I was quite surprised this morning to see OM Systems (formally Olympus) using the Recipe concept and name for their OM-3 cameras. Instead of calling it Film Simulation Recipes, they named it Creative Recipes. Last year, Nikon also began using the Recipe concept, with the title Imaging Recipes. There are other similar concepts, like Panasonic LUTs, that have recently emerged.
When I published my firsttwo Film Simulation Recipes—which were originally shared on my previous (and now long-defunct) website before they were posted to Fuji X Weekly when I began this blog in 2017—the whole Recipe concept was brand-new. The straight-out-of-camera JPEG community was much, much smaller back then, and often this community existed in the shadows because not shooting RAW was heavily stigmatized. Some photographers were shooting JPEGs, and a few shared their settings, which typically more simply looked like: Classic Chrome, Color +1, Highlight -1, Sharpness -1. In 2017, almost nobody had heard the term Film Simulation Recipe, and for those who had, most—if not all—were visitors to this website.
The word “recipe” has existed within the photo community for a long time now—I certainly didn’t invent it. Film photographers would create and share darkroom recipes, which were the specific chemicals and times to achieve certain results with specific films. I learned fairly recently that both Capture One and VSCO call their custom-built presets “recipes” and have done so for many years. Five or six years ago someone asked me why I used the word Recipe for JPEG camera settings, and my answer was: they remind me of cookbook recipes. When my wife learned that I was calling them Recipes, she told me it was cringe, and I probably should have thought of a different word.
But here we are eight years later, and Recipe has solidified itself within the lexicon. Fujifilm is officially using it, as are Nikon and OM Systems. It’s becoming increasingly common terminology across the photography continuum. Perhaps more important than that, the acceptance of straight-out-of-camera JPEG photography as a legitimate path has increased by leaps and bounds. There are still some gatekeepers who insist that all serious photographers must shoot RAW, and JPEG photography is only for amateurs, but that ideology has significantly decreased over the last few years. There’s no right or wrong way to do photography—do what works best for you, whatever that is.
I’ve published over 400 Film Simulation Recipes for Fujifilm cameras since 2017. In August 2021, I began publishing Recipes for Ricoh GR cameras. I published some Nikon Z Recipes in 2022. This helped spread the concept across brands, reaching new communities. This whole thing has grown rapidly, and I’ve had a front-row seat to it all. I’m amazed to see how far it’s come, and honored to have played a major role in it.
One difference between Fujifilm and Ricoh Recipes vs. Nikon and OM Systems Recipes is that the former is largely community driven and the latter is largely corporately driven. In other words, what exists for Fujifilm—the whole community—is almost entirely an organic movement, which started with regular customers—people who weren’t well-known—who spread it across the brand by word-of-mouth. It was a bottom-up initiative, and not top-down. Same for Ricoh. It came very naturally from the enthusiasm of the customers. Nikon and OM Systems (and I’ll throw Panasonic into this, too) are attempting to jumpstart the movement from HQ. I don’t blame them for doing so—if I were a camera maker, I’d want to do everything possible to foster such a community for my brand. If it’s not happening organically quickly enough, why not build it yourself? Other camera makers will inevitably join in. By the way, this isn’t my observation; an industry insider pointed it out to me, with the prediction that the corporately-driven communities are less likely to be as strong as the organic communities. Time will tell, I guess. I sincerely wish them all great success, and I truly hope that it does catch on for every brand, and isn’t just a passing fad. I’d like to see this continue to grow and grow and grow across all of photography.
Something that I’d like for Fujifilm to help implement—something that some of these other companies are doing better—is an easier process to add Recipes to the camera. Right now it’s pretty much an all-manual process. You should be able to transfer Recipes directly from your phone to the camera; preferably, you shouldn’t have to manually input them or even connect your camera to a computer. Best case scenario is that it’s done wirelessly right from your phone. I’d love to help Fujifilm create such a process, if they’re willing.
If you are unsure why JPEG Recipes—whether they’re Film Simulation Recipes, Ricoh Recipes, Creative Recipes, or Imaging Recipes—are popular right now, it’s because they’re so transformative. As I’ve said in the past: shoot more, edit less, and let your camera be your darkroom. In other words, Recipes make photography easier, more authentic, and more enjoyable. Film Simulation Recipes changed my life, no hyperbole. I became a more productive photographer while simultaneously improving my home life, while not sacrificing image quality. The journey has been incredible. The community that has sprung from Recipes is nothing short of fantastic—you all are truly the best. The community is the recipe.
Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200
It’s officially fall! The leaves on the trees will soon change colors, putting on a vibrant show before they drop off completely in time for winter. Autumn is such a great time for landscape photography. The season goes by quickly, and it’s easy to miss out if you procrastinate. That means the time is now to prepare your gear.
One aspect of getting your cameras ready is choosing the Film Simulation Recipes that you may want to use. A common question that I get at this time of the year is: Which Recipes are good for fall foliage photography? There are over 400 to choose from, and they all might be at least ok for this purpose situationally speaking, but there are some that are certainly better than others.
The fifteen Recipes below are all good for autumn pictures. I have used each of them, and can attest that these are excellent options. This is not intended to be a comprehensive list by any means, and some that might be quite good for fall photos aren’t included—if one of your favorites isn’t found below, feel free to mention it in the comments. Also, what one might like another might not; everyone has their own tastes and styles. Perhaps only a few of these 15 are a good match for your personal taste, style, and situation—there’s bound to be at least one that you’ll appreciate.
Without any further delay, here are 15 Film Simulation Recipes for Fall Foliage Photography!
Autumn on Kodachrome – Layton, UT – Fujifilm X-E4 – Kodachrome 25
Sharp, clean, and classic. This version of the Recipe is for the Fujifilm X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Friendly Pumpkin – Fruit Heights, UT – Fujifilm X-E4 – Elite Chrome 200
Consumer-grade Kodak slide film aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Golden Aspen – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200
Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there is another version that is compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3, X-T30, and GFX100.
Golden Autumn Trees – Flagstaff, AZ – Fujifilm X100V – Kodak Ektar 100
Warm, colorful, and clean. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Soft and warm negative film aesthetic. Compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF; for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, set Color Chrome FX Blue to Strong instead of Weak.
Warm negative film look. This version is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and another version for the X-T3 and X-T30.
Bow Bridge – New York City, NY – Fujifilm X100VI – PRO Negative 160C
Fujicolor negative film look. This Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Warm and cinematic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, all fifth-generation X-Trans models, as well as the GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100
Soft Fujicolor Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Red Leaf – Fruit Heights, UT – Fujifilm X100V – Superia Xtra 400
Warmer and more colorful—yet more versatile—Superia aesthetic. This version of the Recipe is for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S, and there’s another version for the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF.
Autumn Walkway – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues
Moody and bold. This version of the Recipe is for the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100 II, GFX100S II, and GFX100RF, and there’s another version for the X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S.
Retro aesthetic. Compatible with all X-Trans IV cameras except the X-T3 and X-T30, as well as the GFX100S; for fifth-generation X-Trans and newer GFX, set Color Chrome FX Blue to Off instead of Weak.
Boulder Lake in Autumn – Clinton, CT – Fujifilm X-T5 – Velvia Film
Colorful, warm, and versatile. This Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
Arizona Aspens – Flagstaff, AZ – Fujifilm X100V – The Rockwell
Vibrant, sharp, and bold. Compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, GFX100S, GFX100 II, GFX100S II, and GFX100RF.
