Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.
Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!
I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.
The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!
Yellow Bus – Plymouth, MA – Fujifilm X-T4 ES – Aerochrome v2
I’m in love with this Aerochrome v2 Film Simulation Recipe! It’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “normal” cameras. You must have a full-spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning). So if you have the right gear, you’ll want to try out this Aerochrome v2 Recipe today!
Not only do you need the “right” camera—a full-spectrum model like the Fujifilm X-T4 ES—but you also need the “right” filters. This Recipe requires three: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).
Architecture – San Diego, CA – Fujifilm X-T4 ES – Aerochrome v2
This Recipe produces Aerochrome-like pictures, but it doesn’t behave exactly like the film. Even so, the fact that you can get this look straight-out-of-camera is amazing! If this was the only Recipe that I could ever use on my Fujifilm X-T4 ES, I’d be very happy. I do have an Aerochrome v1 Recipe that has less green and yellow hues and a more pronounced blue tint, plus I’m working on a handful of others, so if this isn’t the look that you want, there are (or will be shortly) other options. But this Recipe… it’s what I hoped to achieve when I purchased the camera a couple of months ago. Oh, and surprisingly, it’s excellent for night photography.
Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8 Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Daylight, +7 Red & +6 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: 0 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 Aerochrome v2 Film Simulation Recipe on my Fujifilm X-T4 ES:
Grass & Sand – Plymouth, MA – Fujifilm X-T4 ES
Driftwood Log – Plymouth, MA – Fujifilm X-T4 ES
Red Beach – Plymouth, MA – Fujifilm X-T4 ES
Red Rock – Plymouth, MA – Fujifilm X-T4 ES
Boards & Boats – Plymouth, MA – Fujifilm X-T4 ES
Vans – Plymouth, MA – Fujifilm X-T4 ES
Red Trees Behind Rooftop – Plymouth, MA – Fujifilm X-T4 ES
House at Dusk – Plymouth, MA – Fujifilm X-T4 ES
Flowers in the front Yard – Plymouth, MA – Fujifilm X-T4 ES
Seaweed by the Rocks – Plymouth, MA – Fujifilm X-T4 ES
Girl Holding a Dead Crab – Plymouth, MA – Fujifilm X-T4 ES
Mayflower – Plymouth, MA – Fujifilm X-T4 ES
Boats in the Bay – Plymouth, MA – Fujifilm X-T4 ES
Tree behind Columns – Plymouth, MA – Fujifilm X-T4 ES
Parthenon – Nashville, TN – Fujifilm X-T4 ES
Parthenon Pillars – Nashville, TN – Fujifilm X-T4 ES
Patina – Buckeye, AZ – Fujifilm X-T4 ES
Kids at a Lake – Nashville, TN – Fujifilm X-T4 ES
Steps to the Water – Plymouth, MA – Fujifilm X-T4 ES
Reflected Red – Nashville, TN – Fujifilm X-T4 ES
CSX Train – Nashville, TN – Fujifilm X-T4 ES
Turning – Nashville, TN – Fujifilm X-T4 ES
City Trees – Nashville, TN – Fujifilm X-T4 ES
Boats off the Water – Nashville, TN – Fujifilm X-T4 ES
Little Dam – Nashville, TN – Fujifilm X-T4 ES
Palm, Architecture & Moon – San Diego, CA – Fujifilm X-T4 ES
Lily Pond – San Diego, CA – Fujifilm X-T4 ES
Palms & Structure – San Diego, CA – Fujifilm X-T4 ES
Kelp Washing Ashore – San Diego, CA – Fujifilm X-T4 ES
Surfer – San Diego, CA – Fujifilm X-T4 ES
Sidecar Dog – Philadelphia, PA – Fujifilm X-T4 ES
Not Always Sunny – Philadelphia, PA – Fujifilm X-T4 ES
Autumn in August – Philadelphia, PA – Fujifilm X-T4 ES
Window with a View – Philadelphia, PA – Fujifilm X-T4 ES
Lifeguard Tower 5 – San Diego, CA – Fujifilm X-T4 ES
Luke’s 32 – Nashville, TN – Fujifilm X-T4 ES
Cookin’ & Drinkin’ – Nashville, TN – Fujifilm X-T4 ES
Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe
I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.
Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.
Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe
This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -3 Red & -2 Blue Highlight: +1.5 Shadow: +2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:
Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Find this Film Simulation Recipe and over 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.
Several weeks back I stumbled on a review of Kodak Ektachrome E100 color reversal film (the current version), and I thought: That looks a lot like the Reala Ace film simulation. I took a guess at some settings, but didn’t put much effort into testing or refining them. I got busy with some other things (such as planning and preparing for a four-city photowalk tour), and neglected to do anything more. More recently, Fuji X Weekly reader Dan Allen messaged me with the same exact observation about Ektachrome E100 and Reala Ace, which made me revisit the project.
Dan actually captured some side-by-side photos with Ektachrome E100 and a Fujifilm camera using the Reala Ace film simulation; however, he couldn’t quite get it to match. Interestingly, the settings that he had come up with as the closest facsimile were quite similar to mine. It was thought that the particular scanner used likely played a role in the exact aesthetic of the Ektachrome images—one film can produce a variety of looks depending on how it was shot, developed, and printed, projected, or scanned, among other things. Being a slide film, E100 is inherently designed to be projected. While this Recipe isn’t an exact match to Dan’s Ektachrome slides (although it’s not terribly far off, either), it does share a lot of resemblance with some Ektachrome E100 images that can be found online.
