Just a quick update about tomorrow’s show: it will now be at 9:00 AM Pacific Time, 12:00 noon Eastern. This is one hour earlier (or 13 hours, if you count my mistake of using PM instead of AM… what an error!). So just to clarify, it will be 9:00 AM Pacific, 10:00 AM Mountain, 11:00 AM Central, and 12:00 noon Eastern. You can find the show on the SOOC Live YouTube channel, or by clicking here. I’ve also included it below. I hope that you can join us! And I apologize for the time mixups and changes.
***Correction: Note the new times. The show will now be at 9:00 AM Pacific, 12:00 noon Eastern.***
Wow, it’s been 11 months since the last episode of SOOC Live! Time sure does fly. It’s not for lack of trying that so much time has passed; our schedules just didn’t work out for most of 2025. But, as a holiday gift to you, Nathalie Boucry and I will be hosting a live broadcast on Monday, November 24th, at 9:00 AM Pacific Time, 12:00 noon PM Eastern. I really hope you can join us!
In this episode, we’ll be discussing one of Fujifilm’s most controversial features: the Film Dial. We’ll talk about the good and the bad, and—much more importantly—how to get the most out of it. If you own a Fujifilm X-T50, X-M5, X-E5, or X-T30 III, this is a must-watch episode; if you don’t own one of those models, but are curious about the Film Dial, be sure to tune in. I look forward to chatting with you live on November 24th!
In other news, I just released an update to the Fuji X Weekly App on Android, which fixes the bug that the app will crash when tilted vertical (landscape) on some operating system versions. It was a weird bug that I believe may have been introduced on version 14. Basically, some coding that worked flawlessly on earlier versions no longer worked on newer operating systems. Usually when a new OS update is released, it screws something up unexpectedly. Sometimes it’s a little thing that’s not a big deal; other times it’s a major problem. It took some serious troubleshooting to find and fix this particular issue. This was only for Android, and did not affect iPhones. A special “thank you” to those who reported the problem and helped troubleshoot it!
I’m also working on a fairly significant app update that hopefully will be ready next month sometime. I can’t give away the details yet, but I think many of you will really appreciate aspects of it. I’m constantly working on updates to the Fuji X Weekly, Ricoh Recipes, and RitchieCam apps (even though it may not always seem like it)—between the apps and this website, I stay really busy. I have a lot of various things in the air, which I can’t wait to share when the time is right—hopefully some will be sooner than later. Some things may not ever work out, that’s the way it goes sometimes and that’s ok. Anyway, if you have time on Monday, be sure to join Nathalie and I on YouTube, I’m really looking forward to chatting with you!
Anyone who has ever used a Fujifilm X or GFX camera has used Film Simulations. No mater if you are a JPEG photographer or a strict RAW shooter, you use at least one Film Simulations. There’s no getting around it.
Those who claim “I don’t use Film Simulations” on their Fujifilm cameras are not being honest because it’s nearly impossible to disable them (we’ll get into that in a moment). What they are really stating is, “Film Simulations are for those JPEG people; I shoot RAW, so they don’t apply to me.” But, silly goose: they apply to the RAW photographer just as much as to those who shoot straight-out-of-camera. In some cases this may simply be ignorance, not realizing that Provia—the “standard” option—is one of the 20 Film Sims; however, I believe it can also be explained by arrogance: “Film Simulations are for JPEGs, and Real Photographers™ don’t shoot JPEGs.”
Interestingly enough, the most popular Film Simulation by far among strict RAW photographers is Provia, while the most popular Film Simulation by far among those who use Film Simulation Recipes is Classic Chrome. The Provia Film Simulation is intended to be broadly appealing, especially to those without a background in film photography. Classic Chrome is intended to appeal to those who want a film look. For those who use Recipes, Provia isn’t even one of the Top 5 most popular.
There are only two ways to disable the Film Simulations. The easiest and most obvious is to use the Advanced Filters, which, when activated, are in lieu of Film Simulations (although some of those are based on Provia); however, I don’t think the people who loathe Film Sims are using the Advanced Filter options. The second requires a camera with an OVF. Disable the EVF and turn off image playback. Only use the OVF. Then, in Lightroom, change the base color profile to your own or Lightroom’s neutral base. In that way, you never have to look at a Film Simulation.
The problem with saying “I don’t use Film Simulations” is that each time you look at the EVF or review on the LCD the photo you just captured, you are seeing it with a Film Simulation applied, most likely Provia. You are seeing the world through the lens of that Film Sim each time you use your camera. You may or may not use Lightroom’s or Capture One’s version of a particular Film Simulation when you edit your RAW photos (most probably do), but at the time of capture, you are absolutely using a Film Simulation.
Film Simulations are half the fun of Fujifilm cameras. Those who use Recipes already know this. My suspicion is that those who only ever use Provia haven’t tried the other options, or maybe only briefly did when their camera was brand-new before quickly dismissing them. In other words, they may not know what they’re missing. It’s quite possible that they’d like their cameras even more if they explored this feature.