A reader messaged me recently with a confession: while camera shopping the other day, the top factor wasn’t megapixels, ergonomics, battery life, AF speed, size, or any other spec sheet headline. It was how the JPEGs look straight-out-of-camera—the aesthetics of the pictures—and how easy or difficult it is to get that look. Five years ago that might have sounded odd. Today it’s normal.
Fujifilm grasped years ago that “look” is a feature, not a garnish. Their Film Simulations aren’t just color presets; they’re carefully engineered tonal behaviors—contrast, colors, hues—that feel intentional, and are cohesive across the lineup. Fujifilm used their vast experience with film to create their Film Simulations, which is why their camera-made JPEGs are so good. Photographers talk about “Fuji color” like it’s a place you can visit, not just a slider position in a photo editor.
Coastal Mist – Elk, CA – Fujifilm X-T5 – Velvia Film
Film Simulation Recipes fine-tune those Film Simulations into aesthetics that oftentimes replicate classic film stocks. By adjusting the various JPEG settings, you can achieve many different looks straight-out-of-camera: Kodachrome 64, Kodak Gold 200, Fujicolor Superia 100—these are just a few examples. I’ve published over 400 Film Simulation Recipes, found on this website and in the Fuji X Weekly App. Most likely there’s a Recipe that matches your style. As my newest catchphrase says: Shoot more, edit less, and let your camera be your darkroom.
Fujifilm makes it easy to achieve a lot of great (often analog-like) looks. You can reduce or even eliminate post-processing, which saves a lot of time (and quite literally changed my life—no hyperbole). A computer is no longer required. While Fujifilm is head-and-shoulders above the competition when it comes to in-camera JPEG processing, there are other brands that are also good, and worth considering. Ricoh GR cameras, for example, are capable of some excellent straight-out-of-camera looks. There are Nikon Recipes, and Panasonic has LUTs. Leica added a few more profiles, and Sony recently added two more FL (“Film Look”) options. Each has advantages and disadvantages.
Fujifilm is clearly in the lead, but since other brands have taken notice, they shouldn’t feel too comfortable. They need to continue to innovate, with more in-camera looks, more customization, but also more simplicity. Remember: our friend was just as interested in the ease of achieving looks as much as the looks themselves, and to an extent some of the competition actually has a leg up on Fujifilm. It’s easy to overlook the importance of simplicity, but it’s just as critical as robustness—those might seem like contradictory terms, but they’re not.
White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues
There’s another aspect to all of this that needs to be discussed, and that’s the point of diminishing returns. Eventually, spec increases mean less and less. At some point, a camera is more than fast enough, and speed increases are unimportant to most people. The megapixels are more than enough, and increases in resolution are meaningless to the majority of customers. Etc., etc.. There might even be negative side effects to these improvements, which could make them seem regressive to some. This is known as the Inverted U Curve. I think a lot of aspects of digital camera technology are nearing (or have already reached or even surpassed) the peak of the curve, which means that they’ll be less effective as marketing ploys. This provides the opportunity for other things that have traditionally been ignored to take center stage. This is why more and more, the JPEG output is a deciding factor—and in some cases, the deciding factor—in new camera purchases.
If you catch yourself picking a camera because you love how it renders the world, don’t feel silly. That’s not laziness; it’s clarity. It’s normal. Specs used to be the destination; today, for many, they’re just the road—the destination is the look. With Fujifilm’s Film Simulations and my Film Simulation Recipes, it’s never been easier to reach your destination.
I’m really excited, because I just published my first YouTube video in over a year! You might not be aware that Fuji X Weekly has a YouTube channel, but it does. I published two videos (not including Shorts) in 2024 (here and here), and three in 2023 (here, here and here). Those were a lot of fun, but YouTube videos are so much work. They take hours and hours and hours to create from start-to-finish. A good estimation—for those channels without a team of people—is one or two (or sometimes more) hours of editing for every minute of video published. That’s not including the time it takes to record the clips.
The video that just went live is a roadtrip to the Mission San Xavier del Bac in Tucson. This is the oldest still-used building in Arizona, and the oldest church. It’s where the city started (even though now it’s a little outside of town). The mission is a popular location for photography, and even Ansel Adams photographed it. I used 11 different Film Simulation Recipes on a Fujifilm X-E5. The adventure gets a bit wild, so hang onto your proverbial hats. I’ve included the video below—be sure to watch!
We tried a little different style for this new video. It’s a bit more relaxed, but hopefully entertaining. It gets a bit silly at times. Amanda (my wife) filmed it all using her Fujifilm X-S20 and Fujinon 16-50mm f/2.8-4.8 lens and an upcoming Recipe for video (look for more details on that in the near-ish future). She also did almost all of the editing. There were some technical difficulties; hopefully a new mic will help alleviate some of the issues on future projects. This is also the longest video we’ve ever published, nearly three times longer than the previous longest. A big hurray for Amanda and all the work she put into it!
Even though I have published videos very infrequently over the last few years, the channel has (surprisingly) grown and grown. There are over 17,000 subscribers currently. Four of the last five videos have over 10,000 views, and two have over 16,000. That’s not bad for a barely-there channel. My hope with this new upload is to kick-off a restart of sorts. While I can’t promise anything, my goal is to publish new videos regularly, and not let so much time pass between them. But, in the meantime, I hope that you enjoy this one.
Savannah Central 7069 – Savannah, GA – Fujifilm X100VI – Retro Color
When Fujifilm released the X half last month, it included some brand-new filters, including Light Leak, Expired Film, Halation, and many more. One of my personal favorites is called Retro. Fujifilm doesn’t say exactly what the Retro Filter is supposed to resemble, but it’s an obvious vintage aesthetic. It reminds me a bit of Ormond Gigli’s color work of the late 1960’s and early 1970’s, although I’m sure the similarities are coincidental. I do think the filter was inspired by 1960’s era Ektachrome, especially when push-processed, something Kodak began offering in 1968.
The one and only X-series camera that has the Retro Filter is the X half. You won’t find it on the X100VI or X-E5 or any other model; however, it is on Instax Evo cameras. This filter, plus a number of others on the X half, were inherited from the Instax department. In my opinion, Fujifilm should add the Retro and Expired Film Filters to the Advanced Filters section of X-series cameras. Light Leak and Halation should be added as JPEG options that can be applied to Film Simulation Recipes. I hope they do.
Above: Retro Filter on the Fujifilm X half
While the Retro Filter on the X half was the initial inspiration for this new Recipe, I leaned more heavily into a different (yet similar) picture aesthetic that I really like: the Retro Style Smart Filter on my Samsung ST76 digicam. This little pocket point-and-shoot is from 2012, and it’s not particularly great, but I really like the Retro Style Smart Filter on it, which is pretty much the only reason why I use that old digicam. The filter is intended to produce a vintage ’60’s and ’70’s look, although (again) the specifics aren’t identified. While it has some similarities to the Retro Filter on the X half, it is notably divergent—a bit softer, less bold, and more subtle (yet still pronounced). To me, it looks more like prints from that era, more so than push-processed slides.
