trans IV recipe), and that’s how this Kodak Negative recipe came to be.
To my eyes, without digging too deeply into samples (just “memory color”), this recipe is reminiscent of Kodak Ektar 100. Maybe +4 Color isn’t quite high enough to mimic Ektar film, but there are definitely some similarities between this recipe and the film. I didn’t set out to recreate Ektar, so I’m not worried that it’s not an exact match. There’s certainly a vibrant Kodak color negative film vibe to this recipe; if not Ektar, then maybe Royal Gold 100 or Gold 100 or something along those lines.
Looking Through the Stone – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”
This Kodak Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This Kodak Negative recipe is especially well-suited for golden hour photography, but can also be used during most other light situations.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -4 Blue Dynamic Range: DR400 Highlight: -0.5 Shadow: +2.5 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Negative” Film Simulation Recipe on my Fujifilm X-T5:
Church Dome – Litchfield Park, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Water & Reflection – Litchfield Park, AZ – Fujifilm X-T5
Lake Lamp – Litchfield Park, AZ – Fujifilm X-T5
Pond at Last Light – Buckeye, AZ – Fujifilm X-T5
Disappearing Desert Light – Buckeye, AZ – Fujifilm X-T5
Approaching Dusk at Pond – Buckeye, AZ – Fujifilm X-T5
Pond Water – Buckeye, AZ – Fujifilm X-T5
Palm Tree Moon – Litchfield Park, AZ – Fujifilm X-T5
Media Center – Buckeye, AZ – Fujifilm X-T5
Golden Triangle – Buckeye, AZ – Fujifilm X-T5
Golden Leaves – Litchfield Park, AZ – Fujifilm X-T5
Tree Top Clouds – Buckeye, AZ – Fujifilm X-T5
Lakeside Townhomes – Litchfield Park, AZ – Fujifilm X-T5
Soft Shrub – Buckeye, AZ – Fujifilm X-T5
Three Oranges – Litchfield Park, AZ – Fujifilm X-T5
Me Photographing Me – Litchfield Park, AZ – Fujifilm X-T5
Observing the Lake for Fish – Litchfield Park, AZ – Fujifilm X-T5
Worn Wood – Litchfield Park, AZ – Fujifilm X-T5
Pier Leg – Litchfield Park, AZ – Fujifilm X-T5
Lantana – Litchfield Park, AZ – Fujifilm X-T5
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Yesterday I stated that I don’t like the inconsistent results from the new AI Auto White Balance found on the Fujifilm X-T5 and the other X-Trans V cameras. This isn’t a problem for most people, I don’t think; however, if you are a wedding or event photographer (or someone who needs consistent rendering over a series of pictures), if you use Film Simulation Recipes and rely on the out-of-camera JPEGs, and if you commonly use Auto White Balance, this is an issue you are likely to encounter, and you will surely be frustrated by it.
For those who are looking for a workaround to this problem, I want to offer you five potential solutions that might be helpful. None are perfect, so I hope that Fujifilm addresses this with a firmware update in the near future, but in the meantime perhaps one of these will be at least ok for you.
1. Use a Film Simulation Recipe that doesn’t use AWB yet matches the lighting conditions. For example, if you will be photographing indoors under artificial light, instead of using AWB, try Serr’s 500T (which uses a specific Kelvin temperature) or CineStill 800T (which uses Fluorescent 3). While AWB recipes are easy to like because of their versatility (Jack-of-all-trades), Auto White Balance won’t always deliver the best results. You’ll have to figure which recipe might be most appropriate for whatever it is that you are photographing, and there could only be one or two that will really work well; however, if you can match the recipe with the scene and situation, that’s when you’ll get the best outcome.
2. Use Custom White Balance. Instead of using Auto White Balance, take a custom white balance measurement in each lighting condition that you encounter. Your camera has three Custom White Balance banks, so you can take a measurement in up to three different situations at the beginning, and just switch between the three banks as you move throughout the event. For example, Custom 1 could be for outdoors, Custom 2 could be for the reception, and Custom 3 could be for the dressing room. If the light changes significantly due to (for example) the sun’s position in the sky or cloud coverage, you might have to remeasure at various times. You’ll have to remember to switch to the appropriate Custom White Balance bank as the light situation changes.
3. Use Auto White Balance Lock (AWB-L). This feature allows you to lock onto a specific white balance for as long as you keep it locked. To do this, first, while in the Shooting Mode (not Playback), press and hold the Disp/Back button until the Bluetooth & Function (Fn) Setting Menu appears. Pick an Fn button (whichever one you like, as long as it isn’t a touchscreen gesture) to customize, and set it to AWB-L. Next, open the Wrench Menu subset, click Button/Dial Setting, select AWB-Lock Mode, and set it to AWB On/Off Switch. Now, when you think AWB is producing a good white balance for the situation, simply press the Fn button you chose to enable AWB-L, and the camera will keep that white balance until you press the button again to disable it. Don’t forget to disable AWB-L when you encounter different lighting.
4. Program the same Film Simulation Recipe into several C1-C7 Custom Presets, but (for example) set the white balance to Daylight (for outdoors) on one, maybe Fluorescent 3 (for indoors) on another, and some other white balance (for another light you expect to encounter) on another. Definitely check the results at the very beginning to make sure it all looks good (and adjust if necessary) before photographing the whole event this way. You’ll have to remember to change to the correct C1-C7 preset as the light situation changes.
5. Take your chances with AWB. If you shoot RAW+JPEG, even if you have no intentions of editing the RAW files, you can reprocess the pictures in-camera or with X RAW Studio if, by chance, a crucial exposure has a weird color cast. You can simply adjust the white balance to be closer to the others, or apply a B&W recipe (such as Kodak Tri-X 400) and call it being creative.
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