Worn Out – Buckeye, AZ – Fujifilm X100VI – Classic Chrome – Kodak Portra 400 v2
My suggestion, if you are a strict RAW photographer who would never be caught dead shooting JPEGs, is to try the other Film Simulations. You might find one that better matches your vision more than Provia, which might help you to better visualize the final result at the time of capture. It can be a useful tool; you might find it to be less of a gimmick than you thought it was. Then, hopefully, we can move beyond the “I don’t use Film Simulations” nonsense, which is untrue. If you use a Fujifilm camera, you use Film Simulations. Period. Maybe you only use one, but you still use them.
As for the rest of us who find Film Simulations to be one of the defining features of our cameras, it’s ok to celebrate that. There’s no need to feel “less than” because some jerk talks down to you. If that person found what works best for him or her, that’s wonderful; if you found what works best for you, that’s equally as wonderful. There’s no right or wrong way to do photography, or one way that is superior. What I can say after meeting hundreds of you: these people might be common on the internet, but they are rare in real life. Most people are kind, friendly, and accepting. And, as it turns out, we have more in common than we thought, including that we all use Film Simulations.
This article pits the Fujifilm X-T50 and Fujifilm X-T30 head-to-head on an autumn photowalk in Ann Arbor, Michigan. Just to warn you, this will likely be the most unfair camera comparison anywhere on the internet. Nonetheless, I hope that you find it worthwhile, or at least enjoyable.
Fujifilm introduced the X-T30 in February of 2019. It features a 26mp X-Trans IV sensor, and was Fujifilm’s mid-tier SLR-styled camera until it was replaced by the nearly identical X-T30 II in November of 2021. Fujifilm announced the X-T50 in May of this year. It features a 40mp X-Trans V sensor and IBIS, as well as the contentious Film Dial. While it is not the X-T30 II’s successor (I assume that means an X-T30 III is a possibility in the future), the two models are clearly in the same family. They are similar in size and design, but the X-T50 is slightly larger and heavier (to accommodate IBIS), with rounded corners and is more expensive. According to the spec sheets, the X-T50 is better in pretty much every aspect, but not necessarily by leaps and bounds. Overall, these two cameras are pretty similar for stills photography; however, for video, the X-T50 is the winner.
This last Saturday, Bryan Minear and I cohosted a photowalk in Ann Arbor in conjunction with PROCAM and Fujifilm. We had an excellent turnout: I counted 48 people, including myself and Bryan. The weather was nice—a nearly perfect crisp autumn morning—and the scenery beautiful. It was a massive success, and just a ton of fun. It was so great to meet those who came out!
One especially great aspect of this photowalk for me is that my seven-year-old daughter, Johanna, was able to join us. I gave her my Fujifilm X-T30 to photograph with, set with the Kodak Portra 400 v2 Film Simulation Recipe. I’ve let her use some of my old digicams before, but not a “nice” camera like the X-T30. I wasn’t sure how well she would do with it, but gave her a quick tutorial and let her have at it. Honestly, she stole the show.
Above left: Johanna with an X-T30, captured by me with an X-T50 using the Fujicolor PRO 160C Warm Recipe; Above right: me with an X-T50, captured by Bryan Minear with a GFX100S II.
I bet you can already see where this article is going. Yes, this totally unfair camera shootout is between myself with a Fujifilm X-T50 and Fujinon 27mm f/2.8 lens and my seven-year-old daughter with a Fujifilm X-T30 and TTArtisan 27mm f/2.8 lens. Even though I had the better gear, I had absolutely no chance of winning. Johanna—with an X-T30—won in a landslide. We’ll get to the pictures in just a moment.
The Fujifilm X-T30 has a few fewer film simulations and JPEG options than the X-T50, but it is still a very, very capable camera. Even in the hands of a child, it can capture excellent images. Between the two, I’ll grab the X-T50 every time; however, if I were trying to decide to buy an X-T50 or X-T30 II, that would be a much tougher decision—the X-T30 II is a better value, while the X-T50 is a little more capable. I don’t think you can go wrong either way. Between a used X-T30 and brand-new X-T30 II, I would lean towards the X-T30 II due to Classic Negative and other firmware upgrades.
Above, top-left: by Rickey White. Above, bottom-right: by Bryan Minear. Above, all others: by my wife, Amanda Roesch. Amanda used a Fujifilm X-T5 + Fujinon 56mm f/1.2 lens + Fujicolor Negative Recipe.
The reason why I declared Johanna the winner is because I’m her dad (she was always going to win… I never had a chance—all the dads out there understand), and also because young children are oftentimes good photographers. They are naturally curious and creative. They don’t think about all the “rules” and what they “shouldn’t” do; instead, they’re just having fun. Also, their perspective is so much different—quite literally, because they are smaller, but also figuratively—so it’s a completely different take from what most adults see—they notice things that others completely overlook. If you have a child, I definitely recommend allowing them to photograph with you sometimes. Don’t be afraid to let them borrow one of your cameras (I know, it’s a risk… my oldest son dropped and broke one of mine when he was little). Those experiences might be pivotal for them, and at the least it’s something you both will remember and cherish for many years.
Below are straight-out-of-camera JPEGs captured during the Ann Arbor photowalk by Johanna using a Fujifilm X-T30 and the Kodak Portra 400 v2 Recipe and by me using a Fujifilm X-T50 and the Film Dial Recipes.