I did consider both of these picture aesthetics when created this Retro Color Film Simulation Recipe, but I spent more time comparing my X100VI and X-E5 photos to the Samsung ST76 than the X half. That was the vibe that I wanted to emulate, more so than the X half images. I think this Recipe nails the look in certain situations, and is pretty close (but not perfectly matched) in others. I’m pretty satisfied with the end result.
Above: Retro Style Smart Filter on a Samsung ST76
You might ask why I replicated the Retro look from a cheap digicam over the Retro look from the X half. Initially, I was attempting to replicate the X half aesthetic, but I encountered some difficulties early in that process. If I kept at it, perhaps those things could have been overcome. My hope is that Fujifilm brings the Retro Filter to X-series cameras, which might make the Recipe obsolete if I made it. Aside from that, while the Retro aesthetic from the Samsung ST76 and Fujifilm X half both have their positive and unique characteristics, overall I prefer Samsung’s version, as Fujifilm’s can be a little too strong sometimes for my tastes. I like both, and they’re both somewhat similar, but the one that I like best is what I ended up mimicking.
This Recipe produces an aesthetic reminiscent of some photo prints from the 1960’s and ’70’s, maybe captured using Ektachrome X or Ektachrome 200. I did find a few examples of Ektachrome prints from the 1970’s (for example, this one), which aren’t terribly dissimilar, and maybe sit halfway in-between the Retro Color Film Simulation Recipe and the X half‘s Retro Filter. As with anything in film photography, there are a lot of variables that can significantly affect the outcome. I would say that it is the “general aesthetic” that the Recipe recreates more so than a specific film or process.
Triton – Tonopah, AZ – Fujifilm X100VI – Retro Color
This Retro Color Recipe looks great on sunny days, and can be especially nice during golden hour. Try both a slight underexposure and overexposure—the results are notably different, and you might prefer one over the other. It produces a certain look with overcast sky, which you could either love or hate (most people probably won’t like it). I would avoid this for nighttime situations, but early blue hour is fine. This Recipe wouldn’t be my first choice for portrait photography, although situationally specific, it might be ok for that. If you appreciate a warm, vintage aesthetic, give the Retro Color Recipe a try, as you might really like it.
This is a Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It can also be used on the latest GFX models, including the GFX100 II, GFX100S II and GFX100RF.
Example photographs, all camera-made JPEGs using this Retro Color Film Simulation Recipe on a Fujifilm X100VI and X-E5:
7 Eleven – Phoenix, AZ – Fujifilm X100VI
Dusty Steering Wheel – Buckeye, AZ – Fujifilm X-E5
Sparkless Plug – Buckeye, AZ – Fujifilm X-E5
Eye Closed – Buckeye, AZ – Fujifilm X-E5
Inspection – Arlington National Cemetery, VA – Fujifilm X100VI
The Porter Machine – Savannah, GA – Fujifilm X100VI
2715 – Savannah, GA – Fujifilm X100VI
Mission Arch – Tucson, AZ – Fujifilm X-E5
Storm over Mission San Xavier – Tucson, AZ – Fujifilm X-E5
Treasury Department – Washington, DC – Fujifilm X100VI
Big Flag – Phoenix, AZ – Fujifilm X100VI
Bashas on Main Street – Buckeye, AZ – Fujifilm X-E5
Vacancy at the Motor Hotel – Buckeye, AZ – Fujifilm X-E5
Afternoon Palm – Buckeye, AZ – Fujifilm X-E5
Craftsman – Buckeye, AZ – Fujifilm X-E5
Bougainvillea Sunset – Buckeye, AZ – Fujifilm X-E5
Tire Pile – Waddell, AZ – Fujifilm X-E5
Fireplace – Scottsdale, AZ – Fujifilm X100VI
Fading Sunset – Somewhere over Arizona (I think) – Fujifilm X100VI
Find this Film Simulation Recipe and 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Southwind – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
This new Film Simulation Recipe comes courtesy of Gilson Teixeira. “It started with your Bright Kodak Recipe, which I loved for its energy and vibrancy. But I was looking for something softer—still warm and colorful, but a bit more cinematic and relaxed. I imagined a Recipe that could bring out a golden, mellow vibe even on grey days. That’s how Kodak Portra do Sol came to life: my go-to point-and-shoot simulation for capturing a little warmth wherever I am.”
“As a Brazilian living in London,” Gilson told me, “the long, grey winters can be tough—and this past winter hit particularly hard. I wanted to create something that could bring a bit of Brazil’s tropical spirit into my everyday life. The name is a nod to my mother tongue: do sol means ‘of the sun,’ and I liked the play between Portra and porta—as if it were a ‘Door of the Sun.’ At the same time, something shifted creatively. After years away from photography, I picked up the camera again—not just to escape the grey, but to reconnect with something I thought I’d left behind. Photography has now become part of my self-care. During my 45–60 minute daily walks, I focus on light, angles, composition, and Recipes. That attention clears my mind and helps me recharge—especially through winter, it helped me stay grounded. If anyone reading this is struggling, I truly recommend reaching out to Samaritans—they’re there to listen, wherever you are.”
“Surprisingly, it was AI that brought me back to photography,” he continued. “I work in IT and focus on AI at Microsoft. I noticed how naturally my prompts leaned toward light and composition—photography had quietly stayed with me all along. I studied digital imaging back in 1994 at the New England School of Photography in Boston, so that knowledge was still there, waiting to be revived.”
Back at the Ranch – Litchfield Park, AZ – Fujifilm X-T4 – Kodak Portra do Sol
“Bright Kodak is bolder and more punchy,” Gilson replied when asked what differentiates Kodak Portra do Sol from Bright Kodak. “I wanted something calmer. I removed Grain, reduced Color from +4 to +3, and softened Clarity from -3 to -1. I switched to Auto White Balance, with a gentler Shift (+2R, -6B) for a warm, flexible look, and added Color Chrome Effect Strong to deepen tones without over-saturation.”
“I see recipes as creative tools,” he added, “not shortcuts. They help set the mood in-camera, so I can focus on light and storytelling. With Kodak Portra do Sol, I’m not just capturing images, I’m capturing how those moments feel.”
I want to give a special “thank you” to Gilson Teixeira for sharing this Recipe and the story behind it, and for allowing me to publish some of his photographs. Please check out his Instagram, and leave a kind note for him in the comments. Thank you, Gilson!
Photo by Gilson Teixeira — Fujifilm X-T30 II — Kodak Portra do Sol
This Kodak Portra do Sol Film Simulation Recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as the GFX100S. You can use it on newer cameras, too, but blue will render slightly deeper (try it anyway).
