Left the Lights On – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
I wanted to create a Film Simulation Recipe for my Fujifilm X-T5 camera that would produce a certain look when shot under fluorescent lights at night. Now there are different varieties of fluorescent lightbulbs, and the kelvin temperature can vary quite significantly between them. It’s also not uncommon to find fluorescent lights mixed with other nearby light sources. In other words, results will very depending on the exact light situation. Sometimes this Recipe will produce warm results, and sometimes cool. While not modeled after any specific emulsion, this Recipe is similar to using a Tungsten-balanced film—perhaps something similar to Fujicolor NPL 160T or Kodak Portra 100T, although it’s not exactly like either of those. This Recipe gives you one more option for nighttime photography.
What I found myself enjoying more than I thought I would is using this Fluorescent Night Film Simulation Recipe during the day. It has an obvious cool cast with pronounced blues. Still, I was pleasantly surprised that this Recipe is halfway decent for daylight use. If you are looking for a retro film-like aesthetic that isn’t warm, Fluorescent Night might be a good option for your daylight photography.
A Visit with Santa – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
This Fluorescent Night Film Simulation Recipe is compatible with all Fujifilm fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20). You should also be able to use this on newer GFX models, but the results will likely be slightly different (try it anyway). For nighttime use, I most often selected -2/3 or -1/3 exposure compensation, and for daylight I most often used +1/3 or +2/3; however, “typical exposure compensation” is only meant as a starting point, and each exposure should be judged individually.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Fluorescent 2, -8 Red & -1 Blue Highlight: -1 Shadow: -1.5 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fluorescent Night Film Simulation Recipe on my Fujifilm X-T5:
Happy Girl – Buckeye, AZ – Fujifilm X-T5
Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along Stucco Wall – Buckeye, AZ – Fujifilm X-T5
Sidewalk Potted Plant – Buckeye, AZ – Fujifilm X-T5
Potted Palm Tree – Buckeye, AZ – Fujifilm X-T5
Hairstyle Chair – Buckeye, AZ – Fujifilm X-T5
Christmas Tree & Letters to Santa – Buckeye, AZ – Fujifilm X-T5
Illuminated Door at Abandoned Building – Buckeye, AZ – Fujifilm X-T5
Broken Window – Buckeye, AZ – Fujifilm X-T5
Birria – Surprise, AZ – Fujifilm X-T5
Circle K Gas Station – Surprise, AZ – Fujifilm X-T5
Christmas Star – Buckeye, AZ – Fujifilm X-T5
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Back in early-August, Pergear reached out to me and asked if I’d be interested in testing out an upcoming lens. I said sure, agreeing to provide feedback and keep quiet about the lens until it was announced sometime in the future. Two weeks later a box arrived at my door containing a TTArtisan 35mm f/1.8 Autofocus lens. I eagerly attached it to my Fujifilm X-T5 and put it to use!
Before I go any further, I want to state a few important notes. To start, this is the first time that I’ve ever been given a chance to try out and provide feedback for a piece of unreleased camera gear. Heck, I’ve barely been offered gear that’s already been available! This was such a big honor, and I appreciate the opportunity given to me by Pergear. I hope it’s not the last time, or that it’s limited to just one manufacturer (Fujifilm: hint, hint). Second, my copy of the TTArtisan 35mm f/1.8 AF was a preproduction model. They told me that the production version would have a slight tweak to the mount (which, for my copy, is X-mount, if that wasn’t obvious), but the optics and functionality would be identical; however, I have some notes (and an apology) about this in just a moment. Third, I wasn’t given any technical information until after I’d finished writing this review, so I had to edit that information in as best as I could.
The TTArtisan 35mm f/1.8 AF competes directly with the Fujinon XC 35mm f/2 lens, which is the budget version of the XF 35mm f/2. Those two Fujinon lenses are, as far as I understand, optically identical, but the cheaper XC version lacks an aperture ring and weather-sealing. Going head-to-head with such a high-image-quality-yet-still-very-affordable lens seems a bit risky. Clearly, if money is no concern, one will opt for the $400 XF version (which is both smaller and better-looking); however, those on a tight budget now have two lenses to consider: the $200 Fujinon XC 35mm f/2 or the $149 TTArtisan 35mm f/1.8 AF. At $280, the Viltrox 33mm f/1.4 AF could also be mentioned. Plus there are a number of manual focus options, including the TTArtisan 35mm f/1.4, TTArtisan 35mm f/0.95, and Meike 35mm f/1.7, which I compared side-by-side in Sedona earlier this year.
From a pure technical image-quality perspective, the Fujinon options are significantly superior. The TTArtisan 35mm f/1.8 AF lens has some corner softness when wide-open, as well as vignetting. Across the entire frame, the TTArtisan is noticeably less crisp at f/1.8 than the Fujinon is at f/2. Once you stop down, things quickly improve, and the TTArtisan is quite excellent (and comparable to the Fujinon) from around f/5 or so and beyond, with nothing negative to report. There are 10 elements in 8 groups, with 9 aperture blades. The minimum focus distance is about two feet, which is so-so. The lens seems to be well built, with more metal than plastic. The filter thread size is 52mm. Of course, photography is art, and character in real-world use can be much more important than test charts and spec sheets, so we’ll move right along.
Thankfully, the TTArtisan 35mm f/1.8 AF has excellent character, especially when a bright light source is just outside of the frame. I cannot tell you strongly enough how much I love how this lens flares! However, this is where I need to apologize. You see, I told Pergear that I really love the flare produced by this lens—especially the multiple rainbow flare—and showed them some examples of it, but their response was not what I expected: they didn’t think that most of their customers would appreciate it, so steps would be taken to reduce it. I reached out to them a few weeks later to inquire what was changed to reduce the flare, and they simply replied that TTArtisan reduced the flare, but did not change any of the optics or coatings. So I don’t know what’s different between my preproduction version and the final version that’s now for sale, but apparently there is a difference, and my copy is more prone to the absolutely wonderful flare, and yours less so to some extent, if at all. I pleaded with them not to make this change, but to no avail. I hope that whatever they did change has a minimal impact on flaring, but I have no idea. The lens comes with a square lens hood (mine did not), and maybe that was their solution; I’d definitely try the lens without the hood and see what you get.
The TTArtisan 35mm f/1.8 AF doesn’t have an aperture ring. This might or might not be a big deal to you, but it is to me. In my opinion, all lenses for Fujifilm X cameras should have an aperture ring, because it’s such an integral part of the experience for the majority of Fujifilm models. However, I do understand that not everyone feels the same as I do, and that many third-party lenses are available for other systems where aperture rings are less common or essential. I told Pergear that if this lens was offered with an aperture ring, I’d definitely buy it. I hope that TTArtisan makes an aperture ring version at some point in the future. I don’t know how much that would cost, but I think $250 would be a fair price for such a lens. The minimum aperture is f/1.8 and the maximum is f/16, with 1/3 intermediate stops in-between the full stops (except for in-between f/11 and f/16, where it has only a single 1/3-stop before jumping 2/3-stop to f/16); however, you must use the command dial to adjust the aperture, which isn’t my preference. That makes the use of this lens more frustrating (and, in turn, less fun) than it should be.
There’s one issue that I want to mention cautiously, and that you must take with a big grain of salt. While the autofocus was quiet, I experienced a lot of focus-hunting and misses with the TTArtisan lens, much more than any other glass I own. My guess is that this is due to it being a preproduction model (an early one at that), and I assume that the firmware on the production version has rectified this problem; however, I cannot verify one way or the other. It’s important for me to point this out just in case it is an issue, but I hope it’s not. Most likely it’s no issue. It’s common for preproduction versions of gear to have problems that are partially or fully resolved by the time they’re released. It’s probably only a problem on my copy, which was an early model, and those being sold today have fast and accurate autofocusing, but I cannot state that with certainty. A side note is that the firmware for this lens is updated via a USB connection in the rear lens cap, but apparently requires a Windows operating system.