The Film Dial, which was introduced on the Fujifilm X-T50 and is now also found on the Fujifilm X-M5, is a lot of fun. Some people don’t like it, and that’s ok. Not every camera is for everyone, and not every feature is for everyone. It’s one of Fujifilm’s most contentious features. Personally, I like the Film Dial—it’s very useful when combined with my universal Film Dial Recipe, but, perhaps more important, it’s enjoyable.
A few days ago was Halloween. My four kids dressed up, and we went to a nearby family member’s house to pass out candy and trick-or-treat. My oldest daughter was Wednesday from The Addams Family. My oldest son was Waldo. My youngest son was a Fortnight character. And my youngest daughter was Cinderella. We passed out candy before walking around the neighborhood. It was a ton of fun!
Since it was going to be dark—starting right at sunset and continuing into the night—I wanted to use a fast lens, so I borrowed my wife’s Fujinon 56mm f/1.2 (the new version). That’s one of my favorite lenses—it has such fantastic image quality—but since it’s not mine, I don’t always get to use it. I debated between cameras, but went for the Fujifilm X-T50 because it is more lightweight and compact than the X-T5, and has IBIS, which the X-E4 does not. For this particular purpose, it seemed Goldilocks.
I only used the Film Dial Recipe that night, and turned the knob to different film simulations depending on the light, subject, and situations. The great thing is that you get a real-time preview of what the picture will look like, so you can quickly change the film sim to better match the scene, and see what each will produce. I used Classic Negative the most, but also Classic Chrome, Reala Ace, Eterna, Nostalgic Neg., and Acros+R. It worked out really well for documenting our spooky Halloween celebration.
A couple days ago pal2tech posted a YouTube video explaining the Film Dial on the Fujifilm X-T50 (which, apparently, will also be found on the upcoming X-M5). To my surprise, Chris gave a very kind shoutout to Fuji X Weekly, and he even included a link to one of my YouTube videos in the description of his video. I’m really honored to be mentioned by Chris; I’m a big fan of pal2tech—it’s one of my favorite YouTube channels, and one that every Fujifilm photographer should subscribe to, in my humble opinion. If you haven’t seen his video, go ahead and give it watch.
The Film Dial is one of the most controversial design decisions Fujifilm has implemented, right up there with the X-Pro3’s backwards LCD screen. I actually really like the dial, personally. It’s a lot of fun to use, and adds versatility for the SOOC photographer. But not every camera is for everyone, and not every camera feature is for everyone, so it is understandable when some don’t like it; however, I think a lot of the negativity surrounding the Film Dial is simply a misunderstanding of how useful it can be.
NAB Photowalk Group 3 – New York City, NY – Fujifilm X100VI – Nostalgic Americana
I was just at the NAB Show in New York City, because Fujifilm brought me out to lead three photowalks around Manhattan. Fujifilm loaned cameras to those on the photowalks, and some folks were handed a Fujifilm X-T50. Before beginning, I took a few moments to help set up these loaner cameras, and for those with the X-T50, I programmed my universal Film Dial Recipe, and explained how to use it.
As the photowalks were wrapping up, I asked those with an X-T50 what they thought of the Film Dial. One person answered that it was a lot of fun. Another said that they really liked it. Another showed me some images they captured with Eterna, a film simulation they had never tried before but now love. Only one person gave negative feedback, and their complaint is completely understandable.
Could the Film Dial have been implemented better? Absolutely! An easy way for Fujifilm to improve it would be to allow each film simulation to be customized into a Recipe. In other words, make it possible to custom set Highlight, Shadow, Color, White Balance, etc., etc., with each slot on the Film Dial. When the Film Dial is set to C, that’s when the C1-C7 presets would work. This could be done with a Firmware update someday in the future. Even though it’s not perfect, that doesn’t mean the Film Dial isn’t a fun and useful feature, because in its present state it very much is.
I’m looking forward to the Film Dial being included on more models. I think putting a much-loved feature of the camera front-and-center on the top plate is a smart move by Fujifilm. I’m also looking forward to seeing how it might evolve in the future, and possibly become even better.
NY Photographer in IR – New York City, NY – Fujifilm X-T4 ES – Aerochrome v2
In other news, while at the NAB Show, I spoke with someone at B&H, and they told me that the Fujifilm X-T4 ES (“Extended Spectrum”) infrared camera is available from them right now. It’s not something that can be purchased online, so you either need to call them or drop by in-person to buy it. So if you want to try my Aerochrome v2 Recipe—which I love so much, personally—you may want to contact B&H and inquire about the Fujifilm X-T4 ES. For those who wanted to get one, it’s not too late.
There’s one last thing I want to mention. I was walking around Central Park recording some content to help promote the new Evergreen + Fuji X Weekly Protective Case for Fujifilm X100-series cameras. I had my case, and Alex from Evergreen also had one with him. While meandering, we ran across someone with a Fujifilm X100VI, so we said hi to him and had a short conversation. He told us that he had ordered the camera when it was first announced, but his copy had just arrived, and this was one of his first opportunities to use it. We were very happy to gift him one of the two cases to go along with his new camera. The protective case is a great way to keep your X100VI, X100V, X100F, etc., safe while traveling or out on an adventure.