Film Simulation: Classic Chrome Dynamic Range: DR400 Grain Effect: Off Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +2 Red & -6 Blue Highlight: -2 Shadow: -2 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured by Gilson Teixeira using this Kodak Portra do Sol Film Simulation Recipe on a Fujifilm X-T30 II:
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Photo by Gilson Teixeira — Fujifilm X-T30 II
Example photographs, all camera-made JPEGs captured using this Kodak Portra do Sol Film Simulation Recipe on my Fujifilm X-T4 and X-E4:
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-E4
Easter Swim – Buckeye, AZ – Fujifilm X-E4
Tractor Back – Litchfield Park, AZ – Fujifilm X-T4
Feed Silo – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker – Litchfield Park, AZ – Fujifilm X-T4
Seabee – Litchfield Park, AZ – Fujifilm X-T4
Horse, Fence – Litchfield Park, AZ – Fujifilm X-T4
Ready – Litchfield Park, AZ – Fujifilm X-T4
Horse Walker Detail – Litchfield Park, AZ – Fujifilm X-T4
Harkins at Night – Goodyear, AZ – Fujifilm X-E4
Find this Film Simulation Recipe and nearly 400 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Coastal Arches – Charleston, SC – Fujifilm X-S20 – Kodacolor VR 200 – Photo by Jonathan Roesch
Kodak used the Kodacolor brand name for various emulsions going back to the 1940’s and continuing through the 1980’s. This new Film Simulation Recipe mimics a version called Kodacolor VR 200 (not to be confused with Kodacolor VR Plus 200, the predecessor to ColorPlus 200) that was introduced in 1982 and discontinued in 1986. It has a bit of a faded color aesthetic, like old prints from 40 years ago not quite stored correctly in a photo album. It’s not a Recipe for everyday use, but it’s great for specific situations where you want strong contrast, low saturation, and a retro look. In the right settings, this Recipe produces striking results with a distinct analog feel.
The Kodacolor VR 200 Recipe was emailed to me by Thomas Schwab, who has created or co-created a number of Film Simulation Recipes on this website. My Kodacolor 200 Recipe for X-Trans II cameras was his starting point; however, he modified it quite extensively using the newer options to get these results. I want to give a special thank you to Thomas for creating the Kodacolor VR 200 Recipe, and allowing me to share it will you all. Both myself and my son, Jonathan, had a lot of fun using Recipe on our Fujifilm cameras. Thank you, Thomas!
Toyota – Buckeye, AZ – Fujifilm GFX100S II – Kodacolor VR 200
The Kodacolor VR 200 Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It’s also compatible with the latest GFX models, which (as of this writing) are the Fujifilm GFX100 II, GFX100S II, and GFX100RF. You can use this on some fourth-generation X-Trans cameras, namely the X-T4, X-S10, X-E4, and X-T30 II (not the X-T3, X-T30, X-Pro3 and X100V, unfortunately), as well as the GFX100S, by setting Color Chrome FX Blue to Strong.
Film Simulation: Classic Chrome Dynamic Range: DR200 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 3000K, +8 Red & -8 Blue Highlight: +1.5 Shadow: +2.5 Color: -4 Sharpness: +1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodacolor VR 200 Film Simulation Recipe on a Fujifilm X100VI, X-S20, and GFX100S II:
Shell Gas Station – Bisbee, AZ – Fujifilm X100VI
Old Yellow Car – Bisbee, AZ – Fujifilm X100VI
Blue & Rust Chevy – Bisbee, AZ – Fujifilm X100VI
Old Lady Truck – Bisbee, AZ – Fujifilm X100VI
Old Truck, Old Town – Bisbee, AZ – Fujifilm X100VI
Arizona Thunder – Bisbee, AZ – Fujifilm X100VI
Parked on Erie St – Bisbee, AZ – Fujifilm X100VI
Water – Buckeye, AZ – Fujifilm GFX100S II
Old Television – Bisbee, AZ – Fujifilm X100VI
Mannequin – Bisbee, AZ – Fujifilm X100VI
Evergreen Under Bridge – Charleston, SC – Fujifilm X-S20 – Photo by Jonathan Roesch
Construction Corner – Goodyear, AZ – Fujifilm X100VI
Cardinal – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Concrete Pipes – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Cross Here – Goodyear, AZ – Fujifilm X100VI
Air/Water – Goodyear, AZ – Fujifilm X100VI
Hot Air Balloon at Night – Goodyear, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
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When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
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: set Color Chrome FX Blue to Off on X-Trans V), but use 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. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below) Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 4000K, 0 Red & -5 Blue Highlight: 0 Shadow: -2 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (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. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
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. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
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-saturation 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 “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
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 “Acros 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 this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. 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 “Acros Negative” Recipe, I’d go with Acros+R.
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, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and 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), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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Fujifilm cameras are special. With 20 Film Simulations (on the latest models) that are crafted using Fujifilm’s vast experience with analog film, and the ability to fine-tune them into Recipes, you can achieve incredible straight-out-of-camera results. I’ve published nearly 400 Film Simulation Recipes, most of which are modeled after the aesthetics of classic film stocks. Some Recipes get all the attention, particularly those that are Classic Chrome-based, like Kodachrome 64 and Kodak Portra 400 v2. In this article, I’m going to suggest some lesser-used gems.
If you’re looking for something new to try—maybe one that is less commonly used—these five underrated Film Simulation Recipes deserve a spot in your camera’s Custom Settings. Give them a try, and you might just find your next go-to look!
Camera Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
Fujifilm has a long history of producing amazing film stocks, and this Fujifilm Negative Recipe is inspired by their color negative films of the past, particularly Fujicolor PRO 160NS. With soft contrast, balanced colors, and a subtle vintage warmth, it creates a beautiful everyday look. Whether you’re shooting portraits, street photography, landscapes, or travel, Fujifilm Negative delivers a timeless feel that works in a variety of lighting conditions. Since this Recipe uses the new Reala Ace film sim, it is only compatible with fifth-generation X-series cameras, plus the newest GFX models.
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
If you love vibrant colors, the Kodak Ektachrome E100VS v1 Recipe is a fantastic choice. With an aesthetic similar to the slide film of the same name, which was one of my favorites 20 or 25 years ago, this Recipe produces deep blues, rich reds, and strong contrast that make images pop with its bold colors (thanks to the Velvia film sim that it uses). It’s perfect for colorful urban scenes, sunsets, landscapes, and travel photography. Since it uses Auto White Balance, it’s quite versatile; however, just like the film, it’s not a good choice for portrait photography. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus newer GFX models.
The Eterna Film Simulation is often associated with soft, low-contrast tones, but the Eterna Summer Recipe adds warmth, vibrancy, and contrast. Sunlit scenes have a dreamy, vintage, and almost cinematic feel, with soft shadows and bright highlights. It’s especially great for roadtrips, urban scenes, portraits, and hot summer afternoons when you want to capture the golden essence of the season. For best results, use in sunny daylight situations. This Recipe is compatible with “newer” X-Trans IV cameras, all X-Trans V, and many GFX models.
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – CineStill 400D v2
The CineStill 400D v2 Recipe is inspired by CineStill 400D film, which is known for its cinematic feel and warm tones. This Recipe produces soft highlights, slightly punchy colors, and a dream-like quality, making it a good choice for both daytime and blue-hour photography. CineStill 400D v2 uses the Astia Film Simulation, and is great for landscapes and street photography, especially during golden-hour. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, plus the 100mp GFX models.
Fall at Boulder Lake – Clinton, CT – Fujifilm X-T5 – Kodak Negative
The Kodak Negative Recipe, which is reminiscent of some vibrant negative film stocks by Kodak, is quite versatile, thanks to the use of Auto White Balance. It has the right amount of warmth, saturation, and contrast for many subjects and situations. Because it uses the Nostalgic Neg. Film Simulation, it has a vintage feel that is easy to appreciate. This Recipe is only compatible with the fifth-generation X-series cameras, plus the newest GFX models.