Kodak introduced Ektachrome in 1946. I counted once, and there are over 40 different emulsions that have been called Ektachrome over the years, not including slight revisions or improvements to the same film. The “E” development process was invented for Ektachrome film… it began with E1; the E6 process that’s used today was introduced in 1977. Each different Ektachrome and development process produced a divergent look. Kodak discontinued Ektachrome in 2012, but in 2018 they brought back Ektachrome E100. Some have suggested that this new version is simply a revision of Ektachrome E100G, but I don’t believe that’s been verified—it may or may not be.
While Reala Ace can be made into a pretty close match to Kodak Ektachrome E100, there are some issues that prevent it from being even more accurate—I would love a +5 Color option, for instance. Skin tones aren’t perfect, either—it’s possible to improve that, but at the expense of other attributes. I also think DR-Auto would be a good option, but the camera doesn’t jump to DR200 quickly enough, in my opinion. This Recipe is not perfect, but after a lot of tries over the years, this is the most satisfied I’ve been with any of my attempts, and I think it’s convincing enough to be given the Ektachrome E100 name.
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. 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, and X-T50. I’m sure it can also be used on the latest GFX models; however, it will likely render slightly different (try it anyway).
Example photographs, all camera-made JPEGs using this Ektachrome E100 Film Simulation Recipe on a Fujifilm X-T50:
Corn Dog – Denver, CO – Fujifilm X-T50
Window Succulent – Buckeye, AZ – Fujifilm X-T50
Airline Club – Phoenix, AZ – Fujifilm X-T50
Terminal Passenger – Phoenix, AZ – Fujifilm X-T50
Green Plant on a Red Desk – Buckeye, AZ – Fujifilm X-T50
Concrete Wall & Shrubs – Buckeye, AZ – Fujifilm X-T50
Find this Film Simulation Recipe and over 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.
Omar Gonzalez posted a hilarious YouTube video called Do You Suffer from Fujifilm Sim Depression?, a parody of pharmaceutical commercials, except that it’s about Fujifilm film simulations and not prescription drugs. It’s incredibly well done and funny! I don’t want to spoil it if you haven’t watched it, but the conclusion is that Omar likes the Provia film simulation. So watch the video if you haven’t yet seen it, and if you are suffering from “Fujifilm Sim Depression” let me offer you this cure: the PROvia Film Simulation Recipe. Perhaps someday Omar will see it and try it; if so, I hope he likes it!
Provia is one of the film simulations that I personally like least… it’s well above Sepia, but towards the bottom of the list nonetheless. Ouch. As it turns out, I was never meant to like it, yet it is the “Standard” film simulation on all Fujifilm cameras. This PROvia Recipe is my take on a “better” Provia, and is intended to not only look good, but also be versatile so that it could be one’s go-to Film Simulation Recipe (that’s why “PRO” is capitalized in the name). It is compatible with all X-Trans II cameras; those with X-Trans I and Bayer models can use it, too, but it will render slightly different (try it anyway).
Car Care – Tucson, AZ – Fujifilm X70 – PROvia Recipe
This PROvia Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s available to everyone. If you are an App Patron, you’ve had access to it for awhile. For those who are not, now you can use it, too. Perhaps it will even cure your Fujifilm Sim Depression….
Provia/STD Dynamic Range: DR400 Highlight: -2 (Soft) Shadow: +1 (Medium-Hard) Color: +1 (Medium-High) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Auto, -1 Red & 0 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this PROvia Film Simulation Recipe on my Fujifilm X70:
Sabino Creek – Summerhaven, AZ – Fujifilm X70
Saguaro Behind Palms – Tucson, AZ – Fujifilm X70
Palm Branches – Tucson, AZ – Fujifilm X70
Green Ocotillo – Tucson, AZ – Fujifilm X70
Gunfight Site – Tombstone, AZ – Fujifilm X70
Reach for the Sky – Tombstone, AZ – Fujifilm X70
Bird Cage Theatre – Tombstone, AZ – Fujifilm X70
One Way Alley – Bisbee, AZ – Fujifilm X70
Cloudy Saguaro – Tucson, AZ – Fujifilm X70
Prickly Pear Pads – Tucson, AZ – Fujifilm X70
Sunlight Through the Forest – Summerhaven, AZ – Fujifilm X70
Snowy Hillside – Summerhaven, AZ – Fujifilm X70
Rainy Desert at Dusk – Tucson, AZ – Fujifilm X70
Indoor Fireworks – Tucson, AZ – Fujifilm X70
Used Bookmans – Tucson, AZ – Fujifilm X70
Alignment – Tucson, AZ – Fujifilm X70
Find this Film Simulation Recipe and over 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.
Red Founders – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is for full spectrum infrared cameras, and not “normal” cameras, which have an infrared filter over the sensor. Fujifilm briefly sold a limited number of Fujifilm X-T4 ES (“Extended Spectrum”) cameras, which are full spectrum infrared (no IR filter). I don’t know how many of these cameras were made, but I think it’s a very small number. I was quite lucky to get one.
While the X-T4 ES is the only infrared camera that Fujifilm has ever made available to the general public (typically, they reserve them for “forensic, scientific, and cultural preservation applications”), there are companies that will convert a normal camera into a full spectrum model by removing the IR filter over the sensor. It’s an invasive and expensive procedure, but one of the few options available. What I cannot confirm is whether or not the straight-out-of-camera results from a third-party full spectrum converted camera are identical to the Fujifilm X-T4 ES. I believe that they are likely to be identical, but there is a chance that they’re not. I hope that Fujifilm will make more native full spectrum cameras in the future, and sell them to the general public. I’m certain that there is enough demand to justify it.