New Fujifilm X100VI & New Case – New York City, NY – Fujifilm X100VI – PRO Negative 160C
I’m still traveling, but as soon as I’m back home I have a lot more to share with you, so stay tuned!
The new Film Dial on the Fujifilm X-T50 has become one of the most controversial features ever included on a Fujifilm camera. There’s been a lot of hate for it expressed on the internet. There seems to be two camps who dislike it: those who shoot RAW, and those who use Film Simulation Recipes. I believe that the Film Dial has been largely misunderstood, and that it will become more appreciated over time.
The RAW-only group dislikes the Film Dial because they don’t care much for in-camera film simulations. Some will say that they don’t use film simulations at all (of course, they say this while using Provia… film simulations cannot be disabled, so they’re always using one…), and some will say that they apply the film simulations in-post using Lightroom or Capture One, and not in-camera. For this group, the Film Dial is a complete waste of space, they say.
The Film Simulation Recipe group dislikes the Film Dial because you cannot program it with Recipes; it only changes the film simulation and nothing else. They would prefer that each “film” on the Dial could be custom set as a Recipe. That would be really cool, actually, and think that’s a great idea—maybe Fujifilm could do it in the future. Also, a C1-C7 Dial (or increase it to 10 or 12 or more) would have been most ideal. Still, the Film Dial can be useful for this group by utilizing a “universal Recipe” technique, which I used extensively in August traveling across the country. So I think there are two parts to this: 1) a frustration that it could have been implemented better, and 2) not fully realizing the potential that it does have in its current iteration. Nothing can be done about the first point (aside from Fujifilm changing it either with a firmware update, or how it is implemented on future models), but for the second point its a matter of getting the word out—once people try my solution (or something similar… Reggie’s Portra works pretty well for this, too), I think it will be much more liked.
This year I’ve traveled quite a bit, and met hundreds of fellow Fujifilm photographers across the country, and even some from other countries. In doing so, I’ve learned that there are a variety of ways that people are using film simulations and Recipes. Some of these things I would have never even thought of. It’s truly amazing! I want to briefly share them with you.
The number one way that Film Simulation Recipes are being utilized is for straight-out-of-camera photography. This is how I use Recipes, personally, for my own pictures. Basically, the JPEG produced by the camera is the finished photo, aside from sometimes cropping/straightening and maybe some small/minor adjustments occasionally. This saves so much time, and can make the processes more enjoyable—I could list a whole bunch of benefits, but that’s not the point of this article. Straight-out-of-camera photography was once highly shunned by the photographic community at large, but now it is much more acceptable and common, and I believe that—as a pendulum swing response to years of over-editing and now AI—photography as a whole is moving in this direction; authenticity is a big buzzword right now. Another approach is to shoot RAW+JPEG and utilize X RAW Studio or the in-camera RAW reprocessing to change the Recipe after-the-fact.
Another way that people use Recipes is similar to above, just in-conjunction with more robust editing. The SOOC JPEG isn’t the end, it’s the starting point. Camera-made JPEGs have a lot more tolerance for manipulation than they used to, and a light-to-moderate amount of editing is perfectly ok. So the camera gets you a significant distance to the finished picture, and a little editing finishes the job. Sometimes this group will shoot RAW+JPEG and edit the RAW instead of the JPEG when faced with a challenging light situation.
Some people use Recipes, but they shoot RAW+JPEG and don’t usually utilize the camera-made JPEG. If a picture needs to be shared quickly, the JPEG is there, but otherwise the RAW is used. Since software can/will apply its version of its interpretation of some (but not all) of the JPEG data to the RAW file, the Recipe provides a shortcut to a finished RAW-edited picture. It shaves off a little time at the computer, while also producing a ready-to-share JPEG whenever that is needed.
A much less common use—which I was actually quite surprised by but it makes a lot of sense—is Recipes for pre-visualization. JPEGs are rarely or never used; instead, the Recipe allows the RAW photographer to get a better idea of what the finished picture will look like while in-the-field. Utilizing a Recipe that is similar to the photographer’s aesthetic, they can basically see the end result even before opening the shutter. It’s such a great tool for the RAW photographer, but it seems to be highly underutilized, likely because it just never occurred to most to try it.
One last method, which might surprise a lot of you, is the combination of RAW and JPEG photography. There’s an extraordinarily talented photographer (there’s a good chance you’ve seen his pictures) who told me that one of his techniques is to shoot RAW+JPEG with Recipes, edit the RAW file, then blend the SOOC JPEG overtop of the edited RAW. He told me that he does this because the camera-made JPEG has a certain quality or soul that can’t be replicated with RAW-editing and he doesn’t want to lose that, but he needs a certain level of control for his style of photography, and by combining the two, he has the best of both worlds. Amazing!
There’s no right or wrong way to use film simulations and Recipes, there’s only what works for you and your photography. It’s your art, so do it however you want to. My point, though, is that the Film Dial, which I suspect will make its way onto more Fujifilm cameras in the future, can actually be quite useful to both groups who have decried it. I think the potential has yet to be fully explored or understood.