Is the TTArtisan 35mm f/1.8 lens worth buying? Despite no aperture ring and the autofocus woes of my preproduction copy, this has been my most-used lens since it arrived at my doorstep. I have used it on both my Fujifilm X-E4 and X-T5, but mostly on the X-T5. I love the character that this lens gives to my pictures. I have shared some of these images on Fuji X Weekly and on my Instagram page, and I’ve had a lot of people inquire about the lens I used (much more than usual), and I had to respond with “I can’t tell you yet” (because I agreed not to talk about it). The way this lens renders seems to pair especially well with Fujifilm’s excellent JPEG output and my Film Simulation Recipes. It’s highly desirable. In my opinion, this lens is well worth the small price-tag. With that said, I would much prefer an aperture ring, and I want the lens flare that my copy produces, which might be different than the one they’re currently selling. I hope that TTArtisan will someday offer such a version.
Pergear asked that I not show some of the pictures in this article that have the rainbow lens flare, which might not be so pronounced (if produced at all) on the final version. Some of my absolute favorite photographs captured with the TTArtisan 35mm f/1.8 AF lens have this flare. I have so many examples of it, I could have shown it in every picture. Instead, I only included a handful of those images, with the hopes that TTArtisan will realize that this unique characteristic is desirable. If you agree, please leave a comment below saying so.
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At the very moment that I was finishing up my Kodak Portra 160 Film Simulation Recipe for X-Trans IV cameras, Thomas Schwab, who has created or co-created a number of Recipes on this website, sent me a modification that he made of the “old” Kodak Portra 160 Recipe (for X-Trans III plus the X-T3 & X-T30 cameras) to make it compatible with X-Trans V models. Clear as mud? Let me retry. This new Kodak Portra 160 v2 Recipe was modified by Thomas from the Kodak Portra 160 Recipe published in 2020 so as to be compatible with X-Trans V cameras. Plus he gave it a tune-up. Excitedly, I programmed this new version into my Fujifilm X-T5; however, I had several other projects going on, so it took a little time to get this one out. Thomas Schwab did a great job of updating the old version, and the results speak for themselves. I want to give Thomas a special “thank you” for his work and willingness to share!
Kodak introduced the Portra line in 1998, with two ISO 160 versions, two ISO 400 versions, and an ISO 800 emulsion (plus a short-lived ISO 100 Tungsten film, for those keeping score). Portra saw a couple of updates by Kodak, and in late-2010 the two ISO 160 versions were merged into one, as well as the two ISO 400 versions. Originally, Kodak Portra 160 came in “NC” (neutral color) and “VC” (vivid color) versions; Portra 160 NC was more popular for portraits and Portra 160 VC was more popular for landscapes. When Kodak merged the two, it fell kind of in-between the two emulsions—more vibrant than NC but less than VC. This Film Simulation Recipe is more similar to the merged Portra 160 that Kodak introduced in 2010. The film has become iconic, with its warm yet natural colors. As the name implies, it was meant for portrait photography, but is popular for many genres.
Shell Gas Station – Phoenix, AZ – Fujifilm X-T5 – Kodak Portra 160 v2 Recipe
This Kodak Portra 160 v2 Film Simulation Recipe is compatible with fifth-generation X-Trans cameras, which (as of this writing) are the X-H2, X-H2s, X-T5, and X-S20 (yes, the X-S20). With one modification—setting Color Chrome FX Blue to Strong instead of Weak—this Recipe is also compatible with most fourth-generation X-Trans cameras: X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II. This can also be used on newer GFX models, but it will render slightly different (try it anyway).
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome FX Blue: Weak White Balance: Daylight, +4 Red & -5 Blue Dynamic Range: D-Range Priority (DR-P) Auto Color: 0 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 using this Kodak Portra 160 v2 Film Simulation Recipe on my Fujifilm X-T5:
Smokey Sunset – Flagstaff, AZ – Fujifilm X-T5
Mountainous Contemplations – Flagstaff, AZ – Fujifilm X-T5
Siblings – Flagstaff, AZ – Fujifilm X-T5
Backlit Boy in Autumn – Flagstaff, AZ – Fujifilm X-T5
Jonathan Using RitchieCam – Flagstaff, AZ – Fujifilm X-T5
Golden Hour, Golden Trees – Flagstaff, AZ – Fujifilm X-T5
Deer in the Meadow – Flagstaff, AZ – Fujifilm X-T5
Yellow Aspen Tree Tops – Flagstaff, AZ – Fujifilm X-T5
Yellow Aspens behind Green Pine – Flagstaff, AZ – Fujifilm X-T5
Leaves & Needles – Flagstaff, AZ – Fujifilm X-T5
Autumn Joy – Flagstaff, AZ – Fujifilm X-T5
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-T5
Endless Blue & Palms – Buckeye, AZ – Fujifilm X-T5
Dusk in the Suburbs – Buckeye, AZ – Fujifilm X-T5
Frisbee Golf – Buckeye, AZ – Fujifilm X-T5
Yard Palm – Buckeye, AZ – Fujifilm X-T5
Palm Behind Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Two-Trunked Saguaro – Buckeye, AZ – Fujifilm X-T5
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Just in time for Halloween, this video is about using the world’s smallest interchangeable lens—the Pentax-110 24mm f/2.8—on my Fujifilm X-T5 camera, and photographing a haunted ghost town in the Arizona desert!
Field of Gold – Flagstaff, AZ – Fujifilm X-T5 – Kodak Gold 200 Recipe
A favorite Film Simulation for the Fujifilm X-T3 and X-T30, plus X-Trans III cameras, is Kodak Gold 200. I published this Recipe about two-and-a-half years ago, and have had many requests to adapt it for newer models, something that I just recently got around to doing. I took the opportunity to see if I could improve it, utilizing the options that have come out since. While it is still quite similar to the original, I really like how this Kodak Gold 200 Film Simulation Recipe came out.
Kodak introduced Gold color negative film in 1986, and it is still around today. It was originally called Kodacolor VR-G, then Kodacolor Gold, and finally Gold. It replaced Kodacolor VR, which actually (and interestingly) still exists today as ColorPlus. While the film has been improved a few times over the years, it still looks pretty much the same today as it did in the 1980’s. The film is prone to color shifts, and results can vary significantly depending on how i was shot, developed and printed or scanned. Unfortunately, it’s not possible to emulate all of the possible aesthetics of Gold in one Recipe, so this is only a facsimile of one particular Kodak Gold 200 look.
This Kodak Gold 200 Film Simulation Recipe, which will work best in sunny daylight situations, is intended for and is fully compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, X-S20). Because X-Trans V renders blue more deeply on some film simulations, setting Color Chrome FX Blue to Weak (instead of Off) will make this Recipe compatible with newer fourth-generation X-Trans cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II. This Recipe is not compatible with the X100V and X-Pro3; however, you can either try this one with Highlight set to -2 and Shadow set to +1 (and maybe increase exposure by 1/3 stop), or adapt the old Recipe by selecting Grain size Small, Color Chrome FX Blue Off, and Clarity set to 0. Those with newer GFX cameras can use this Recipe, too, but it will render slightly different (give it a try).