Raspberry Palm – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
Aerochrome was an infrared film produced by Kodak between 1942 and 2009. It’s definitely not the only infrared color film ever made, but it’s the most popular and recognizable. You could achieve various aesthetics from Aerochrome by using different filters, with red, pink, purple, or orange vegetation as the hallmarks of the emulsion (especially red and pink). As far as I’m aware, there are not currently any color infrared films in production, and the few rolls of Aerochrome that remain are extraordinarily expensive. This “Aerochrome v1” Recipe mimics Aerochrome film, but it’s definitely not perfect. I’m currently working on two other Aerochrome Recipes, but the exact aesthetic I’m after has been a bit elusive so far (I’m close, though), so expect several versions to be published.
Aside from a full spectrum infrared camera, you also need specific filters. Since you are seeing light beyond the visible spectrum, filters are used to control exactly how the light enters the camera, which greatly affects the results. For this particular Recipe, a Kolari Vision IR Chrome filter and Hoya G(XO) Yellow-Green filter are required (I don’t think it matters, but I have the G(XO) filter in front of the IR Chrome). In my opinion, the Kolari Vision IR Chrome filter doesn’t produces acceptable Aerochrome results straight-out-of-camera by itself (at least not on Fujifilm); however, when used in conjunction with other filters it can be quite good.
Painting the Town Red – Buckeye, AZ – Fujifilm X-T4 ES – Aerochrome v1
This “Aerochrome v1” Film Simulation Recipe is intended specifically for the Fujifilm X-T4 ES camera; however, I’m sure it can be used on any full spectrum converted X-Trans IV or X-Trans V camera. For the X-Pro3 and X100V, you should use Highlight +1 and Shadow 0 (since those cameras don’t have 0.5 adjustments); additionally, for the X-T3 or X-T30, ignore Color Chrome FX Blue and Grain size. You might be able to use it on older cameras, adjusting for the settings that aren’t available on your specific model, but it will definitely render differently. It likely will work on newer GFX models, but with a slightly divergent result. If you have a regular Fujifilm camera, this Recipe will not work, as it requires a full spectrum camera like the X-T4 ES (and not the X-T4). Also, I’m not including this in the Fuji X Weekly App because it requires special gear.
Filters: Kolari Vision IR Chrome & Hoya G(XO) Yellow-Green Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Daylight, +8 Red & +7 Blue Highlight: +1.5 Shadow: +0.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Aerochrome v1 Film Simulation Recipe on my Fujifilm X-T4 ES:
Bell Tower – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome
This Film Simulation Recipe was created at the same time as Classic Color, Nostalgic Americana, Eterna Summer, and Astia Azure. These five Recipes were intended to work well together—could all be used in a single series or project—however, 1960 Chrome is the largest outlier of the group. It uses the Eterna Bleach Bypass film simulation, which has high contrast and low saturation, with a slight reddish tint.
The inspiration for 1960 Chrome came from several photographs in various vintage issues of Arizona Highwaysmagazine from the 1960’s. While sometimes the publication provided detailed information on the photographs, sometimes they did not; from the instances where information was provided, the film used appears to be Ektachrome, perhaps from the 1950’s—likely E2 or E3 process. I’m sure the printing process and the age of the magazine play a significant role in the aesthetic as it appears today. In any event, this Recipe has a strong vintage color film aesthetic.
Lake Bridges – Tempe, AZ – Fujifilm X-E4 – 1960 Chrome
This 1960 Chrome Film Simulation 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, and X-T50, as well as “newer” X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II. I’m sure it can be used on several GFX cameras, but will likely render slightly different (try it anyway). For X-Trans V, set Color Chrome FX Blue to Off, and for X-Trans IV set Color Chrome FX Blue to Weak.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV) White Balance: Fluorescent 1, -2 Red & -4 Blue Highlight: -2 Shadow: -1 Color: +2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by my son, Jonathan, using this 1960 Chrome Film Simulation Recipe on a Fujifilm X-E4:
The Canal – Scottsdale, AZ – Fujifilm X-E4
Pipe Bridge – Scottsdale, AZ – Fujifilm X-E4
Hot Wheels – Scottsdale, AZ – Fujifilm X-E4
Yellow Porsche – Scottsdale, AZ – Fujifilm X-E4
The Cross(walk) Roads – Scottsdale, AZ – Fujifilm X-E4
The Lamp in the Tree – Scottsdale, AZ – Fujifilm X-E4
Gunslingin’ Martian – Scottsdale, AZ – Fujifilm X-E4
Strip Mall – Scottsdale, AZ – Fujifilm X-E4
The Back Rooms – Scottsdale, AZ – Fujifilm X-E4
Los Musicos – Scottsdale, AZ – Fujifilm X-E4
Tiled Ball – Scottsdale, AZ – Fujifilm X-E4
Phantom of Scottsdale – Scottsdale, AZ – Fujifilm X-E4
Example photographs, all camera-made JPEGs captured using this 1960 Chrome Film Simulation Recipe on my Fujifilm X-T5:
Yellow House, White Window – Bisbee, AZ – Fujifilm X-T5
Abandoned House & Palm Tree – Arlington, AZ – Fujifilm X-T5
Posts – Arlington, AZ – Fujifilm X-T5
Abandoned Mall Sign – Casa Grande, AZ – Fujifilm X-T5
Gas & Grocery – Casa Grande, AZ – Fujifilm X-T5
Old Hoop – Arlington, AZ – Fujifilm X-T5
Mission Gate – Tumacacori, AZ – Fujifilm X-T5
Bell & Cross – Tumacacori, AZ – Fujifilm X-T5
Shack on the Hill – Tucson, AZ – Fujifilm X-T5
Deer on the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Palo Verde in the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Tilted Saguaro – Tucson, AZ – Fujifilm X-T5
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Find this Film Simulation Recipe and over 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.