I bring all of this up because Fujirumors posted an article entitled Reframing the Debate: Fujifilm Film Simulations as a RAW Photographer’s Ally and with the subtitle Stop Hating Film Simulations. This is my two cents. There was such a big (and generally unfair) stigma towards JPEGs for such a long time; since film simulations have been heavily associated with SOOC photography, some people look down on them and their use. They see it as being beneath them or for amateurs-only. In doing so, they might be overlooking something that could actually be much appreciated. So I think it’s important to bring awareness to how film simulations and Recipes are being used—perhaps they can be helpful to your photography, but maybe you’ve never tried or have never considered how they might be. My hope is that this article will be enlightening to some of you, and that someone reading this will give Film Simulations Recipes a try for the first time.
The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.
In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.
The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!
Denver Nighttime Street Photography
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
Classic Chrome a.k.a. “Kodak Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Exploring Nashville
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros a.k.a. “Neopan Negative”
Eterna a.k.a. “Cinematic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Chrome a.k.a. “Kodak Film”
Classic Negative a.k.a. “Superia Negative”
Velvia a.k.a. “Velvia Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
New York & New Jersey
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Acros a.k.a. “Neopan Negative”
Acros+G a.k.a. “Neopan Negative”
Massachusetts
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros+G a.k.a. “Neopan Negative”
Acros a.k.a. “Neopan Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
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Fujirumors posted a poll today asking whether people would prefer the (someday upcoming) Fujifilm X-E5 to have the same Shutter Knob as the X-E4, or replace the Shutter Knob with a Film Dial, or use a Shutter/ISO combo Knob like the X100/X-Pro cameras. As of this writing, a little over 70% would prefer the Shutter/ISO Knob, according to the poll.
Way back in March of 2021 when the X-E4 was brand-new, I said “It would have been a nice touch if Fujifilm had included an ISO ring around the shutter knob.” It should not surprise anyone that my vote is for the Shutter/ISO combo. In my opinion, if the X-E4 had had that combo Knob, had kept the M/C/S switch, and had kept the rear Command Dial, the camera would have been pretty much perfect. I understand that the Shutter/ISO combo Knob is much more complicated and more expensive, but it would be worthwhile to include it on X-E series cameras, in my opinion.
There’s a vocal group of people who didn’t like the X-E4, but prefer the X-E3 instead, and want the X-E5 to be more similar to the X-E3 than the X-E4. That’s because the X-E4 was slimmed down with a minimalistic approach, but perhaps just a bit too minimalistic. It’s completely understandable that not everyone appreciated it. The reason why the X-E5 is much more likely to have more in common with the X-E4 than the X-E3 is simple: the Fujifilm X-E3 did not meet sales expectations, while the X-E4 exceeded them. Fujifilm had to steeply discount the already affordable X-E3 just to clear the warehouse, and even then had trouble selling them (the X-E3 could be found rather easily a year after it was discontinued, and for a discount). The X-E4 was difficult to find in-stock throughout its production life, and had months-long backorder lists when it was suddenly discontinued, presumably because Fujifilm ran out of parts and couldn’t secure enough to justify keeping the assembly line open. Now, the X-E4 sells for a few hundred more used than it did brand-new. I’m not saying that the X-E3 is a lesser camera, only that Fujifilm had trouble selling it and had trouble meeting the demand of its successor, so it is logical that they’d follow the formula that worked well for sales.
The less that Fujifilm changes from the X-E4, the better in my opinion. If it ain’t broke, don’t fix it. Give it the X Processor 5, an improved EVF, the M/C/S switch, rear Command Dial, and that combination Shutter/ISO Knob, and you’ve got a really compelling camera. But, who knows, Fujifilm might do a complete overhaul. I have no idea.
While I actually really like the Film Dial on the Fujifilm X-T50, and I found a way to make it work quite well, I would not replace the Shutter or Exposure Compensation Knobs with it. That just doesn’t make any sense. If Fujifilm really wants to include the Film Dial on the X-E5, it would need to be an additional feature, and not a replacement of something already existing. Maybe similar to how Leica integrated the ISO Dial into the M11?
It will be interesting to see how Fujifilm evolves the X-E line. It’s much beloved by those who have owned them, but always on the chopping block, it seems. Apparently it’s not mainstream enough to have a secure spot in the X-series lineup, but the passionate fanbase prevents Fujifilm from axing it. If the X-E5 existed today, it would sell like hotcakes; heck, if the X-E4 was still being manufactured, it would be selling like hotcakes right now. Whenever the X-E5 is eventually released, perhaps next year, it will likely do very well for Fujifilm. But, I do think it’s important to strike while the iron is hot, and it’s hot at this very moment—so the sooner the better.
As you are probably aware, the Fujifilm X-T50 has a new Film Dial, which allows you to quickly and easily switch between different film simulations. It’s a contentious design feature, and I think a lot of people were surprised that I actually like it.
To be honest, I didn’t care for the Film Dial at first, as it initially seemed to be something that I’d never use. But after thinking about it and playing with it, I discovered a way to get the most out of the Film Dial, which I wrote about here. Now, I love the new knob!
Afterwards, I received a number of requests to demonstrate what the article stated. Some people are visual learners, and it can be difficult to fully grasp the meaning of something that’s written. A number of messages and comments asked, “Can you show me what you mean?” That’s the entire point of my new YouTube video, which I’ve included below.