Film Simulation: Classic Chrome Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: Daylight, +4 Red & -5 Blue Dynamic Range: DR400 Highlight: -1.5 Shadow: +0.5 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Gold 200 Film Simulation Recipe on my Fujifilm X-T5:
Evening Hoop – Buckeye, AZ – Fujifilm X-T5
Jon on the Gold Coast – Laguna Beach, CA – Fujifilm X-T5
Wave Crashing – Laguna Beach, CA – Fujifilm X-T5
Rainbows & Palms – Buena Park, CA – Fujifilm X-T5
Vines & Cage – Buckeye, AZ – Fujifilm X-T5
Trumpet Blossom Day – Buckeye, AZ – Fujifilm X-T5
Sun Pouring Over Tree Leaves – Buckeye, AZ – Fujifilm X-T5
Rays & Leaf – Buckeye, AZ – Fujifilm X-T5
Happy Thoughts – Buckeye, AZ – Fujifilm X-T5
Golden Hour Fountain – Buckeye, AZ – Fujifilm X-T5
Golden Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Arm – Buckeye, AZ – Fujifilm X-T5
Mission Inn & Flag – Riverside, AZ – Fujifilm X-T5
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5
Bird on a Twisted Dead Tree – Buckeye, AZ – Fujifilm X-T5
Leaf Alone – Flagstaff, AZ – Fujifilm X-T5
Red Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Trees – Flagstaff, AZ – Fujifilm X-T5
Yellow Forest – Flagstaff, AZ – Fujifilm X-T5
Autumn Woods – Flagstaff, AZ – Fujifilm X-T5
Aspen Leaves – Flagstaff, AZ – Fujifilm X-T5
Golden Aspen – Flagstaff, AZ – Fujifilm X-T5
Dream – Flagstaff, AZ – Fujifilm X-T5
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Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.
The name most thrown around for the X100V successor is X100R, where “R” stands for Roku, which is six in Japan; however, I’d be surprised if Fujifilm did this just because Roku is such a recognizable brand name. Can you imagine the fun, though, that someone like Omar Gonzalez or Kai Wong could have with this? I can already see the gags about the X100Roku… plug it into your TV for streaming made easy! Catch the latest videos from your favorite YouTubers right on the X100Roku! I don’t know what Fujifilm will name it, but I propose X100Z, which makes the most sense to me.
Other than a new lens, not much is known about the X100V successor. I think it will have the 40mp X-Trans V sensor. Nothing else has leaked, as far as I’ve seen. We’ll just have to wait and see.
A lot of Fujifilm models have been discontinued, and we’re now in the last quarter of 2023, so I thought I would take this opportunity to briefly discuss what the X-series lineup currently looks like.
Fujifilm X100V
This, of course, is the one model that everyone wants but nobody can get. It’s the most in-demand camera that Fujifilm has ever made. With a backorder list that’s months-long, new orders are being placed for the X100V faster than Fujifilm can manufacture new copies. Hopefully, the X100Z (or whatever Fujifilm will call it) will help alleviate this issue, but it might just exacerbate it. I wonder if those who have been on backorder lists for months will be made first in line for the new model, or if they’ll have to jump into a whole new line? Fujifilm will have to be careful with how they handle the transition. The X100V is currently the only rangefinder-style model being offered by Fujifilm. Oh, and good luck finding one!
Fujifilm X-T5
The latest in the often-celebrated X-T line is the X-T5, which is truly a photographer’s camera. It is one of four fifth-generation X-series models, and one of only two with the 40mp X-Trans V sensor. It’s also the only SLR-styled camera with the traditional tactile controls being offered by Fujifilm at this time.
Fujifilm X-H2 / X-H2s
These two cameras are Fujifilm’s flagship models designed to competitively contend with some full-frame offerings by Canikony brands. They’re the most expensive in the lineup, offering the best-of-the-best features, but in a body dissimilar from most that Fujifilm has previously released for X cameras. They’re largely intended to bring photographers into the Fujifilm fold from other brands, and not necessarily satisfy the desires of those who have been with the brand for many years. The X-H2 is the 40mp high-resolution version, while the X-H2s is the 26mp performance option.
Fujifilm X-S20
The X-S20 is the more budget-friendly and compact version of the X-H2/X-H2s. It’s like their little brother. It’s also more intended to bring in folks from Canikony brands than to sell to long-time Fujifilm users. Despite having the old sensor, it’s Fujifilm’s newest X-series model.
Fujifilm X-S10
The X-S10 is the predecessor to the X-S20. Even though the new iteration has been out for several months, Fujifilm hasn’t discontinued the X-S10. I’m not sure if it’s because they still have a lot of copies sitting around, or if it’s just selling so well that they’ll keep it around awhile longer. Fujifilm did something similar with the X-T3—continued to manufacture it well after the X-T4 was released—because it was still doing well for them. The X-S10 is Fujifilm’s cheapest offering, and currently the best value in my opinion.
That’s it! That’s the full X-series lineup currently. It looks a lot different than it used to—boy, have times changed!
Cameras that have been discontinued that still might see a successor are the X-T30 II, X-E4, and X-Pro3. My guess is that an X-Pro4 will be announced in late-spring or early-summer, and will be the first to follow the upcoming X100-series model. I’m not certain if we’ll get an X-T40 (maybe they’ll call it X-T30 III or X-T50), but it would make a lot of sense to offer it, as that line has always done well for Fujifilm, and a budget-friendly camera with the traditional tactile controls is curiously and sadly missing. If Fujifilm does eventually make an X-E5, if past releases are any indication, it will be sometime in late-2024 or even in 2025, I think, just before X-Trans VI; however, the X-E4 had a lot of demand and a long backorder list before being suddenly discontinued, so it would make a lot of sense to release an X-E5 before then. I’m not convinced that Fujifilm will offer both an X-T00 and X-E model simultaneously, and it’s possible that one of those two lines is gone for good. We’ll see.
My guess is that we’ll see three X-series cameras in 2024. The first will be the X100Z, then the X-Pro4, then either the X-T40 or X-E5 later in the year. The X100V successor is the only one that’s for certain, the rest is speculation.
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A Fuji X Weekly reader shared with me some scans of expired Kodak Vision2 250D motion picture film that he shot on a Canon camera and had developed using the ECN-2 process. The pictures were very interesting, and I thought it would be fun to recreate the aesthetic for my Fujifilm cameras. I don’t feel that this is a 100% perfect match, but it’s pretty darn close, and definitely has the right vibe.
Kodak made Vision2 250D, a daylight-balanced color negative film, from 1997 to 2005. It was replaced by the very similar Vision3 250D. I have a Recipe already for Kodak Vision3 250D, which renders noticeably different than this Expired Kodak Vision2 250D Recipe. The Vision3 Recipe is one of my favorites, and you should definitely try it if you haven’t already. This Vision2 Recipe probably won’t be anyone’s go-to option, but it is fun to use on occasion, especially if you like warm pictures.
There are two versions: one for “newer” X-Trans IV cameras—specifically, the X-T4, X-S10, X-E4, and X-T30 II—and another for fifth-generation cameras, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20, even though it has an X-Trans IV sensor). Those with newer GFX models can use it, too, although it will render slightly different.