Final Thoughts
Rock Rings – Saguaro National Park, AZ – Fujifilm X-T5 – Eterna Summer
These five underrated Film Simulation Recipes are waiting to be discovered! Whether you’re after a nostalgic analog look, a punchy slide film aesthetic, or a dreamy cinematic feel, there’s something here for your next photographic adventure. The best way to find out which Recipes are your favorites is to get out and try them—so load one of these Recipes into your Fujifilm camera and see what magic you can create!
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If there’s one film simulation that perfectly captures the nostalgia of family vacations and everyday moments, it’s Classic Negative. Modeled after the Fujicolor Superia line of film, Classic Negative has a way of making images feel like cherished memories straight-out-of-camera. With its unique color palette and strong contrast, this film simulation is ideal for those who want their snapshots to have analog character.
Because of its distinctive colors—with a familiar retro aesthetic—Classic Negative works quite well for family and travel photography. Skin tones are rendered with a touch of warmth. Greens are subdued, while reds lean orange. Classic Negative is unique among the film simulations in that the exposure—whether brighter or darker—affects how the pictures are rendered, similar to how Superia film behaves to overexposure and underexposure. This produces photos that are reminiscent of prints from the ’90’s and 2000’s, evoking nostalgic emotions.
When you use Classic Negative, you get pictures that feel like instant memories. If you’ve ever flipped through an old photo album—perhaps filled with pictures from your childhood—you’ll recognize the charm. The colors and tones are reminiscent of one-hour photo lab prints. For many, this film simulation isn’t just about the colors—it’s about the built-in nostalgia.
Spooner Cove – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold
The last thing you want to do upon returning from vacation is to spend hours and hours at a computer editing hundreds or even thousands of RAW files. Classic Negative ensures that your images have a timeless quality right from the camera. It’s well-suited for candid moments, like kids running through the ocean waves, grandparents smiling at a birthday party, or lunch along a quiet street in a new city. Whether you’re on a roadtrip, at a amusement park, or simply documenting everyday family life, Classic Negative is a storytelling tool with a film-like aesthetic.
This film simulation turns everyday snapshots into pictures filled with emotion and nostalgia. Whether you’re documenting a once-in-a-lifetime vacation or a quiet moment at home, Classic Negative ensures that your photos feel as special as the memories themselves. The next time that you’re out with your Fujifilm camera, try a Classic Negative Film Simulation Recipe—watch your photographs come to life with timeless charm. There are nearly 60 Classic Negative Recipes in the Fuji X Weekly App; if you’re unsure which ones to try, below are 10 Recipes that are quite excellent for everyday moments and vacation snapshots.
Across the Grand Expanse – Grand Canyon, AZ – Fujifilm X-T5 – Kodachrome 64
When it comes to travel photography, nothing quite matches Fujifilm’s Classic Chrome film simulation. Inspired by Kodak’s color slide films—such as Kodachrome and Ektachrome—that were commonly used for documentary photography, Classic Chrome delivers muted tones, rich contrast, and a subtle warmth that evoke the look of classic photojournalism. Whether you’re exploring bustling cities, vast landscapes, or quiet villages, this film simulation brings a distinct analog feel reminiscent of past eras to your images.
The magic of Classic Chrome for travel photography is that it adapts well to various lighting environments, from golden-hour sunsets to harsh midday light to dreary overcast scenes to neon nightscapes. The balance of true-to-life yet expressive colors and rich contrast make it perfect for unpredictable travel conditions, enhancing the mood of a scene, and producing images with a timeless and immersive feel. Classic Chrome doesn’t exaggerate colors—it enhances them in a way that lets the subject take center stage.
Whether you’re capturing a quaint coastal town, the details of a historic city, the vastness of a dusty desert, the vibrancy of a street market, or the bustle of an urban sidewalk, Classic Chrome adapts beautifully. It provides a vintage, editorial look that is just as effective for street photography as it is for landscapes. This film simulation enhances the story within the image, where emotion and authenticity matter more than exaggerated aesthetics.
Classic Chrome is the most popular film simulation among those who use Film Simulation Recipes, and it’s easy to understand why. With 90 Classic Chrome Recipes in the Fuji X Weekly App, there’s bound to be a few that match your style. If you’re unsure which ones to try, below are 10 Recipes that are quite excellent for travel photography.
Moon Palms – Buckeye, AZ – Fujifilm GFX100S II – Kodachrome 64
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (January 2025).
I didn’t make a list for December’s statistics, but instead did a recap of the whole year. From month-to-month there’s not usually a lot of surprises, as these types of lists are pretty predictable. Skipping a month tends to reveal more interesting trends. It is unsurprising to see Kodachrome 64 in the first position, as it is the long time most popular Recipe on Fuji X Weekly. Reggie’s Portra seems to now be the second most popular, surpassing Kodak Portra 400 v2, which has notably slipped. There are, of course, a number of other position changes between November and January.
Window Ladder – Buckeye, AZ – Fujifilm X-T4 – Pacific Blues
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation. Classic Negative and Reala Ace are battling for the second and third positions. Eterna is fourth, followed by Acros and Nostalgic Neg., for fifth and sixth.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of November 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. In November it was #2, but for all of 2024 it was the number one most popular Recipe.
Reggie’s Portra is a popular Classic Chrome based Recipe for X-Trans IV cameras. Reggie Ballesteros created it by modifying my Kodak Portra 400 Recipe to better suit his style and needs. It usually ranks high, but I’m confident to say that it’s officially the second most popular Recipe on Fuji X Weekly. Of the various Portra Recipes, this is the most versatile, and the most popular for portrait photography. It was ranked #3 in both the month of November and in all of 2024.
A Wes Anderson inspired Recipe based on Classic Chrome for X-Trans IV and X-Trans V cameras. It moved up two spots since November; in 2024 it was ranked #4.
This is a new Recipe published on December 31st. It uses the Reala Ace film simulation as the base, which means it is compatible with X-Trans V cameras. I’m not surprised to see it make this list, but I’m a little surprised to see it so high.
A Classic Chrome based Recipe for X-Trans IV cameras that was the long-time #2 most-popular Recipe on Fuji X Weekly (it was #2 in 2024), but has been slipping lately. It moved down one position since November.
Reala Ace, which is for X-Trans V cameras, is the most popular Classic Negative Recipe. It’s in the same position as November, and two spots below its 2024 ranking.
This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. It’s in the same position as November, and was ranked #24 in 2024.
This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It climbed six spots since November, and was ranked in the same position in 2024.
This version of Kodak Portra 400, which is compatible with X-Trans IV cameras, was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, now it is more typically found in the 10-15 range. It fell one spot compared to November, and was #6 for 2024.
This Recipe is reminiscent of scanned Kodachrome 64 slides, and is compatible with X-Trans IV cameras. It rose four spots since November, and was ranked #12 in 2024.
This is a fairly new Recipe, published on October 31st. It uses the Reala Ace film simulation, which means that it is compatible with X-Trans V cameras. Surprisingly, it was ranked #1 in November.
It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14. When it showed up in the Top 25, I was faced with the choice to included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. In November it was ranked #8, and in 2024 it was #18. I have no idea which of the 14 Recipes are the most used.
At one time this was the most popular Classic Negative Recipe, but now it’s second (if you don’t include Superia Negative from the Film Dial Recipe set). This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It fell five spots since November, and was ranked #8 in 2024.