If you are a visual learner and are interested in or curious about the new Fujifilm X-T50, definitely give the video a watch. I hope that it is helpful to some of you—if so, let me know! If you’d like more of this type of content in the future, let me know that, too.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
The brand-new Fujifilm X-T50 has a Film Dial! It’s their very first model with a Film Dial, actually. Turn the knob to give your photos a different analog aesthetic. The “films” are simply the various film simulations, which Fujifilm has been including in their cameras for a couple of decades now; originally there were only a few, but they’ve routinely added more over the years, and now there are 20 different film simulations to choose from. I really like the Film Dial, and I think it’s wonderful that Fujifilm has decided to make film simulations a prominent part of the X-T50 experience.
The Film Dial is great for exploration. Many photographers never venture outside of Provia/STD, or perhaps they try a few different options but end up sticking with just one, and they don’t really know what they’re missing out on with the other film simulations. Even though it is such an intrinsic part of the Fujifilm experience for many, you have to dig through the menu (or select the correct Fn shortcut) in order to change the film simulation. Now, it’s as easy as changing the shutter speed or aperture, and is placed in a prominent position of equal importance.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: use Color Chrome FX Blue Off on X-Trans V), but three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe.
Initially, I wasn’t sure how to best implement the Film Dial into my workflow. I figured that it makes the most sense if you have the Kodak Portra 400 v2 Recipe programmed into one of the C1-C7 custom presets—turn the knob to NC and now you’ve got Vintage Vibes, and set Eterna Bleach Bypass to one of the three FS custom positions and you’ve got Ferrania Solaris FG 400. It’s like having two extra custom presets! While that in-and-of-itself is great, I wondered if I could come up with an even better strategy to get the most out of the Film Dial.
Before jumping into that, let’s talk a little about the Film Dial, which sits just above the words “X-T50” and in place of the Drive Dial that the X-T30 has (Drive is now a button like on the X100 and X-E series). There are 20 film simulations, and only 12 positions on the Film Dial, which means that some film sims got left out. There are eight “films” on the knob: Provia (STD), Velvia (V), Astia (S), Classic Chrome (CC), Reala Ace (RA), Classic Negative (NC), Nostalgic Neg. (NN), and Acros (A). Acros can be customized to +Y, +R, or +G, if you prefer one of those over standard Acros. For those keeping score, PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome (including +Y, +R, and +G), and Sepia have all been left out.
Fujifilm does provide three customizable options (FS1, FS2, FS3), so you can add some of the left-out film sims back to the dial. Personally, I found Acros+Y, Acros+R, and Acros+G to be excellent contenders for this. If you don’t do much black-and-white photography, maybe PRO Neg. Std, Eterna, and Eterna Bleach Bypass could be good options. There’s also the “C” position on the knob, which is what you want the dial to be set to when using your C1-C7 custom presets. You can program a bonus 8th Recipe into the IQ Menu set; when you don’t have a C1-C7 selected (a.k.a. P, A, S, M, Off, or Nothing Selected, just depending on where you’re viewing it from), this bonus Recipe is activated, and you’ll want to use “C” for this, too. If this bonus Recipe is programmed with a film simulation that’s not otherwise on the Film Dial, you can have 12 (of the 20) film sims at your disposal.
That was all a little convoluted, so just to be clear: the “C” position simply disables the Film Dial; if the knob is set anything other than “C” it will use that film simulation, no matter what you may have otherwise programmed into your camera. There were several times that I forgot to check what the Film Dial was set to (not verifying that it was in the “C” position), and I accidentally used the wrong film simulation with my Recipe for some pictures, until I caught my mistake. It’s important to check the position of the Film Dial—make it a habit—when using the X-T50. Once you are used to how this all works, the camera is so much fun to use, and it feels like there are a massive number of Recipes available to you on the camera at any given time.
A couple other quick points that I want to make about the Film Dial is that it isn’t just for straight-out-of-camera JPEG photographers. Obviously those who use film simulations regularly are the most obvious beneficiaries of the new knob, but there are two other groups of people who might unexpectedly appreciate it. The first is those who shoot RAW but oftentimes apply a film simulation to their pictures in Lightroom or Capture One; now, you can know while your making your exposure what it will look like with a certain film simulation, instead of waiting until later while at your computer. Having a clearer vision of the finished picture at the moment the image has been snapped will only improve one’s photography. The other group is videographers who don’t (yet) realize that they can reduce or even eliminate color grading by using film simulations—the Film Dial works in video mode, too.
If you’re not sure what analog aesthetic a certain film simulation is replicating or how it behaves, pressing the Q-button while browsing via the Film Dial will provide you with a brief synopsis of each. I think these need to be taken with a small grain of salt, though, because a bit of liberty was taken by Fujifilm when writing some of them out. With that said, this is a good starting point for learning about the various options, if this is new to you.
The Film Dial only changes the film simulation. All of the other settings remain the same when you turn the knob. This is, of course, the problematic situation that I mentioned before. While contemplating a solution, I remembered the “different approach” that Anders Lindborg came up with a few years back, and how he was able to get good results when using the various film simulations with the same base settings. I wanted to try my hand at something similar: have one set of settings, which could be programmed into a C1-C7 slot or in the IQ Menu, and simply turning the Film Dial will produce good results no matter the film simulation that you’ve selected. In other words, I set out to create one Film Simulation Recipe that works well with all of the film simulations. It was definitely difficult to do, because (like I already said) one set of settings doesn’t often work well with multiple film simulations.