Service – Bisbee, AZ – Fujifilm X-T5 & Fujinon 56mm f/1.2 – Fujicolor PRO 160C Warm
I’m sitting in my new office in my new home typing out this article. After two weeks of packing, moving, cleaning, and unpacking… most everything is still in boxes; however, I’ve unpacked enough to get back to Fuji X Weekly.
In case you missed it, Fujifilm released Kaizen firmware updates for the X-H2s, X-H2, X-T5, and X-S20 (the X100VI also has a firmware update). The highlight is that the Reala Ace film simulation is now available for all fifth-generation X series models. If you haven’t updated your camera’s firmware, you may want to do so now.
Kaizen is a Japanese business philosophy that means continuous improvement or change for the better. It can be applied many different ways, but in the case of camera firmware updates, it is simply adding new features or improving existing features (not just bug fixes) for the sake of doing so. This builds customer trust and brand loyalty, because purchasers know that they’re not being left out in the cold whenever innovations occur right after they’ve just spent a bunch of money on a new camera. They can rest assured that the brand cares, which is probably the biggest ingredient for gaining repeat customers.
Fujifilm used to be the king of Kaizen (at least in the camera world), but then they pulled back from it significantly. Now, they’re back at it again—hurray! I would encourage Fujifilm to keep going. Next, they should add Eterna Bleach Bypass and 0.5 Highlight and Shadow adjustments to the X100V and X-Pro3. Then, give Classic Negative to the X-T3 and X-T30 (like the GFX50R and GFX50S have). Those shouldn’t be too hard for them to do. I’d also encourage Fujifilm to update the 40mp cameras with the XPan aspect ratio. Let me know in the comments what Kaizen ideas you’d like to see Fujifilm tackle.
For those who suddenly have a camera with Reala Ace, you might be searching for some Recipes with that film simulation. Well, below are five Film Simulation Recipes in the Fuji X Weekly App that use Reala Ace:
I believe the Fujicolor PRO 160C Warm Recipe is the one that Victor Ha, Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, recently mentioned in a live Adorama broadcast.
During my move, I received a “monthly content roundup” email from Fujifilm. Perhaps you received the same email. Buried near the bottom was an add for the Fujifilm X-T4 ES, an infrared “extended spectrum” version of the X-T4. Back in 2022, I suggested that Fujifilm should release an IR camera as a “wow” product. I’ve wanted to get into IR photography for some time now, so I ordered it.
While Fujifilm did make an IR version of the X-T1, it was not sold to the general public. I’m not sure if the X-T4 ES was intended to be sold to the general public or not, but I placed my order and was charged. If it was an accident by Fujifilm, I’m certain I will get a refund shortly; if it was, in fact, made available to the general public, it must already be sold out, because the link is no longer active. I’ll keep you updated either way.
If the Fujifilm X-T4 ES sold out so quickly, I think it goes to show that there is indeed some demand for natively infrared models. Also, it seems like an excellent way to clear the shelves of some cameras that were perhaps over-produced. I don’t think Fujifilm has that issue at the moment, as all the current models appear to be doing well, but, in the future, if the situation occurs where they have a bunch of parts for a particular camera sitting around waiting to be manufactured but without demand, converting them to IR might be a way to get them sold.
I think that’s it for now. I’ve got a lot more to write; however, I’ll save that for various articles that will be published over the next week or so. Right now I’ve got to get back to unpacking; specifically, somehow making room in the garage for a car. I’ve received a bunch of comments, messages, emails, etc., that I’ve yet to respond to—it might take me several days, but I hope to get to all of them soon. I appreciate your patience!
It’s so good to be back. I have a lot to share—some exciting news that I can’t talk about yet but hopefully I can very soon. You’ll definitely want to stay tuned!
Victor Ha – VP, Electronic Imaging & Optical Devices Divisions, Fujifilm North America
Victor Ha is the Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America. I met him twice while I was in New York City in May. The first time, I accidentally crashed a Fujifilm lunch meeting (funny story…). I got to introduce myself and not much else. The second time was at a loud and crowded bar. We had a short conversation, but it was a bit difficult due to the environment. Mostly we discussed art and photography in general, and not anything specific about cameras or even Fujifilm. I hope to one day talk about Fujifilm gear with him, as I have a lot of ideas and feedback that I’d love to share; who knows, maybe that opportunity will present itself someday. Anyway, Victor is a really nice guy, and it was a pleasure to speak with him in person.
Victor Ha was recently on a live Adorama YouTube broadcast (Episode 28 of Coffee with Creators) with Seth Miranda (a.k.a. LastXWitness). This is the video that Fujirumors shared indicating that the X-T5’s AF bug would be fixed and Reala Ace would be given to all the fifth-generation X-Trans cameras by the end of June (yea!). Unfortunately, I’ve been really busy over the last week, and I didn’t have a chance to watch it. Someone reached out to me to ask if I’d seen it, stating that I was given a shoutout. I hadn’t, so I watched it. I’ve included the video below, in case you want to view it, too.
If you don’t want to see the whole thing (it’s over an hour long), simply skip ahead to the 6:52 mark. Victor gives a very kind shoutout to Fuji X Weekly and briefly mentions Film Simulation Recipes. Specifically, he brought up the Reala Ace Film Simulation Recipe that I used while in New York City. Actually, I used two. For anyone wondering, I believe the one that he may have been talking about in the video was the Fujicolor PRO 160C Warm Recipe that is a part of my Fujifilm X-T50 Film Dial strategy. The other Recipe that he could have been referring to is PRO Negative 160C. They’re both fairly similar, and can be found in the Fuji X Weekly App (available for Apple and Android). Once the firmware updates are released, which could be any day between now and the end of the week, Reala Ace will be available for the Fujifilm X-H2s, X-H2, X-T5, and X-S20 cameras. If you have one of those cameras, soon you’ll be able to use those Recipes, too.