Another Classic Chrome based Recipe, for use on X-Trans III models, plus the X-T3/X-T30. It rose one position since November, and was ranked #14 for 2024.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10, but this month it barely made it into the Top 20. In November it was #14, and in 2024 it was #11.
This is currently the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It’s compatible with X-Trans V cameras. It didn’t crack the Top 25 list for November or for 2024.
This was an App Patron Early Access Recipe that recently became available to everyone. It uses the Eterna film simulation, and is compatible with X-Trans IV cameras.
This Recipe was published in June, and uses the Reala Ace film simulation, which means it is compatible with X-Trans V cameras. It fell three spots since November.
The very first Film Simulation Recipe on Fuji X Weekly, this Recipe is compatible with X-Trans III cameras. It fell three positions since November, and was ranked #16 for 2024.
Someone pointed out to me that ChatGPT can create a Film Simulation Recipe that replicates the look of any photo that you upload. Just share a picture with AI, and it will analyze the look and produce a Recipe that matches. But can it really do that? And, if so, is it accurate?
So I gave it a try. I uploaded a picture and asked AI to replicate the aesthetic of it with a Fujifilm Recipe. Sure enough, it produced one. I also asked ChatGPT to tell me which Fuji X Weekly Recipes are the closest. Let’s examine the results.
Test 1
The top picture is the camera-made JPEG captured on my Fujifilm GFX100S II using the Nostalgic Film Recipe (a Film Dial Recipe). I uploaded it to ChatGPT and asked it to make a Recipe based on that image. The second picture was reprocessed in-camera using the settings that AI provided. Quite obviously, they are pretty far apart and are not a good match.
Some of the settings are the same. Both pictures use DR400. Both are Grain Weak (although ChatGPT chose Grain size Large). Both have Color Chrome Effect Strong and Color Chrome FX Blue Weak. Noise Reduction is -4 on both. The White Balance Shift is +2 Red & -4 Blue. All of the other settings were different—for example, the Nostalgic Film Recipe calls for the Nostalgic Neg. film simulation, while AI chose Classic Chrome. The Recipe made by AI isn’t too dissimilar to Kodachrome II, although not an exact match. I asked ChatGPT to tell me which Fuji X Weekly Recipes were the closest, and it suggested Kodak Ektar 100 and Kodak Gold 200.
Test 2
The top picture is the camera-made JPEG captured on my Fujifilm GFX100S II using the Fujicolor PRO 160C Warm Recipe (which is also a Film Dial Recipe). The bottom picture was reprocessed in-camera using the settings that ChatGPT provided. They are far apart, and are not an especially good match, although it is slightly better than the first test.
The Fujicolor PRO 160C Warm Recipe uses the Reala Ace film simulation, while ChatGPT chose Eterna. Most of the settings are divergent. I don’t have a Recipe that’s especially close to the one made by ChatGPT, but Timeless Negative is probably the most similar. The Fuji X Weekly Recipes that AI suggested are the closest are CineStill 800T, Kodak Ektachrome 100SW, and Kodak Vision3 250D.
Test 3
The top picture is the bottom image from Test 1. I asked ChatGPT to make a Recipe that matches it, to see if it would suggest the same settings that I used to make it (which is the Recipe AI had made just a few minutes earlier). The Recipe that it came up with was not the same, and also not a great match. Instead of Classic Chrome, it wen’t with Classic Negative. While only somewhat similar, Fujicolor Blue is probably my closest Recipe. The Fuji X Weekly Recipes that AI thought were the closest are Kodak Portra 400 and Kodak Portra 160.
Test 4
I re-uploaded the first photo from Test 1, and asked the same question to see if it would suggest the same settings, or if it would change them. Unsurprisingly, it was completely different, this time choosing Astia for the film simulation (I didn’t bother to reprocess). It suggested that my Kodak Portra 400 Recipe would be the closest match.
Conclusion
I’ve said before that ChatGPT is a neat little card trick, but once you know how it works, it isn’t nearly as impressive. I’ve also said that it will only get better with time. Both of those statements still seem to be true. While AI can analyze a picture and produce some Fujifilm settings to try—which is amazing—it isn’t very accurate. It can also suggest Fuji X Weekly Recipes that might be similar, and it is a little better at that, but still not especially good.
I have zero doubts that with enough time—and it may only be a couple of years—ChatGPT will be able to analyze a photo and produce a Fujifilm Recipe that is pretty similar. It might be even closer to suggesting an existing Recipe that isn’t far off. It’s not there yet, though.
I’m certain that ChatGPT was trained on my website. When asked directly, it says that it wasn’t, but states that it was trained on various photography blogs and forums. When I asked it to name some specific ones, the very first it listed was Fuji X Weekly. So, yeah, AI did some of its learning from my website, which of course I did not consent to nor was I compensated for. I believe that this training is ongoing, and it probably will even learn from this article that you are reading right now. This is wrong, and eventually the courts will likely determine that it is completely illegal; however, by then, the damage is done, and there’s nothing that can be done.
With all of that said, I had a conversation with a friend of mine who is super intelligent (he’s a scientist) about AI and ChatGPT. He said that he is not concerned about being replaced by AI, but he is concerned about being replaced by someone who knows how to use it better than he does. I don’t think it is prudent to ignore ChatGPT completely. While undoubtably ethically sketchy, it is a tool that can sometimes be used effectively, if you understand its strengths and weaknesses. I’m not sure what that means for me specifically, other than it is good to test it now and again to see how far it has or hasn’t come. It definitely has made some progress since the last time I tested, but not a lot.
One of the first things that I hoped to accomplish after buying a Fujifilm GFX100S II camera last month is to understand how compatible X-series Film Simulation Recipes are with GFX, and what adjustments should be made, if any. I had anticipated this being a fairly easy task, and in a sense it was, but I really struggled with this project.
Fujifilm has made a number of GFX models since February of 2017: GFX50S, GFX50R, GFX100, GFX100S, GFX50S II, GFX100 II, and GFX100S II. There are a few different sensors and processors, and the cameras can be separated into different generations. The GFX50S, GFX50R and GFX50S II share the same sensor, but the GFX50S II falls into a different generation than the original two. The GFX100 and GFX100S share the same sensor, but are different generations. The GFX100 II and GFX100S II share the same sensor, but not the same sensor as the first two 100mp GFX models. It’s a bit of a puzzle. The only GFX camera that I own is the GFX100S II, and I briefly had the opportunity to borrow a GFX50S four years ago. My GFX experience is very limited at this point.
One issue that I found when comparing Recipes captured on X-Trans vs GFX is that the lenses are not the same. Different lenses can produce slightly different results depending on the micro-contrast and coatings. While not a big deal, it would have been preferable to have used the same lens across all the tests; however, even if I could, the focal length wouldn’t be the same. For example, when I adapt my vintage Helios 44-2 lens, the focal length on X-Trans is 87mm while it is 46mm on GFX; aside from that, the Helios is noticeably softer on the GFX. So the comparisons I made were never fully 1:1, unfortunately.
I did make a number of comparisons between the photos captured with the GFX100S II and those made on an X-T5 and X-E4, utilizing the same Recipes. The main difference between X-Trans IV and X-Trans V rendering is that blue is a little deeper on X-Trans V with the Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass film simulations—there are some other minor differences, but the blue rendering is the main one. On the GFX100S II, blue behaves more like X-Trans V. The overall rendering is very similar to X-Trans V, but not 100% identical. For example, Grain is scaled differently on GFX. There are several insignificant differences that I noticed upon close side-by-side comparisons, but without carefully studying deep crops, the GFX images look pretty identical to the X-Trans V photos. Except they also don’t.