I desired these settings—this new Recipe—to be generically analog-like, and also versatile. Sunny, rainy, indoors, outdoors—whatever situation you find yourself in, and whatever subject you are photographing, this Recipe will produce good results. You just have to find the film sim that is most ideal for whatever it is that you are photographing, and how you want it to render—your own personal tastes and styles will largely dictate which one is most ideal for you, and the best way to find out is to give them a try. Turn the Film Dial until you get to the one that you want to use.
Just to be completely clear, the way this works is that you program the Recipe (that’s found below) into either a C1-C7 slot, or (as I did it) into the IQ Menu set. Then, when this Recipe is selected, simply rotate the Film Dial to choose the film simulation that you want to use. There are eight built-into-the-knob film sims, plus three custom, plus “C” (which is whatever you have programmed into the Recipe). My recommendation is to choose—for the programmed Recipe—a film sim that is not available on the knob (I chose Eterna). Carefully consider which three film simulations you want to custom set in addition to the standard eight; unfortunately, you cannot have all 20, but you can have most of them.
Only the Fujifilm X-T50 has a Film Dial, but all Fujifilm cameras have an Fn shortcut to the film simulation menu. If yours doesn’t, or you don’t like the specific button that it is set to, you can customize it yourself pretty easily. Even though your camera doesn’t have a Film Dial, you can do pretty much the same thing using an Fn button—the advantage you have is quick access to all of the film simulations and not just some, but the disadvantage is that it takes an extra step and isn’t as instinctive or obvious. Even though the technique in this article is specifically for the Fujifilm X-T50, you can do this on any Fujifilm camera; however, the Recipe below is intended for fifth-generation X-Trans cameras (as of this writing: X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50), and not the older models, although you’re probably alright using it on some fourth-generation X-Trans cameras (X-T4, X-S10, X-E4 & X-T30 II), and newer GFX.
I’ve lumped all four Acros options into one category; ditto for Monochrome. That means, technically speaking, I have 14 Film Simulation Recipes below. You can use as many as 12 of them on your X-T50, so you’ll have to decide which ones (PRO Neg. Hi, PRO Neg. Std, Eterna, Eterna Bleach Bypass, Monochrome, or Sepia) you want available in addition to the standard eight (Provia, Velvia, Astia, Classic Chrome, Reala Ace, Classic Negative, Nostalgic Neg., and Acros).
It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done. Hopefully it will make this approach discoverable, because I can imagine many X-T50 owners utilizing it, and maybe even some who have other cameras. This doesn’t take the place of C1-C7, but can be used in addition to it, basically giving you 19 different Film Simulation Recipes at your disposal, and, if you have Kodak Portra 400 v2 as one of the seven custom presets, you can actually have 21 Recipes! Additionally, you could choose three of these for use with the Film Simulation Bracket feature.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto White Priority, +2 Red & -4 Blue Highlight: -1.5 Shadow: -1 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia.
Provia/STD — “Standard Film”
This “Standard Film” Recipe is bright, colorful, and slightly warm. Unintentionally, it’s more like actual Fujichrome Provia 100F slide film (especially if an 81B warming filter had been used) than the Provia film simulation with factory-default settings. It’s a good option for landscape photography, but some might find it to be a tad too vibrant for portraits. “Standard Film” is kind of similar to the Provia Slide Recipe, or perhaps a less warm KodaNeg VC.
Velvia/Vivid — “Velvia Film”
Velvia was the go-to film for vibrant landscape photography. If you want the colors to pop, this “Velvia Film” Recipe is what you want to use. There’s definitely some resemblance to Fujichrome Velvia 50 reversal film with a warming filter. This is a great option for landscapes; however, don’t use this Recipe for portraits, unless you want your subjects to look like they have a sunburn. Vibrant Velvia is probably the most similar Recipe, but this one is warmer and a little less punchy.
Astia/Soft — “Astia Summer”
Fujichrome Astia 100F was a lower-contrast, lower-saturation slide film with a slight red/purple hue that was specifically intended for portraits. Divergently, the Astia film simulation has high saturation that sits somewhere in-between Provia and Velvia, but with a flatter tonality (yet with deep blacks). I think the “Soft” description is in reference to the tonality. The film and the film simulation are significantly divergent from each other; Fujifilm has stated that the film simulation is the ideal of what the Astia film was intended to be, but wasn’t possible due to the limitations of the emulsion. This “Astia Summer” Recipe is more similar to Kodak Ektar 100 than Fujichrome Astia 100F, but is not a great match for either. It’s good for landscapes—especially when Velvia is too strong—but possibly too vibrant for portraits. The closest Recipe to this one is CineStill 400D v2, but it’s noticeably different.