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Example photographs, all camera-made JPEGs using this Expired Kodak Vision2 250D Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X-T5:
X-Trans IV
Sun Below the Trees and Above a Building – Buckeye, AZ – Fujifilm X-E4
Waterless Fountain Detail – Buckeye, AZ – Fujifilm X-E4
Fountain Corrosion – Buckeye, AZ – Fujifilm X-E4
Reflection & Leaves – Buckeye, AZ – Fujifilm X-E4
Architectural Abstract – Buckeye, AZ – Fujifilm X-E4
Four Trumpets – Buckeye, AZ – Fujifilm X-E4
Sunlight through Tree Leaves – Buckeye, AZ – Fujifilm X-E4
End of the Road – Buckeye, AZ – Fujifilm X-E4
Cactus Moon – Buckeye, AZ – Fujifilm X-E4
X-Trans V
Fresh Blooms, Fading Blooms – Buckeye, AZ – Fujifilm X-T5
Electric Wheels – Buckeye, AZ – Fujifilm X-T5
Empty Pathway, Empty Chairs – Buckeye, AZ – Fujifilm X-T5
Indoor Joy – Buckeye, AZ – Fujifilm X-T5
Concrete Shapes – Buckeye, AZ – Fujifilm X-T5
Sun-Kissed Shrub Leaves – Buckeye, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Stucco & Spanish Tiles – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy – Buckeye, AZ – Fujifilm X-T5
Sunlit Bulb – Buckeye, AZ – Fujifilm X-T5
Red Vans – Buckeye, AZ – Fujifilm X-T5
Watering Pot – Buckeye, AZ – Fujifilm X-T5
Backyard Girl – Buckeye, AZ – Fujifilm X-T5
Happy Boy – Buckeye, AZ – Fujifilm X-T5
Bougainvillea & Blurry Tree – Buckeye, AZ – Fujifilm X-T5
Pink Oleander Blossoms – Buckeye, AZ – Fujifilm X-T5
Cactus Spikes – Buckeye, AZ – Fujifilm X-T5
Curious Dog – Buckeye, AZ – Fujifilm X-T5
Enjoying the Outdoors – Buckeye, AZ – Fujifilm X-T5
Sunstar through Leaves – Buckeye, AZ – Fujifilm X-T5
Arizona Sunset & Saguaro – Buckeye, AZ – Fujifilm X-T5
Luxury Among Palms – Laguna Hills, CA – Fujifilm X-T5 – Reala Ace Recipe
Fujifilm introduced a new film simulation with the GFX100 II called Reala Ace. Fujifilm says that it “combines faithful reproduction with hard tonality,” showing it with a little higher vibrancy than Classic Negative paired with a tonality more similar to Provia. Some have described it as being true-to-life. Photographs that I have found captured with the new film simulation have a Classic Negative look, but with an increase in color, a reduction in contrast, and significantly more blue. I think this new film sim could have been called Classic Negative v2, but Fujifilm named it Reala Ace instead.
Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually, though, Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013. I have a Film Simulation Recipe that replicates Fujicolor Reala 100, which uses Classic Negative as the base, since Classic Negative is closely modeled after Superia film.
On occasion, Fujifilm named certain film stocks differently in Japan than the rest of the world, and there were several film stocks made available only in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. There doesn’t seem to be any consensus on which is correct, but I’d bet that the latter is true. It was said for decades that Fujifilm kept their best emulsions in Japan. For whatever reason, Fujifilm went with the name Reala Ace for their new film simulation, and not simply Reala. Not all film sims are accurate reproductions of the emulsions that they’re named after, but Reala Ace seems to have the right vibe for replicating actual Reala film.
Red Cliffs – Sedona, AZ – Fujifilm X-T5 – Reala Ace Recipe
I have never used the new Reala Ace film simulation. There aren’t a lot of examples of it, but there are some; however, it’s impossible to know if those images are straight-out-of-camera factory-default Reala Ace JPEGs, or if the photographer adjusted some parameters or post-edited the pictures in some way. Trying to emulate new film simulations when there’s not a lot known about it is tricky, and the results are often wrong. For example, my attempt at Classic Negative was way off, and I stated that it would likely be—I was hesitant to publish it for that reason. Nostalgic Negative was a near identical story, and I stated, “…this Recipe will likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation.” I was right about that. This time, though, is different, as I am confident that this Reala Ace film simulation is a close approximation of the real thing. It might not be perfect, but it is definitely in the ballpark. I bet that it is a 95% match—if not closer—but it’s impossible to know for certain until more samples come out, and (even better) it trickles out to other models and I have a chance to try it myself. It’s definitely close enough that I feel quite good calling it Reala Ace.
Fujifilm said of the new film sim, “As an approach to rich gradation expression, the new sensor for the GFX100 II is the best fit for it. Without this sensor, we are not able to realize the Reala film simulation in it.” They talked about silver halide and signal-to-noise ratios and stuff. You might think this means that Reala Ace won’t make its way to the X-series; however, Fujifilm said something very similar about Nostalgic Neg., yet it is now available for X-Trans V generation models, including the X-S20, which has an X-Trans IV sensor. I think this is just Fujifilm’s way of saying that it’s not coming to X-Trans right away. I, of course, believe that this is a big mistake, because the majority of GFX users don’t use Film Simulation Recipes and won’t really care about this new film sim, while a whole lot of X-series owners do use Recipes and do care a lot about new film simulations. Fujifilm is letting what could be a big promotional opportunity just slip through their fingers, which is exactly what they did with Nostalgic Negative. I hope someday they learn this lesson, and stop making the same mistake over and over. Fujifilm: seriously, and I cannot state this any louder or more clearly, you need to introduce new film simulations with significant X-Trans releases, and not GFX. We can all see through the bogus it-has-to-be-100mp excuse, because I did in three days (and with much more limited resources) what you said wasn’t possible, and made Reala Ace available to all those with X-Trans V cameras. Please don’t hate me for rectifying your mistake, as this Recipe will likely influence more people to buy an X-series camera than Reala Ace will cause people to buy the GXF100 II. For those looking for an excuse to upgrade to an X-Trans V model, this Reala Ace Film Simulation Recipe might just be it for you, because it is that good.
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe
I love this new Reala Ace Film Simulation Recipe, and for me it’s an instant favorite! It is kind of like a cross between the Fujicolor Reala 100 and Fujicolor NPS 160 Pulled Recipes—you could consider it a “v2” of either of those two, although it has a much stronger Reala vibe than NPS 160. The Recipe is soft yet colorful, highly versatile, and has a clear analog-like aesthetic. It’s just as Fujifilm put it: suitable for all subjects and situations. If you have a fifth-generation X-Trans camera, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), I invite you to try this Reala Ace Recipe today! If you have a fourth-generation X-Trans camera with Classic Negative and half-point Highlight/Shadow adjustments, which are the X-T4, X-S10, X-E4, and X-T30 II, you can also use this Recipe, but know that blues will be render slightly less deeply (try it anyway). For the X-Pro3 and X100V, consider Highlight set to -1 in low contrast situations and -2 in high contrast situations.
Film Simulation: Classic Negative Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, -1 Red & +1 Blue Dynamic Range: DR400 Highlight: -1.5 Shadow: -2 Color: +2 Sharpness: 0 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 using this Reala Ace Film Simulation Recipe on my Fujifilm X-T5:
Amaricana Equestrian – Litchfield Park, AZ – Fujifilm X-T5
Bougainvillea Blooms & Blue Sky – Buckeye, AZ – Fujifilm X-T5
Sunlit Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Twin Trumpets – Buckeye, AZ – Fujifilm X-T5
Little Vibrant Blooms – Riverside, CA – Fujifilm X-T5
Fish Out of Water – Riverside, CA – Fujifilm X-T5
Fake Fern – Buckeye, AZ – Fujifilm X-T5
Potted Palm – Buckeye, AZ – Fujifilm X-T5
Morning Johanna – Buckeye, AZ – Fujifilm X-T5
Flowing Fountain – Riverside, CA – Fujifilm X-T5
China in America – Riverside, CA – Fujifilm X-T5
Hill Houses – Laguna Hills, CA – Fujifilm X-T5
Setting Sun over the Pacific Ocean – Laguna Beach, CA – Fujifilm X-T5
Young Surfer – Laguna Hills, CA – Fujifilm X-T5
Golden Ocean – Laguna Hills, CA – Fujifilm X-T5
Jon on the Gold Coast – Laguna Hills, CA – Fujifilm X-T5
Rainbow & Palms – Buena Park, CA – Fujifilm X-T5
Hazy Paifang – Riverside, CA – Fujifilm X-T5
Evening Hoop – Buckeye, AZ – Fujifilm X-T5
Evening Palms & Clouds – Buckeye, AZ – Fujifilm X-T5
Rays from Behind a Big Cloud – Surprise, AZ – Fujifilm X-T5
Clouds & Coaster – Buena Park, CA – Fujifilm X-T5
Cup Ride – Buena Park, CA – Fujifilm X-T5
Happily Anticipating the Thrill Ride – Buena Park, CA – Fujifilm X-T5
Bumper Cars – Buena Park, CA – Fujifilm X-T5
Blacksmith Working – Buena Park, CA – Fujifilm X-T5
Faux Tree Branch – Buckeye, AZ – Fujifilm X-T5
Three Bathtub Ducks – Buckeye, AZ – Fujifilm X-T5
Red Comb – Buckeye, AZ – Fujifilm X-T5
Dog Resting in the Shade – Riverside, CA – Fujifilm X-T5
Paseo Avila – Riverside, CA – Fujifilm X-T5
Illuminated Dilapidation – Litchfield Park, AZ – Fujifilm X-T5
Permanently Opened Door – Litchfield Park, AZ – Fujifilm X-T5
Hole in the Wall – Litchfield, Park, AZ – Fujifilm X-T5
Sonoran Saguaro – Buckeye, AZ – Fujifilm X-T5
Cholla Cactus – Buckeye, AZ – Fujifilm X-T5
Unlit Headlamp – Buena Park, CA – Fujifilm X-T5
Tattoo & Turkish Pizza – Tempe, AZ – Fujifilm X-T5
Thunderbird Tire – Surprise, AZ – Fujifilm X-T5
Thunderbird Taillight – Surprise, AZ – Fujifilm X-T5
Inside Dodge Travel Van – Buena Park, CA – Fujifilm X-T5
Summer Season in the Suburbs – Buckeye, AZ – Fujifilm X-T5
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Now that the X Summit is over and the GFX100 II has been officially announced, we have a little bit better idea of what exactly Fujifilm’s new film simulation is. First, the name is not Reala like was previously rumored, but Reala Ace. Not a huge difference, but different nonetheless.