This is the paradox I discovered: the pictures look so similar when comparing colors, tints, shadows, etc., etc., but there is something that’s clearly different. But what? I couldn’t put my finger on it.
I asked a few people I know who have a GFX camera, and one suggested color fidelity, that the same exact colors just seem more alive (or maybe more lifelike) on GFX. My wife, Amanda, suggested that it’s depth, that it feels like you can step into the GFX photos, while the X-series photos seem a little flat in comparison. This could simply be the depth-of-field or the micro-contrast of the GFX lenses (or both). As I thought about it, I was reminded of the Sigma DP2 Merrill camera I used to own that similarly had a (so-called) “3D pop” to the pictures. High-ISO digital noise looks different on GFX, with splotchy colors that are typical from a Bayer sensor (and not the more film-grain-like noise from X-Trans); however, it’s not particularly obvious, buried in all that resolution. It’s probably a combination of all of those things and more that make the nearly identical colors and contrast appear different in a way that is difficult to describe, but it’s all so subtle that it’s easy to miss and dismiss, so perhaps it doesn’t matter.
With that information, I made a decision regarding Film Simulation Recipes in the Fuji X Weekly App. I added the GFX100 II and GFX100S II as compatible cameras to all X-Trans V Recipes, as well as X-Trans IV Recipes (excluding those for the X-T3/X-T30) that don’t use Classic Chrome, Classic Negative, Eterna or Eterna Bleach Bypass (the same Recipes as the X-T5, for example). Use those Recipes on the GFX100 II and GFX100S II, as they look great. I updated the App yesterday to show those Recipes as compatible with those two cameras. For the other (non-X-T3/X-T30) X-Trans IV Recipes, dropping Color Chrome FX Blue down one spot (Weak instead of Strong, Off instead of Weak) also makes them compatible.
After that, I thought about the other GFX models. Shouldn’t they be in the App, too? Why should they be left out? I don’t own any of those other GFX models, so I dug through the manuals—plus did several Google searches—to try to piece together how they should be categorized in the Fuji X Weekly App. That took a few verified and unverified assumptions. Also, I realized an assumption I made several years back was incorrect.
I categorized GFX100S the same as the newer X-Trans IV cameras; Recipes that are compatible with (for example) the X-T4 are also compatible with the GFX100S. I categorized the GFX100 the same as the X-T3 and X-T30.
The 50mp GFX cameras are a bit of a problem because shadows are rendered slightly lighter, and a .5 Shadow increase is necessary for those models (the GFX50S and GFX50R don’t have .5 Highlight and Shadow adjustments). A few years ago when I had the GFX50S for a few weeks, I created three Recipes for 50mp GFX. I made an assumption that those Recipes would also be compatible with the GFX100, but I believe that camera has deeper shadow rendering like the other 100mp cameras, so that assumption was incorrect; however, I left it alone in the App. If not for the shadow rendering, X-T3/X-T30 Recipes would be compatible with the GFX50S and GFX50R—you can still use those Recipes, just know that it will look slightly different (try them anyway, you might like the results). The one camera that was left out of the App is the GFX50S II. You can use X-Trans IV Recipes the same as the GFX100S; however, a .5 Shadow adjustment should be made. If a Recipe calls for -1 Shadow, use -0.5 instead, and if a Recipe calls for +2 Shadow, use +2.5 instead.
This isn’t a perfect categorization of the GFX models, but I think it’s good. If I made a mistake in this, please let me know—like I said, my GFX experience is quite limited. For those with GFX cameras, I hope this provides a little clarity as to which Recipes to use. I’m sure that having these cameras in the App will be helpful to some photographers with GFX models, so if you have a GFX camera, open up the Fuji X Weekly App and take a look.
Find Film Simulation Recipes for your Fujifilm cameras in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This Provia Summer Film Simulation Recipe kicks off a new series. Each Recipe in this series will use a different film simulation, beginning with Provia and ending with Sepia. None of them will be modeled after any specific emulsions, but more simply will be aesthetics that I like, that I want to create photographs with. Even though they won’t be mimicking specific films, I do intend for them to have an analog vibe. My goal is to publish a new Recipe in this series every three or four weeks. Lastly, they will each begin as an App Patron Early-Access Recipe.
I never wanted the Early-Access Recipes to be unavailable to non-subscribers for so long. Some have been 18 months or longer, most over a year. My initial idea was that they would be Patron-only for about six months or so, and then be made available to everyone; however, I’ve only reached that goal a few times. This series of Recipes will hopefully clear out the backlog, and the Recipes that some of you have long been waiting for will be available soon.
Golden CVS – Buckeye, AZ – Fujifilm X-S20 – Provia Summer – Photo by Jonathan Roesch
Provia Summer is in a similar neighborhood as Bright Summer, Bright Kodak, Eterna Summer, Summer of ’59, 1970’s Summer, and I’m sure a few others. Obviously it’s not exactly like any of them, as it has its own unique aesthetic. This Recipe is warm and colorful, producing images that have a summer-like feel. It’s not the most ideal option for artificial light indoors or nighttime photography, but in the right situations it can be alright for that; for best results, use on a sunny day.
This is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. With the exception of the X-T3 and X-T30, it is compatible with all fourth and fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. It can also be used on the newer GFX models, and I’ve included a few examples of that at that bottom.
Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm X-E4 and X-S20:
Vibrant Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Dying Frond – Buckeye, AZ – Fujifilm X-E4
Sunlit Window – Buckeye, AZ – Fujifilm X-E4
Golden Arch – Buckeye, AZ – Fujifilm X-E4
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Palm Grove – Buckeye, AZ – Fujifilm X-E4
Tower Window – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Duel Window View – Buckeye, AZ – Fujifilm X-E4
Welcome to Wellness – Buckeye, AZ – Fujifilm X-E4
Water Drops – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Faux Beauty – Buckeye, AZ – Fujifilm X-E4
Dusk Steeple – Litchfield Park, AZ – Fujifilm X-E4
Electric Open – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Red Tree Trunk – Buckeye, AZ – Fujifilm X-E4
Yellow Fountain – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Example photographs, all camera-made JPEGs using this Provia Summer Film Simulation Recipe on a Fujifilm GFX100S II:
Bougainvillea Trestle – Buckeye, AZ – Fujifilm GFX100S II
Broken Palm Bark – Buckeye, AZ – Fujifilm GFX100S II
Jonathan in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Find this Film Simulation Recipe and over 350 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Vintage Barn – Prefumo Canyon, CA – Fujifilm X100V – 1981 Kodak Recipe
My wife, Amanda, ran across some old family pictures in her mom’s photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were. The set was mostly personal family pictures, and many of them were scratched and damaged, but I did scan two of the prints, which you’ll find below.
I thought that the aesthetic was interesting, so I began to develop a Film Simulation Recipe inspired by these photographs. It took a couple of days—and a few compromises, as I was unable to match it exactly—but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper, which is the reason why I call this Recipe 1981 Kodak.