Classic Chrome — “Kodak Film”
Classic Chrome has a distinct Kodak color palette, but Fujifilm won’t ever use the name of their long-time competitor. It’s more contrasty and less saturated than many of the other film simulations. Unsurprisingly, Classic Chrome is by far the most popular film simulation among those who use Film Simulation Recipes. This “Kodak Film” Recipe is by chance kinda-sorta similar to the (discontinued) Kodak Portra 160VC emulsion (but it’s certainly not a perfect match). This one is good for a lot of different subjects and situations, including portraits. With similarities to Reggie’s Portra, this Film Simulation Recipe will likely become the most popular of all of these.
Reala Ace — “Fujicolor PRO 160C Warm”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. Essentially, Fujifilm has “replaced” both PRO Neg. Hi and PRO Neg. Std with Reala Ace; yes, both of those film sims still exist, but Reala Ace is on the Film Dial instead. This Recipe is reminiscent of Fujicolor PRO 160C film used with a warming filter. It’s good for a lot of different subjects and situations, including portraits. The closest Film Simulation Recipe to “Fujicolor PRO 160C Warm” is PRO Negative 160C.
Classic Negative — “Superia Negative”
Classic Negative is closely modeled after Fujicolor Superia film, which Fujifilm introduced in 1998. It is one of the less saturated and most contrasty film simulations. Classic Negative has some unique color shifts, and behaves differently to under and over exposure, much like the emulsion. This “Superia Negative” Recipe isn’t modeled after any Superia film, but it does have a general Superia Xtra 400 vibe. It’s good for a lot of subjects and situations, especially in low-contrast light. The Film Simulation Recipe that is most similar to this is Superia Xtra 400. The picture above looks extremely similar to one that I saw as wall art inside of an AirBnB.
Nostalgic Neg. – “Nostalgic Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup. It’s modeled after American New Color images from the 1970’s. Nostalgic Neg. has a strong Kodak quality, particularly photographic prints from five decades ago. This is the warmest film sim, which means that “Nostalgic Film” is the warmest Recipe of this group. In my opinion, it might be slightly too vibrant and amber for portraits, but your milage may vary. If you want a retro rendering, the “Nostalgic Film” Recipe is your best bet from these 14. The closest Film Simulation Recipes to this are maybe Kodak Vericolor Warm and 1976 Kodak.
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Neopan Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and FS1, FS2, and FS3 are a great place to put them. This Recipe thrives on high-contrast scenes. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Neopan Negative” Recipe, I’d go with Acros+R. There’s not really any Film Simulation Recipe that’s similar to this one, but perhaps B&W Superia is the closest.
That covers the “standard” eight film simulations found on the Fujifilm X-T50’s Film Dial. The above Film Simulation Recipes can be found in the Fuji X Weekly App. The six Recipes below can also be used, but you won’t find them in the App; however, if you have an X-T50, I recommend choosing one of them as the base, since their film sim is not on the Film Dial. Also, you can program up to three of them into the FS1, FS2, and FS3 positions if you’d like.
PRO Neg. Hi — “Fujicolor PRO Film”
This “Fujicolor PRO Film” Recipe is fairly similar to the Reala Ace version (called “Fujicolor PRO 160C Warm”) higher up in this article. You’ll find it to be a decent all-around option; however, I like Reala Ace more than PRO Neg. Hi. It’s a solid choice to serve the “base” film sim or for FS1, FS2, or FS3, but also slightly redundant. The Film Simulation Recipe that this one is most similar to is PRO Negative 160C.
PRO Neg. Std — “Fujicolor PRO 160S”
For pictures of people, this is my favorite of these Film Simulation Recipes—followed closely by the Classic Chrome (“Kodak Film”), Eterna (“Cinematic Film”), and Classic Negative (“Superia Negative”) options. PRO Neg. Std is nearly identical to PRO Neg. Hi, just lower-saturated and with less contrast. This “Fujicolor PRO 160S” Recipe is a strong contender for the “base” film sim or for FS1, FS2, or FS3. It’s not especially similar to any other Recipe, but perhaps Fujicolor Pro 160NS is the closest.
Eterna/Cinema — “Cinematic Film”
This “Cinematic Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft quality that is especially great for high-contrast scenes. It’s one of my personal favorites, and the one that I personally used for the base film simulation. Eterna is the name of Fujifilm’s line of motion picture films. The most similar Recipes to “Cinematic Film” are Indoor Angouleme, Timeless Negative, and Eterna Low-Contrast.
Eterna Bleach Bypass — “Reduced Bleach”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturated image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures. Think Saving Private Ryan. This “Reduced Bleach” Recipe is somewhat similar to cinema film that has had the bleach step decreased (but not skipped). It’s a great option for results that are significantly different from the other options. The closest Recipe to this one is probably Ferrania Solaris FG 400, although it’s notably divergent.
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable. Similar to the “Neopan Negative” Recipe, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends. The only way to use all four Monochrome options are to have one as the base Recipe, then set the other three to FS1, FS2, and FS3. The Film Simulation Recipe that’s closest to the “Monochrome Film” Recipe is Ilford FP4 Plus 125.
Sepia — “Sepia Print”
Last and certainly least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone. This film simulation replicates that. For a more subtle effect, simply use either “Neopan Negative” or “Monochrome Film” with Monochromatic Color set to WC +2 MG -2. The only Film Simulation Recipe that is similar to this “Sepia Print” Recipe is Sepia. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
Find the first eight of these Film Simulation Recipes and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
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