Fujifilm has sometimes named certain film stocks differently in Japan than the rest of the world, and several film stocks were only made available in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 (initially, Superia wasn’t in the emulsion name, but was added later) just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. For whatever reason, Fujifilm went with the name Reala Ace for their new film sim.
Prior to today’s announcement, I had speculated that “…the new film simulation will [not] be an accurate replication of Reala film, since Classic Negative is so close already; instead, I think Fujifilm is simply going to use the brand name for a film sim that has a neutral and natural rendering (true-to-life or real-like, yet leaning towards soft tonality and muted colors).” I also said, “I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions.”
I was half right and half wrong, but I’m quite happy to be half wrong. I was right that the film sim would lean towards soft tonality and have a true-to-life rendering. I was wrong that it wouldn’t look like Reala film or Classic Negative, because it does. You could call the new film sim Classic Negative v2, but Fujifilm named it Reala Ace.
Leaving the Water – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100 Recipe
How accurate is the Reala Ace film simulation to Reala film? It definitely has the right vibe, from the small number of samples I’ve found online. It isn’t all that dissimilar to my Fujicolor Reala 100 Film Simulation Recipe, either—in fact, I think just a few small adjustments to my Recipe brings the results closer to the new film simulation. Of course, I have no idea if those Reala Ace examples are unedited, and what parameter adjustments the photographer might have done, or if they’re all factory defaults.
Fujifilm has a graph demonstrating how the different film simulations fit on a tonality and saturation scale. It should be taken with a grain of salt. For example, there’s no way that Nostalgic Neg. is the second most vibrant film sim, because it’s not. PRO Neg. Hi has a little more saturation than PRO Neg. Std, yet they’re the same on the chart. Still, we can extrapolate that Reala Ace has softer tonality yet a tad higher vibrancy than Classic Negative.
Even though Reala Ace is essentially Classic Negative, I’m quite thrilled that this new film sim has an obvious analog aesthetic. Classic Negative is one of my favorite film simulations, and I’m sure Reala Ace will be, too, once I get a chance to use it someday in the future. My guess is that the upcoming Fujifilm X100Z (or whatever Fujifilm calls it… maybe they’ll name it X100Ace?) will be the first X-series camera to get Reala Ace. I won’t buy the GFX100 II (it’s way outside of my budget), so it might be awhile before I get to try it. From what I can tell, the new film sim will be found right below Classic Chrome and right above PRO Neg. Hi in the camera’s film simulation list.
Interestingly enough, there seems to be a lot of interest in this new film sim, but not necessarily by folks who will buy the GFX camera. The ones most excited seem to be those who anticipate that it will trickle to the X-series. Most of those who have reviewed the camera (who received a pre-production model from Fujifilm) barely mentioned it, and mainly as a passing thought. One did talk a little more about it (and right at the beginning), but otherwise the enthusiasm for Reala Ace seems to be much stronger from the X crowd than the GFX, despite it only found (for now) on GFX. This makes a lot of sense to me because most of those who shoot GFX cameras don’t use Film Simulation Recipes (yet there are some); however, many who have X-Trans cameras do use Recipes. Fujifilm should introduce new film sims on X-series models where they can better capitalize on that excitement, and not on GFX where it’s unimportant (generally speaking) to those buyers, essentially wasting the opportunity (hey, maybe Fujifilm should consult with me??!!).
I modified the Fujicolor Reala 100 Film Simulation Recipe on my Fujifilm X-T5, reprocessing in-camera some recent pictures on the SD Card, to more closely resemble the Reala Ace film simulation. You can find the Reala Recipe on this website (here) and on the Fuji X Weekly App. The modifications I made to the Fujicolor Reala 100 Recipe are: White Balance Shift set to 0 Red & +1 Blue (using Daylight WB… I also tried Auto White Balance with that same shift), Color Chrome FX Blue Strong, Color +1, Highlight -1.5, Sharpness 0, and Clarity -2. There are only a small number of examples of the new film sim, and it’s impossible to know if they’re 100% default Reala Ace or if they have been modified or edited in some way, but I think I’m in the ballpark with these settings. It’s pretty close. Below are some examples.
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
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I don’t believe that the new film simulation will be an accurate replication of Reala film, since Classic Negative is so close already; instead, I think Fujifilm is simply going to use the brand name for a film sim that has a neutral and natural rendering (true-to-life or real-like, yet leaning towards soft tonality and muted colors). I don’t know for certain what the new Reala film simulation will look like, this is only a guess based on something Fujifilm said a few weeks ago. We’ll know for sure next week. But I do know that if you want a Reala aesthetic from your Fujifilm X-Trans V camera, this Recipe will produce that!
Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013.
China in California – Riverside, CA – Fujifilm X-T5 – Fujicolor Reala 100 Recipe
If you have a fifth-generation Fujifilm X camera, which (as of this writing) are the X-H2, X-H2S, X-T5, and X-S20, I invite you to try this Fujicolor Reala 100 Film Simulation Recipe. If you have a Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, use the X-Trans IV version instead. If you have a newer GFX model, I’m not certain which of the two versions will be most accurate on your camera, so maybe try both and see which you like better.