Scan from print
Scan from print
This 1981 Kodak Film Simulation Recipe is compatible with all Fujifilm X-Trans IV cameras except the X-T3 and X-T30, which is to say that you can use it on the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For the Fujifilm X-T3 and X-T30, ignore Grain size and Color Chrome FX Blue, and use a diffusion filter (such as a 10% or 20% CineBloom) in lieu of Clarity. For X-Trans V, because some film sims render blue more deeply, it will look slightly different, but try it anyway.
Film Simulation: Eterna Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +7 Red & -7 Blue Highlight: -0 Shadow: +4 Color: -4 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this 1981 Kodak Film Simulation Recipe on my Fujifilm X100V:
Coastal Hills – Prefumo Canyon, CA – Fujifilm X100V
Dilapidated Barn – Prefumo Canyon, CA – Fujifilm X100V
Rural Rancher – Cambria, CA – Fujifilm X100V
Tree Fallen on Abandoned Car – Cambria, CA – Fujifilm X100V
Old Ford – Cambria, CA – Fujifilm X100V
Classic Grill – Cambria, CA – Fujifilm X100V
Tree-Covered Road – Prefumo Canyon, CA – Fujifilm X100V
Light over Fallen Tree – Prefumo Canyon, CA – Fujifilm X100V
Sawed Log – Prefumo Canyon, CA – Fujifilm X100V
Cliffs of Pismo – Pismo Beach, CA – Fujifilm X100V
Ken Rockwell & ’61 Pontiac Tempest – Cayucos, CA – Fujifilm X100V
Old Van – Cayucos, CA – Fujifilm X100V
Classic Rear Fender – Cayucos, CA – Fujifilm X100V
Beach Boys – Cambria, CA – Fujifilm X100V
Mrs. Peacock – Buckeye, AZ – Fujifilm X100V
Guitar Neck – Buckeye, AZ – Fujifilm X100V
Drummer – Buckeye, AZ – Fujifilm X100V
Corner – Surprise, AZ – Fujifilm X100V
Suburban Bougainvillea – Buckeye, AZ – Fujifilm X100V
Orange Car – Laveen, AZ – Fujifilm X100V
Biting Horses – San Simeon, CA – Fujifilm X100V
Find this Film Simulation Recipe and over 350 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Red Rock at Sundown – Sedona, AZ – Fujifilm X-T50 – Reala Ace
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website in 2024.
It’s quite fascinating comparing this list to last year’s. First and second place are the same, but otherwise there’s a lot of change, with several not making the Top 25 this year. I could have guessed the Top 10, maybe the Top 15, but I was surprised by a couple near the bottom—I didn’t think they’d make the cut, but here they are!
Dumbo Crowd – New York City, NY – Fujifilm X-T50 – Reala Ace
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation, including the first four, as well as 12 of the Top 15.
Without any further delay, below are the most popular Recipes of last year!
Top 25 Most Popular Film Simulation Recipes of 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. It was #1 last year, too.
Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, is the most versatile Portra Recipe. It was #9 last year—it saw a significant rise in 2024.
This Recipe uses the Classic Negative film simulation (and not the Real Ace film sim), and is for X-Trans V cameras. While it was published in 2023, it did not crack the Top 25 last year. Those Recipes published during the year are at a notable disadvantage compared to the long-established ones.
This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It fell two spots since last year.
A Classic Chrome based Recipe for X-Trans IV and X-Trans V cameras, published in February of this year. It has quickly established itself as one of the essential Fuji X Weekly Recipes to try.
This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It fell two spots compared to 2023.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It was ranked #5 last year.
Bright Summer—another Classic Chrome based Recipe for X-Trans IV—is sometimes called Preetra 400, because it is modeled after Preet’s aesthetic (Preet himself is the one who gave it that nickname, btw). It didn’t crack the Top 25 list last year, but grew significantly in popularity in 2024.
It is probably unfair to include the Film Dial Recipes in this list because it is not one Recipe, but 14; however, the Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. Published in May, this is the newest Recipe in this list.
A Classic Negative based Recipe that’s compatible with X-Trans V cameras (there’s also an X-Trans IV version). While it was published 18 months ago, it didn’t crack the Top 25 last year.
This version of Kodak Portra 160 is for X-Trans IV cameras, but there are also versions for X-Trans II, X-Trans III + X-T3/X-T30, and X-Trans V. It’s another Recipe that was published in 2023, but didn’t make the Top 25 list last year.
This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around for awhile. This version was published in April of this year.
Flowers & Fruit – Austin, TX – Fujifilm X100VI – Fujicolor Blue
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 10 most-viewed Classic Negative Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; X-Trans III was next; now we’ll look at Classic Negative based Recipes.
Two Boats – Clinton, CT – Fujifilm X-E4 – Pacific Blues
This list looks similar to Top 10 Fujicolor Recipes because many of those use the Classic Negative film simulation. In my mind, when I decided to do this one, I thought it would be a little more divergent. Since I had pretty much finished putting this together when I realized the similarities, I decided to publish this list anyways. I hope you don’t mind a little redundancy.
Without any further delay, below are the most popular Classic Negative Recipes of 2024!
Top 10 Most Popular Classic Negative Film Simulation Recipes of 2024
This is one of the most popular Recipes (even briefly #1) of 2024, so I wasn’t surprised in the least to see it at the peak of this list. It uses the Classic Negative film simulation and not the Reala Ace film sim, and is for X-Trans V cameras.
Pacific Blues used to be the highest ranked Classic Negative based Recipe until I published Reala Ace. This particular version of Pacific Blues is compatible with X-Trans IV models; you’ll find the X-Trans V version a couple spots further down.
This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe is compatible with X-Trans V cameras, and is very new, published in late October.
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 10 most-viewed X-Trans III Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I started with B&W, followed that up with Fujicolor, then Eterna Recipes; now we’ll look at X-Trans III compatible Recipes.
Spring Wildflowers & Dead Wood– Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide
These Film Simulation Recipes are compatible with all X-Trans III cameras—Fujifilm X-Pro2, X100F, X-E3, X-T2, X-T20 & X-H1—as well as the X-T3 and X-T30. The majority of people use Recipes on X-Trans IV and V cameras, but X-Trans III isn’t too far behind. Some of these Recipes do routinely crack the Top 25 list, but most of them do not.
Without any further delay, below are the most popular X-Trans III Recipes of 2024!
Top 10 Most Popular X-Trans III Film Simulation Recipes of 2024
This Classic Chrome based Recipe is for the Fujifilm X-T3 and X-T30, but is fully compatible with X-Trans III cameras because Color Chrome Effect is set to Off. This one usually cracks the Top 25.
The very first Film Simulation Recipe on Fuji X Weekly, unsurprisingly uses Classic Chrome as the base. Another Recipe that is commonly in the Top 25 list.
The season finale of SOOC Live is just two days away! Join Nathalie Boucry and myself on December 12th at 9:00 AM Pacific Time (noon Eastern), as we finish off Season 4 with what will surely be an epic broadcast. This one will be especially fun, so you’ll want to tune in if you’re able. Since these shows are interactive, your participation makes them better. I hope to see you this Thursday!
For those who don’t know, SOOC Liveis a (sometimes) monthly live YouTube broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, talk Fujifilm news, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow. This is a community event, helping each other along our photographic journeys.
Below is the upcoming show, so you can easily find it on Thursday (here is the direct link, in case you need it):