Ben Seligson, known as Selishots, has created a number of film box inspired Fujifilm Recipe cards that he has kindly made available to anyone who wishes to download them (click here). He created these cards to use within his YouTube videos, but if you’ like them for yourself, he has made them available to you. Thanks, Ben, for creating these and kindly sharing them with the community! They’re really cool.
I actually met Ben in person in New York City at the Fujifilm X-Summit Experience event back in May. He’s a very nice guy, and it was great to be able to talk with him a little. Hopefully I’ll be able to chat with Ben in person again someday. More opportunities to meet with you all might just present themselves in the near future—I’d love to chat with more people in the Fujifilm community, and get to know all of you.
I’ve included Ben’s latest YouTube video above. Please visit his YouTube channel, website, Instagram, TikTok, and/or Twitter and show him some love, especially if you appreciate the film box Recipe cards. Thanks again, Ben!
Captured with a Fujifilm X-T30 using the Kodacolor Recipe
I was asked how to get an ’80’s look from Fujifilm cameras, similar to my articles explaining how to get a ’90’s look (here and here). Well, it’s actually quite easy! I have several Film Simulation Recipes that mimic a 1980’s aesthetic. Simply program one (or more) of those Recipes into your Fujifilm camera, and you’re good to go.
First, I want to share with you some pictures that I recently captured on my Fujifilm X-T30 using the Kodacolor Recipe, which is my favorite for replicating an ’80’s vibe. Take a look!
Using vintage lenses from the 1980’s, or perhaps inexpensive third-party lenses with character, will help with the overall aesthetic. For the pictures above, I used a TTArtisan 27mm f/2.8, which has strong vignetting when used wide open. Basically, you don’t want a clean digital image; some technical flaws are preferred, I think.
Below are my Top 7 Film Simulation Recipe suggestions for a 1980’s look. I’m sure there are others that could suffice, too, but these are the ones that I recommend the most.
This Recipe produces a distinct 1980’s Kodak color negative film rendering. Great for sunny daylight photography. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. Click here for X-Trans II. There are also a couple other versions (here and here). To use this Recipe on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0. This is my top suggestion for a 1980’s look.
This Kodacolor VR Recipe is similar to the Kodacolor Recipe above, but a little different—it is more reminiscent of slightly expired Kodacolor VR film. It also has a distinct 1980’s vibe. Compatible with X-Trans III cameras, plus the X-T3 and X-T30. For use on “newer” X-Trans IV cameras, simply set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
Reminiscent of the quintessential Kodak color negative film, which was first introduced in the late-1980’s. This Recipe is great for sunny daylight photography. Compatible with X-Trans V cameras; for X-Trans IV (except the X-T3/X-T30), set Color Chrome FX Blue to Weak. For X-Trans III cameras, plus the X-T3 and X-T30, click here.
Fujicolor Super HG was a color negative film introduced by Fujifilm in the 1980’s. While it was never as popular as Kodak’s stocks, it still has a distinct ’80’s vibe. Best for sunny daylight conditions, although it can do well in other situations, too. This Recipe is compatible with X-Trans IV cameras (except the X-T3/X-T30); for use on X-Trans V, set Color Chrome FX Blue to Weak.
Similar to Fujicolor Super HG (“v1”), this version offers more versatility, and is great for nighttime and artificial light situations; however, I think v1 has a bit stronger ’80’s aesthetic. This is the X-Trans V version, for X-Trans IV (except the X-T3, X-T30, X100V & X-Pro3) click here.
This Easy Reala Ace Film Simulation Recipe comes from Nathalie Boucry, who shared it on her blog (click here — look at the very bottom, sample pictures within the article). Nathalie and I cohost a YouTube program called SOOC Live, which you should definitely check out if you haven’t yet. When Nathalie received her Fujifilm X100VI, there were not any Reala Ace Recipes for it yet. Now there are a few—PRO Negative 160C, Fujicolor 100 Industrial, Fujicolor PRO 160C Warm, and Kodak Gold 200 v3—but back then there weren’t any, so she made her own.
“I’m liking the new film simulation a lot,” Nathalie said. “I had to think out of the box when I first got the camera and was out in the bright South Africa sun. I enjoy the gentle, true color reproduction and the tonal contrast to make my images come alive.” I think that’s an excellent description of the Recipe: gentle yet true-to-life that makes images come alive. It’s also highly versatile, and can work well for many subjects, in many different conditions, and in a variety of light situations. It’s not a huge adjustment from factory-default Reala Ace, but it definitely does improve on it.
Waterfall over Tunnel – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace
The Easy Reala Ace Film Simulation Recipe is currently only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm gives Reala Ace to the other fifth-generation X-Trans cameras—the X-H2s, X-H2, X-T5, and X-S20—later this year, it will be compatible with those models, too. I’m sure it can be used on the latest GFX cameras, but it will likely render slightly differently (try it anyway, though). Thank you, Nathalie, for creating and sharing this Recipe, and allowing me to publish it on Fuji X Weekly!