Film Simulation: Classic Negative Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Daylight, 0 Red & 0 Blue Dynamic Range: DR400 Highlight: -1 Shadow: -1 Color: 0 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs using this Fujicolor Reala 100 Film Simulation Recipe on my Fujifilm X-T5:
Luxurious Living – Laguna Beach, CA – Fujifilm X-T5
Mission Inn – Riverside, CA – Fujifilm X-T5
Pawlished Fountain – Riverside, CA – Fujifilm X-T5
Fishing by Hand – Riverside, CA – Fujifilm X-T5
Urban Structure Abstract – Riverside, CA – Fujifilm X-T5
I Spy with my Little Eye – Laguna Beach, CA – Fujifilm X-T5
9205 – Buena Park, CA – Fujifilm X-T5
Market Building – Buena Park, CA – Fujifilm X-T5
Suburban Shrub – Buena Park, CA – Fujifilm X-T5
Dodge Van – Buena Park, CA – Fujifilm X-T5
Dodge Steering Wheel – Buena Park, CA – Fujifilm X-T5
Blacksmith – Buena Park, CA – Fujifilm X-T5
Cowboy – Buena Park, CA – Fujifilm X-T5
Wagon Wheel & Cacti – Buena Park, CA – Fujifilm X-T5
Sun Fountain – Buena Park, CA – Fujifilm X-T5
Strength over Thrill – Buena Park, CA – Fujifilm X-T5
Tied up in Knotts – Buena Park, CA – Fujifilm X-T5
Flight – Buena Park, CA – Fujifilm X-T5
Rainbows & Palms – Buena Park, CA – Fujifilm X-T5
Treasure Island Beach – Laguna Beach, CA – Fujifilm X-T5
Eek! – Laguna Beach, CA – Fujifilm X-T5
Pacific Surf Rider – Laguna Beach, CA – Fujifilm X-T5
Leaving the Water – Laguna Beach, CA – Fujifilm X-T5
Happiness – Laguna Beach, CA – Fujifilm X-T5
Golden Glow – Laguna Beach, CA – Fujifilm X-T5
Setting Sun – Laguna Beach, CA – Fujifilm X-T5
Night Light – Buena Park, CA – Fujifilm X-T5
Amanda using RitchieCam– Buena Park, CA – Fujifilm X-T5
Waving – Buena Park, CA – Fujifilm X-T5
Night Truck Driver – Buena Park, CA. -Fujifilm X-T5
Don’t Text & Drive – Buena Park, CA – Fujifilm X-T5
Empty Road – Buena Park, CA – Fujifilm X-T5
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Apparently, Nikon is about to announce a new retro-style full-frame camera called the Zf. The phrase “Fujifilm killer” has been floated around as if this camera will strike at the heart of Fujifilm’s market share. Let me give you a few reasons why this won’t be the case.
Before I begin, I want to applaud Nikon for creating a new retro-style camera. I believe the Zfc—their APS-C retro-looking model—has been a commercial success. I own one, although I almost never use it (the last time was on a trip to Sedona in May). Nikon hopes to build on the success of the Zfc with the upcoming Zf. Most camera companies don’t have the guts to create a beautifully designed body, so it’s great to see Nikon do it. I probably won’t buy a Zf personally (Nikon, if you want to send me one, I won’t say no!), but I’m sure it will be a very tempting camera for many.
Supposedly, the Zf will be a 24mp full-frame model with two memory card slots (one SD, one Micro-SD). It will be less plasticky than the Zfc, but it is unknown if it will be weather-sealed. Apparently, it will have IBIS and even pixel-shift. While I’m sure the Zf will generate plenty of excitement, it won’t be a “Fujifilm killer” for a few reasons.
First—and this is Nikon’s mistake—is there aren’t any Nikkor Z-mount lenses with aperture rings. I do believe that some of their lenses can be customized to make the manual-focus ring an (unmarked) aperture ring, but then you don’t have a manual focus ring. That’s not an ideal setup. Because the lenses don’t have aperture rings, Nikon will likely include a PASM dial or switch (like on the Zfc) to toggle on-and-off the knobs on the top plate, which is awkward and seemingly unnecessary. The best solution is to use a third-party lens that has an aperture ring and shoot in manual mode. Nikon should released a series of prime lenses with aperture rings along with the Zf (or, even better, back when they announced the Zfc), but I don’t think that will happen. This oversight means that you’ll have a really hard time replicating the Fujifilm shooting experience; if you want that, you’d better buy a Fujifilm camera instead.
Nikon Zfc + TTArtisan 35mm f/1.4 + Vintage Color Recipe – Sedona, AZ
Another important piece of the puzzle that Nikon lacks are JPEG Recipes. A lot of people buy Fujifilm cameras for Film Simulation Recipes, which can save you a lot of time and frustration while providing a more enjoyable experience. There are some Recipes for Nikon Z cameras (here, here, and here), but nothing like what’s available for Fujifilm. A community has even sprung up out of these Recipes, with photographers that are often extremely kind and welcoming. I don’t think there’s a better community in all of photography!
A number of people have said, “If only Fujifilm made a full-frame camera!” With Fuji, there’s either APS-C or medium-format, but not full-frame. At one time APS-C was for amateurs or hobbyists, while full-frame was for professionals and advanced enthusiasts, but that time has come and gone (yet the stigma doesn’t easily disappear, despite being outdated). Nowadays, there are tons of amazingly talented photographers who shoot with APS-C cameras.
The advantages that a 24mp full-frame sensor provides over Fujifilm’s 26mp or 40mp APS-C sensors are improved high-ISO performance and increased dynamic range, but it should be noted that Fujifilm’s cameras are quite excellent at high-ISO and dynamic range, so it only matters in extreme circumstances—and even then, only a little. People will mention depth-of-field (due to the crop factor), but that’s a bit overstated, as it depends on the lens focal-length and aperture—it’s possible to get a narrow depth-of-field on APS-C similar to full-frame, but not with identical focal-lengths and apertures.
This isn’t to say that APS-C is just as good or better than full-frame. There are some advantages and disadvantages to both sensor sizes, but overall those advantages and disadvantages aren’t huge. In my opinion, the advantages of APS-C (which are size, weight, and cost) outweigh the advantages of full-frame, but each has to determine what makes the most sense to their unique desires and needs. My only point is that full-frame isn’t massively better (if better at all) than APS-C, so just because Nikon offers a similarly-styled model with a full-frame sensor doesn’t mean that Fujifilm should be quaking in their boots.
A fun side-by-side experiment would be the Fujifilm X-T5 with the Fujinon 33mm f/1.4 and the Nikon Zf with the Nikkor 50mm f/1.8. The Fujinon lens is 2/3-stops brighter, while the Nikkor has about 1/3-stop less depth-of-field (f/1.4 on APS-C has a depth-of-filed more similar to f/2 on full-frame, everything else being equivalently equal). Both offer the same field-of-view. While the Zf is full-frame, on paper the X-T5 has several spec-sheet advantages. The X-T5 is smaller, lighter, and cheaper; however, since the Fujinon lens is more expensive, the cost of these two kits will be similar. The “winner” of this experiment would likely depend on the photographer (one might lean Fujifilm while another might lean Nikon), but I bet it would be a very close call.
The yet-to-be-announced Nikon Zf will certainly be an excellent camera, and I think it’s smart for Nikon to make it. I don’t believe it will have any significant impact on Fujifilm sales. In fact, if it does well enough, it could even boost Fujifilm’s sales (similarly to how the X100V’s success has caused a spike in Ricoh GR III sales). Most of those who buy the Zf will likely be those already in the Z system. There might be some disgruntled Sony or Canon shooters who are considering switching brands who could be attracted to Nikon by the Zf. There might even be some Fujifilm X-T3 owners who are peeved that Fujifilm left their camera on an island who take a long look at the Zf. Overall, though, I don’t think the Zf will be a “Fujifilm killer” because—while it might have some lovely retro styling similar to what Fujifilm has become known for—it doesn’t offer the same shooting experience, due to the lack of an aperture ring, the inclusion of a PASM switch or dial, and the small number of JPEG Recipes available for it (plus the community built around that). The Nikon Zf will certainly be a popular model, but so is the Fujifilm X-T5—they both can exist simultaneously, and not step on each other’s toes.
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I get asked somewhat regularly which Film Simulation Recipes one should try first. Perhaps you just purchased your first Fujifilm camera, or maybe you’ve had one for awhile but have never tried Recipes before—with so many to choose from (there are now 300 Film Simulation Recipes on the Fuji X Weekly App!), it can be hard to know where to start. Which Recipes are essential to program into your camera right away?
Everyone has their own tastes and style, so what one person might love another might not. That’s why it’s great to have such a wide variety to choose from—there’s bound to be at least a few that you’ll appreciate. Options are good up until the point where there are too many, and it becomes difficult to decide. I don’t want you to be paralyzed by choices, so let me suggest seven to program into your C1-C7 Custom Presets first. You might love all of them, or you might find that only one or two suit you well. Either way, these are ones that you should definitely try.