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto, 0 Red & 0 Blue Highlight: -1 Shadow: 0 Color: 0 Sharpness: 0 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Easy Reala Ace Film Simulation Recipe on my Fujifilm X100VI:
The Power of Tree Leaves – Buckeye, AZ – Fujifilm X100VI
Abandoned Old Truck – Bisbee, AZ – Fujifilm X100VI
Find this Film Simulation Recipe and over 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.
Pershing Square – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
This Appalachian Negative Film Simulation Recipe was sent to me by Logan Ballew. Like a lot of Fujifilm photographers, he really likes Classic Chrome Recipes, but one day he thought he’d like to try the Nostalgic Neg. film simulation. Instead of loading one of my Nostalgic Neg. Recipes into his camera, he simply used Nostalgic Neg. instead of Classic Chrome with my Kodak Portra 400 v2 Recipe; however, the results weren’t quite right, so he made a number of tweaks and adjustments until he got the look that he wanted. While this Recipe initially began as Kodak Portra 400 v2 but with Nostalgic Neg., it doesn’t much resemble that now, and produces a significantly divergent look.
Logan’s goal was an aesthetic reminiscent of home: the Appalachians near Asheville, North Carolina. “I spent most of my time as a kid hiking around the Blue Ridge Mountains or with my grandfather,” he told me. While his grandfather, Lanny Phillips, was an avid photographer (among other arts, including woodworking), it wasn’t until after college that he picked up a camera and began his own photographic journey; he’s been a hobbyist photographer for about five years now. This Recipe reminds him of his childhood memories in the Appalachians.
Breakfast Home – Anaheim, CA – Fujifilm X100VI – Appalachian Negative Recipe
“The foliage back home is super dense, and trying to capture that without blowing out the greens and messing up the saturation is somewhat of a task,” Logan said. “What’s nice about Nostalgic Negative is that it gives this amber color to your images.” While this Recipe is specifically intended for photography in the Appalachians, he found that it works well in many other environments, too. After using it in Los Angeles, California, I can attest that this one works quite well for urban scenes. I especially like the feelings of nostalgia that this Recipe infuses into the photographs.
Logan is enlisted in the U.S. Navy, and is currently stationed in Norfolk, Virginia. Joining the Navy allowed him to travel quite extensively—not just across the country, but internationally. However, he initially found Virginia to be photographically underwhelming; however, Logan says that Jason Hunter and other local photographers have been a huge help and inspiration, and now he spends a lot of time walking the boardwalks and driving around town capturing things that he would have overlooked before.
Beware my Fuji X-Pro3 – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe
Thank you, Logan Ballew, for sharing this Recipe with me, and allowing me to share it with the community! This Appalachian Negative Film Simulation 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, and X-T50. I’m sure it can be used on newer GFX models, too, but will likely render slightly different (try it anyway, though). Logan encourages the use of a diffusion filter, such as a 5% or 10% CineBloom, with this Recipe. I used a 5% CineBloom for all of the photographs captured in Los Angeles.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5200K, +2 Red & -2 Blue Highlight: -1.5 Shadow: 0 Color: +4 Sharpness: +2 High ISO NR: -4 Clarity: 0 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Appalachian Negative Film Simulation Recipe on my Fujifilm X100VI:
Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI
Urban Photographer – Los Angeles, CA – Fujifilm X100VI
Urban Flowerbed – Los Angeles, CA – Fujifilm X100VI
City Tree – Los Angeles, CA – Fujifilm X100VI
Urban Bougainvillea – Los Angeles, CA – Fujifilm X100VI
The Skateboarding Photographer – Los Angeles, CA – Fujifilm X100VI
Midair – Los Angeles, CA – Fujifilm X100VI
Push Cart – Los Angeles, CA – Fujifilm X100VI
Left Circles – Los Angeles, CA – Fujifilm X100VI
Local Metro – Los Angeles, CA – Fujifilm X100VI
Crossing – Los Angeles, CA – Fujifilm X100VI
Parking – Los Angeles, CA – Fujifilm X100VI
No Stopping Any Time – Los Angeles, CA – Fujifilm X100VI
Palms & Blue – Anaheim, CA – Fujifilm X100VI
Quintessential California – Los Angeles, CA – Fujifilm X100VI
Joe’s – Los Angeles, CA – Fujifilm X100VI
City Smoke – Los Angeles, CA – Fujifilm X100VI
Street Level View – Los Angeles, CA – Fujifilm X100VI
Hope the Light Changes – Los Angeles, CA – Fujifilm X100VI
Yellow Car – Los Angeles, CA – Fujifilm X100VI
Red Car – Los Angeles, CA – Fujifilm X100VI
Classic Chrysler – Los Angeles, CA – Fujifilm X100VI
Vehicle Exit – Los Angeles, CA – Fujifilm X100VI
Red Box – Anaheim, CA – Fujifilm X100VI
Careful Which Way You Go – Los Angeles, CA – Fujifilm X100VI
Bokeh Tree Lights – Anaheim, CA – Fujifilm X100VI
Fire Fountain – Anaheim, CA – Fujifilm X100VI
Jon in Golden Light – Anaheim, CA – Fujifilm X100VI
Paseo – Anaheim, CA – Fujifilm X100VI
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”
Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.
This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”
The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 4900K, +3 Red & +3 Blue Highlight: +3 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2 (typically)
Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:
Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
We All Live There – Anaheim, CA – Fujifilm X100VI
It’s Corn – Anaheim, CA – Fujifilm X100VI
Up – Anaheim, CA – Fujifilm X100VI
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, AZ – Fujifilm X-T5
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Orange Twist – Buena Park, CA – Fujifilm X100VI – California Summer
This California Summer Film Simulation Recipe was so much fun to create! I’m a big fan of Preet (Instagram), a photographer from Dubai. I really like his photographic style and picture aesthetics. If you’ve never seen his images, definitely check out his work—you’re in for a treat! This Recipe was modeled after some of his recent photographs.