This will be a series of articles. The first one, which you are reading now, is for X-Trans V models, and I’ll work my way through the other sensors in the parts to come. If you have a Fujifilm X-H2, X-H2s, X-T5, or X-S20, I invite you to program the Film Simulation Recipes below into your camera.
There are a couple of special notes about the X-S20. First, it has an X-Trans IV sensor but an X-Trans V processor, so it’s a bit iffy if it should be included in this list or with the X-Trans IV cameras; however, reports I have received indicate that, due to its rendering and options, it best fits in the X-Trans V category. Second, the X-S20 has only four custom presets and not seven, so pick the four below that are the most intriguing to you, and once you’ve had a chance to try those, then replace your least favorite with another from this list.
Without further ado, let’s take a look at seven Film Simulation Recipes to program into your Fujifilm X-Trans V camera first!
Kodachrome 64 was a classic slide film, and it’s become a classic Film Simulation Recipe. It’s very popular, and it would be a shame to not include it—in fact, I put it first for a reason. This is one of those Recipes that everyone should try! It produces a retro 1970’s through 1990’s slide film aesthetic reminiscent of the pictures found on the pages of magazines like National Geographic. For best results use in sunny daylight; however, it can be decent in other situations, too, like overcast, shade, and blue hour.
This Recipe mimics the aesthetic of one of Kodak’s most-loved color negative film stocks: Portra 400. As the name implies, it’s especially well suited for portraits, but it is also good for many genres of photography. Kodak Portra 400 v2 is another Film Simulation Recipe intended for use in sunny daylight situations, and it’s my favorite option for golden hour images.
Fujicolor Super HG v2 produces a 1980’s Fujifilm color negative film vibe, which is notably divergent from the aesthetic of the first two suggested options. Perhaps more importantly, this Recipe is highly versatile, and can be used for almost any subject or light—including overcast, indoor artificial light, and nighttime cityscapes—where some other Recipes might be less than ideal. If you are after one option that can do it all, take a look at this one.
The Pacific Blues Film Simulation Recipe is specifically intended for a sunny summer day at the beach, which it is absolutely incredible for, but it’s surprisingly good for other situations, too. I’ve had great success with it on dreary overcast and foggy days. I’ve used it for portraits. I’ve used it for natural light indoors. It’s definitely not always the best Recipe for a given situation, but it often does quite well, and sometimes the pictures it produces are just stunning.
If you want a vintage vibe from your photographs, 1970’s Summer is for you! It produces a New American Color aesthetic that will transport you back in time 50 or so years. For best results, use in sunny daylight—this is a great option for when the sun is high in-between the two golden hour periods. This Recipe isn’t particularly versatile, but when it works it’s absolutely incredible.
Vibrant Arizona mimics the Wes Anderson look that’s in-style right now. It’s bright, warm, and colorful. This Recipe is intended for use in sunny daylight, especially harsh midday light. It’s not always the best option, but in the right situations it’s wonderful.
It would be a shame not to include a black-and-white Recipe in this list, so we’ll conclude with Kodak T-Max P3200, which is not only a great monochrome option, but is also excellent for high-ISO photography. If the light is getting dim and you need to bump the ISO up a bit, this is a great one to use. Or if you want classic B&W pictures with grain and good contrast, the Kodak T-Max P3200 Film Simulation Recipe will produce that for you.
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All the World’s a Summer Day – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak
The 1976 Kodak Film Simulation Recipe began as an attempt to recreate the aesthetic of legendary photographer Joel Meyerowitz, an American New Color photographer first known for serendipitous street photos of New York City. Meyerowitz has had one of the most prolific careers of any photographer, and he’s still active today at 85 years old! His look has been one of the most requested to replicate on Fujifilm cameras, so I eagerly delved into what exactly that is and how to mimic it.
One of the first roadblocks I encountered is that Joel Meyerowitz doesn’t have one unique style. His aesthetics vary significantly through the years. That shouldn’t be surprising because he’s on his seventh decade of photography. It’s well known that Meyerowitz used a lot of Kodachrome—in fact, he shot with all three eras of the film. In his early days it was the original ISO 10 Kodachrome, but very quickly that was replaced by Kodachome II and X; a significant chunk of his iconic street photography was captured during this time. Then Kodachrome 25 and 64 came along. All of those emulsions, while very similar, had their unique characteristics. I have a number of Film Simulation Recipes that can produce a Meyerowitz look because they replicate a film that he frequently used, including Vintage Kodachrome, Kodachrome 1, Kodachrome II (here, too), Kodachrome 25 (here, too), and Kodachrome 64 (here and here, too).
While Meyerowitz was known for Kodachrome, many of his most famous photographs were not captured on that film. He used Ektachrome sometimes for his 35mm work, and he used it extensively for his 8×10 large format photography. There have been over 40 different emulsions that carried the Ektachrome brand name, so it’s hard to know which specific ones he used. Some Ektachrome Film Simulation Recipes are Old Ektachrome, Kodak Ektachrome 100SW, Kodak Ektachrome E100VS, Ektachrome E100GX, Ektachrome, Ektachrome 320T, and Thommy’s Ektachrome. Some of these can probably be used to replicate a Meyerowitz look, too.
Closed Red Umbrella – Goodyear, AZ – Fujifilm X-T5 – 1976 Kodak
He didn’t just shoot with Kodachrome and Ektachrome, but also Anscochrome sometimes. He might have used other emulsions, too, it’s not real clear. One thing is for sure: whichever film he used, the emulsion wasn’t the finished picture, the print was (or the replication of the print in a book). Today, film is often scanned, and that’s how we see the photos captured with it, but for much of Meyerowitz’s career, the print (and not the scan) was what we saw. The printing process—the chemicals, the paper, and a host of other factors—could significantly affect the end result. That process changed and evolved over the decades. All of this is to say that no one Film Simulation Recipe will ever be able to replicate all of Joel’s various aesthetics. Probably not even ten Recipes. Aside from the ones already mentioned, 1970’s Summer and especially Summer of 1960 are a couple that could potentially produce a Meyerowitz look.
I studied about fifty of Joel’s photographs, mostly from the 1970’s. Some of them were urban street pictures, some were suburban or small-town images, and others were coastal photos. I looked for commonalities between the various pictures. I paid close attention to the lighting. I focused in on about two dozen that seemed similar enough, and tried to replicate the look with my Fujifilm X-T5. This 1976 Kodak Film Simulation Recipe was my sixth iteration. It’s not perfect, because, even within those 20+ similar Meyerowitz photographs, there are still some subtle differences. Aside from that, Fujifilm’s options, which are much more robust than they used to be, are still limited, and you can only do so much. Still, sometimes the resemblance between some of Joel’s pictures and the images captured with this Recipe are remarkable!
This Film Simulation Recipe got its name because the majority of the pictures that it is based on were captured in 1976. Some were 35mm and likely Kodachrome 25 and Kodachrome 64, but could also be Ektachrome-X and/or Ektachrome Pro 64, or even Anscochrome 64. Some were large format and likely Ektachrome Pro 64, Ektachrome 6118 Tungsten, and/or Ektachrome 160 Daylight, or even possibly Aschochrome 32. 1976 was a pivotal and transitional year for Joel Meyerowitz, as he began to explore landscapes and small-town life, particularly along the Massachusetts coast. He also began shooting with a large format Deardorff view camera. Since this was such an important year in Meyerowitz’s photographic journey, since many of the pictures that this Recipe was modeled after were captured in 1976, and because the vast majority of his photos were shot on Kodak film, I call this Recipe 1976 Kodak.