Nearly four years ago I created a Recipe called Bright Summer that was inspired by Preet. That Recipe was the sixth most used last month (May 2024), so it’s quite popular. Funny enough, Preet himself called it Preetra 400, and I see that nickname used from time-to-time on social media. Preet doesn’t utilize camera-made JPEGs (as far as I’m aware, anyway), but prefers to edit RAW files; he even offers Lightroom Presets, should you wish to RAW-edit your pictures similarly to his (or just to support him as an artist).
Original Chop Shop – Scottsdale, AZ – Fujifilm X100VI – California Summer
The specific photographs that inspired this California Summer Recipe were from Preet’s recent trip to America—specifically, Texas. You can find these pictures on his Instagram. Obviously this Recipe doesn’t resemble all of his pictures, just certain ones; however, I think you can spot those pretty easily, because this Recipe is a pretty good match. Not 100%, but definitely very close. It would be a great honor if he ever tried this one someday.
I wasn’t sure what to name this Recipe. I called it “Preet Texas” in my camera, and initially “Texas Summer” for the article title. After carefully reviewing the pictures that I captured with this Recipe, I really felt that it produces a quintessential California summertime vibe. So at the last moment I renamed it to California Summer. I think that name matches the picture aesthetic well.
Colorful Shell – Anaheim, CA – Fujifilm X100VI – California Summer
For best results, use this Recipe in sunny daylight situations. It does well in harsh midday light and especially golden hour. It can be alright in shade. I would avoid it for indoor artificial light and nighttime photography, although under the right conditions I’m sure it can be ok for that, too. This California Summer Recipe is compatible with fifth-generation X-series cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can probably use this with newer GFX models, but I’ve not tested it for that, and it will likely render slightly different (don’t be afraid to try, though).
Film Simulation: Nostalgic Neg. Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 6700K, -1 Red & -6 Blue Highlight: -2 Shadow: -1 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this California Summer Film Simulation Recipe on a Fujifilm X100VI & X-T50:
Palm Tops – Scottsdale, AZ – Fujifilm X100VI
Information – Buena Park, CA – Fujifilm X100VI
A Sign to Drink Coffee – Buena Park, CA – Fujifilm X100VI
Four Carts – Buena Park, CA – Fujifilm X100VI
Squares & Fronds – Anaheim, CA – Fujifilm X100VI
Food Mart – Anaheim, CA – Fujifilm X100VI
Yellow Apartments – Scottsdale, AZ – Fujifilm X100VI
STK – Scottsdale, AZ – Fujifilm X100VI
Yellow Wall – Anaheim, CA – Fujifilm X100VI
Rooftop – Anaheim, CA – Fujifilm X100VI
Pacific Coast – Buena Park, CA – Fujifilm X100VI
Fiesta Flags – Buena Park, CA – Fujifilm X100VI
Flying Ace – Buena Park, CA – Fujifilm X100VI
Loop – Buena Park, CA – Fujifilm X100VI
Xcelerator – Buena Park, CA – Fujifilm X100VI
Pines – Buena Park, CA – Fujifilm X100VI
Wood – Buena Park, CA – Fujifilm X100VI
Coaster Tracks – Buena Park, CA – Fujifilm X100VI
Spinning Dog – Buena Park, CA – Fujifilm X100VI
Wheel Through Glass – Buena Park, CA – Fujifilm X100VI
Rock Wall – Sedona, AZ – Fujifilm X-T50
Tree in a Meadow – Sedona, AZ – Fujifilm X-T50
Forest Sunstar – Sedona, AZ – Fujifilm X-T50
Colorful Rock – Sedona, AZ – Fujifilm X-T50
Last Light on Tall Rocks – Sedona, AZ – Fujifilm X-T50
Fast Car – Scottsdale, AZ – Fujifilm X100VI
Horse Fountain – Scottsdale, AZ – Fujifilm X100VI
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Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C
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 (May 2024).
There was a lot of movement for May, especially in the bottom 80% of this list—the top five Recipes are pretty predictable. Those 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.
Bright Summer has been on a rollercoaster lately, and its jump to number six is quite surprising. A lot of upward and downward movements overall. A couple Recipes that usually rank in the Top 25 didn’t make the cut. There are three Nostalgic Negative Recipes in this list, which is a bit unusual, two Classic Negative Recipes, one each of Eterna, Reala Ace, and Acros; otherwise, all the rest are Classic Chrome.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of May 2024
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. This is the king of Recipes!
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 doesn’t usually crack the Top 25, but in March it suddenly jumped to #9, for April it fell to #23, and now in May it up all the way to #6!
This is a recently published Recipe that uses Classic Chrome, and has similarities to Kodak Portra. It’s compatible with both X-Trans IV and X-Trans V. This Recipe moved up one position from April.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time. It fell one spot compared to last month.
Pacific Blues used to be the highest-ranked Classic Negative based Recipe, but Reala Ace has left it in the dust. This particular one is compatible with X-Trans IV models, but there is also an X-Trans V version. In April it was ranked #16, so it is definitely on the rise.
By far the most popular B&W Recipe, Kodak Tri-X 400 is based on the Acros film simulation, and has compatibility X-Trans III, X-Trans IV, and X-Trans V models. It was ranked #17 last month.
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 #11 last month.
This is a fairly recently Recipe, and the very first to use the new Reala Ace film simulation. At the moment, it is only compatible with the Fujifilm X100VI and X-T50. In April it ranked #12.
This is a newly published Recipe that uses Nostalgic Negative as the base, which means that it is for X-Trans V cameras. This Recipe is what I used for my two pictures that are found on Fujifilm’s new film simulation page.
1976 Kodak doesn’t typically crack these lists, but it is a very good Recipe that I’m happy to see being used by more people. The base film simulation is Nostalgic Negative, so it is only compatible with X-Trans V cameras.
This is a recently published Eterna-based X-Trans V CineStill 800T Recipe; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. This is the highest ranking Eterna-based Recipe; however, it fell significantly, from #10 in April.
This is a Recipe that I’m surprised doesn’t rank higher; typically, it’s not even in the Top 25. This version 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.
Kodachrome II is an older Recipe made for X-Trans III cameras. It used to often be in the Top 10, but has been falling for awhile. Last month it ranked the same.
The weather is getting hotter, so it’s not a huge surprise that 1970’s Summer is on the rise. This is a Nostalgic Negative Recipe for X-Trans V cameras.
Discover Recipes is great for exploration. All of the sample photographs in the App are displayed randomly in a tile grid, which allows you to find Recipes based on image aesthetic—tap on a picture to go to the Recipe that was used to capture it. Each time that you reopen Discover Recipes, the photos are reshuffled into a new order.
For Patron subscribers, Filter works with Discover Recipes, so you can (for example) only show the pictures for Recipes that are compatible with the X100VI, use Classic Chrome, and also require DR400. Whatever Filter options you have selected will apply to Discover Recipes. Colored Stars also will display for your Favorited Recipes.
To use this new feature, you’ll need to update the Fuji X Weekly App to the latest version (if your device didn’t do so automatically). Then, tap the circle-with-three-dots icon (for iOS) or three-horizontal-line icon (for Android) at the top-right, and select Discover Recipes. The “A” icon will toggle the Recipe name on and off, so you can customize your experience in that way.
Also new with this update: you can choose if you’d like to be notified when new Recipes are added to the App. If you don’t want that, simply choose not to allow notifications—it won’t hurt my feelings in the slightest. But if you do want to be notified when a new Recipe is added to the App, simply select Allow Notifications.
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All of the double-digit X-T series models are especially good for travel, thanks to their compactness. What I like about the X-T50 in particular is the slightly larger grip (compared to the X-T30), which helps when using bulkier lenses, the new Film Dial, which adds some SOOC versatility, and IBIS, which is great for low-light situations. While any of the double-digital X-T cameras are good options, including the original X-T10, the X-T50 is my personal favorite.
Fujifilm sent me a preproduction X-T50 to try out for a few weeks, and during that time I was able to take it on a couple of trips. There are a number of excellent travel cameras in the Fujifilm lineup, and you can’t go wrong with any of them—for example, the X100VI is also a personal favorite, and I like my X-E4 for travel, too. If you are in the market for an interchangeable-lens model that is really good for a roadtrip or cross-country adventure, the Fujifilm X-T50 is one to strongly consider. It worked really well for me, anyway.
Below are some photographs that I captured on a Fujifilm X-T50 while traveling. They’re all camera-made JPEGs that are unedited (aside from minor cropping/straightening).
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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.
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There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims (and Film Simulation Recipes), I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. The new Reala Ace film simulation will be excluded from this because there aren’t many Recipes available for it yet. Also, I’m combining the four Acros film sims into one article (this one!), and the four Monochrome film sims (and probably Sepia, too) into another (the next one).
The Acros film simulation is modeled after Neopan Acros black-and-white negative film, which Fujifilm introduced back in 1952. Neopan Acros came in three ISOs: 100, 400, and 1600. 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. Acros is one of the most analog-like film sims, and one of my absolute favorites. One unique aspect about it is that it has built-in Grain that increases with the ISO. For grittier pictures, simply use higher ISOs. If you are unsure what the +Y, +R & +G filter options do, I wrote about it here.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400
While there are a number of Acros-based Film Simulation Recipes, which produce a variety of results, there’s only one that I use regularly: Kodak Tri-X 400. It’s always programmed into at least one of my cameras. I often tell people that it is my all-time favorite Film Simulation Recipe, and if I could only ever use just one Recipe for the rest of my life, it would be Kodak Tri-X 400.
The five Film Simulation Recipes below are my favorites that use Acros as the base. Everyone has different tastes, so you might like other ones more. I count 22 Recipes in the Fuji X Weekly App that use Acros, so you have some choices. But, if you are unsure which Acros Recipe to try, let me suggest picking one from my list below.
Not only is this, by far, the most popular black-and-white Film Simulation Recipe, it’s also my personal favorite. I use it all of the time, and it’s an easy one to recommend for you to try. There’s compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras.
This Recipe has some similarities to Kodak Tri-X 400, so—unsurprisingly—it is quite excellent, too. It has compatibility with X-Trans IV (except the X-T3 & X-T30) and X-Trans V.
This used to be my favorite B&W Recipe before Kodak Tri-X 400. You have to be careful with the exposure, and watch the highlights carefully so that they don’t clip. It’s compatible with X-Trans III and the X-T3/X-T30; for use on newer cameras, set Color Chrome Effect and Color Chrome FX Blue to Off, Grain size Small, and Clarity 0.
This is the original B&W Recipe published on this website, and one that helped convince me that camera-made JPEGs can actually be good. It’s intended for X-Trans III cameras, but can also be used on the X-T3 and X-T30.
This is the newest B&W Film Simulation Recipe. It’s actually quite excellent—I personally like it a lot—and is a good alternative to the ones above. It’s compatible with X-Trans IV (except the X-T3 & X-T30) and X-Trans V cameras.