Two Birds – Tempe, AZ – Fujifilm X-T5 – 1976 Kodak
The 1976 Kodak Film Simulation Recipe is quite versatile, and works well in many lighting situations and for many genres of photography. You might find it to be slightly overly warm in artificial light, but otherwise use it anytime. It’s compatible with Fujifilm X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, X-H2s, and X-S20. Those with newer GFX cameras can use it, too, although it will likely render slightly different (use it anyway!). Try this Recipe with a vintage lens to further replicate a retro aesthetic.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, -2 Red & -4 Blue Dynamic Range: DR200 Highlight: +1.5 Shadow: +3 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this 1976 Kodak Film Simulation Recipe on my Fujifilm X-T5:
Country Truck – Buckeye, AZ – Fujifilm X-T5
Truck being Photographed – Buckeye, AZ – Fujifilm X-T5
Tonka Wall – Buckeye, AZ – Fujifilm X-T5
Nissan Nature – Buckeye, AZ – Fujifilm X-T5
Pro4X – Buckeye, AZ – Fujifilm X-T5
Empty Campus – Avondale, AZ – Fujifilm X-T5
Street Glimpse – Buckeye, AZ – Fujifilm X-T5
Leaf & Treats – Buckeye, AZ – Fujifilm X-T5
Evening Reflected in Glass – Buckeye, AZ – Fujifilm X-T5
Dead Decorative Flowers – Buckeye, AZ – Fujifilm X-T5
Old Tricycle – Buckeye, AZ – Fujifilm X-T5
Two Red Chairs – Buckeye, AZ – Fujifilm X-T5
Locked Bike – Buckeye, AZ – Fujifilm X-T5
Circles of Life – Buckeye, AZ – Fujifilm X-T5
Fountain Not Flowing – Buckeye, AZ – Fujifilm X-T5
Orange Pot – Buckeye, AZ – Fujifilm X-T5
Mineral Discoloring – Buckeye, AZ – Fujifilm X-T5
Covered Promenade – Avondale, AZ – Fujifilm X-T5
Curious Closed Curtain – Buckeye, AZ – Fujifilm X-T5
Office Abstract – Buckeye, AZ – Fujifilm X-T5
Plastic Green – Buckeye, AZ – Fujifilm X-T5
Joshua Waiting in a Blue Chair – Avondale, AZ – Fujifilm X-T5
Photography is Life – Avondale, AZ – Fujifilm X-T5
Friendly Neighborhood Spiderman – Buckeye, AZ – Fujifilm X-T5
Guitar Practice – Buckeye, AZ – Fujifilm X-T5
Happy – Buckeye, AZ – Fujifilm X-T5
Green Leaves Hiding Behind Gate – Buckeye, AZ – Fujifilm X-T5
Park Bench – Buckeye, AZ – Fujifilm X-T5
Rainbow & Trumpets – Buckeye, AZ – Fujifilm X-T5
Ceramic Tile Roof – Buckeye, AZ – Fujifilm X-T5
Suburban Home – Buckeye, AZ – Fujifilm X-T5
Date Palm – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Garden – Buckeye, AZ – Fujifilm X-T5
Distant Thunderstorm Building – Buckeye, AZ – Fujifilm X-T5
Uptown Snake – Sedona, AZ – Fujifilm X-T5
Red Bell – Sedona, AZ – Fujifilm X-T5
Green Soccer Field – Buckeye, AZ – Fujifilm X-T5
Scootering – Buckeye, AZ – Fujifilm X-T5
Rooftop at Dusk – Buckeye, AZ – Fujifilm X-T5
Distant Sunset – Buckeye, AZ – Fujifilm X-T5
Pastel Sunset over Ball Field – Buckeye, AZ – Fujifilm X-T5
Foul Pole & Full Moon – Buckeye, AZ – Fujifilm X-T5
Saguaro at Sundown – Buckeye, AZ – Fujifilm X-T5
Dramatic Sunset behind Saguaro – Buckeye, AZ – Fujifilm X-T5
Purple Sky – Buckeye, AZ – Fujifilm X-T5
Sunset over School – Buckeye, AZ – Fujifilm X-T5
Sunset Lit Cloud – Buckeye, AZ – Fujifilm X-T5
Fast Scooter at Night – Buckeye, AZ – Fujifilm X-T5
Basketball Moon – Buckeye, AZ – Fujifilm X-T5
Moon Through the Hoop – Buckeye, AZ – Fujifilm X-T5
Moonshot – Buckeye, AZ – Fujifilm X-T5
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The new Nostalgic Neg. film simulation found only on the latest Fujifilm cameras is becoming quite popular! A lot of people really seem to love the aesthetic of it. All X-Trans V models, which (as of this writing) are the X-H2, X-H2s, X-T5, and X-S20, have Nostalgic Neg., as well as a couple of GFX cameras (GFX100S and GFX50S II). Classic Chrome is the most-used film sim by a large margin, followed distantly by Classic Negative and Acros, but currently there’s a lot of interest in the new option.
According to Fujifilm, Nostalgic Neg. is based on “American New Color” photography of the 1970’s. They studied photographs by William Eggleston, Stephen Shore, Joel Sternfeld, and Richard Misrach in order to create it. Eggleston and Sternfeld largely shot on Kodachrome—II and X in the early 1970’s, 25 and 64 in the late ’70’s—while Shore shot mostly Kodacolor, and Misrach shot a lot of Vericolor. All of those are Kodak emulsions, but with different aesthetics. These four photographers had different styles and different darkroom processes, and they each had a unique look; the commonality that Fujifilm found was an “overall atmosphere based on amber.” That’s a basic explanation of what the new film simulation is. While not mentioned by Fujifilm, I think Nostalgic Neg. also has some similarities to photographs by Saul Leiter and Joel Meyerowitz. Leiter used a whole bunch of different films over the years, including Kodachrome and Anscochrome, but apparently he didn’t mind using generic drug store brands, either. Meyerowitz mostly shot a mix of Kodachrome and Ektachrome for his color work. Nostalgic Negative is a divergent approach for Fujifilm, I think, in that it is not intended to mimic a certain emulsion (or the “memory color” of a specific film stock), but instead tries to mimic the “memory color” of a certain decade (the 1970’s), or perhaps simply elicit a nostalgic emotional response.
A lot of various looks can be made using the Nostalgic Neg. film simulation. Because it is largely intended to mimic a retro Kodak aesthetic, it’s a good starting point for Kodak-esque Film Simulation Recipes. While some of my Recipes that use Nostalgic Neg. are intended to replicate a specific stock, most of them are not, and instead are more reminiscent of a certain time or era instead of a specific emulsion; however, some of those were made from studying pictures captured on specific films, so they do tend to resemble actual film stocks to an extent.
I get asked which Nostalgic Neg. Film Simulation Recipe one should try first on their X-Trans V camera. There are plenty to choose from, and the list is growing. Since your camera has seven custom presets (with the exception of the X-S20, which only has four), I would like to suggest the seven Nostalgic Neg. Recipes below. Choose one or two or even all seven to program into your camera, and give it a try! I bet at least one of them will become a new favorite Film Simulation Recipe that you find yourself using often.
Vulture City Entrance – Vulture City, AZ – Fujifilm X-T5 – 1970’s Summer
The 1970’s Summer Film Simulation Recipe very much has a nostalgic Kodak “memory color” (as Fujifilm likes to say) that is reminiscent of old color photographs from the 1970’s. You might notice some similarities to William Eggleston’s Election Eve and 2 1/4 series and some of his other work from the late-1960’s through the mid-1970’s—not every picture, but certainly several. You might spot some similarities between this look and some of Stephen Shore’s photographs from the early-to-mid 1970’s. I think there are some similarities to a few of Joel Sternfeld’s American Prospects pictures. There’s a noticeable likeness to several of Richard Misrach’s desert photographs. In other words, 1970’s Summer produces a distinct American New Color aesthetic with a clear 1970’s vibe. This recipe works best in sunny daylight, and is excellent for midday photography.
Going Out of Business – Prescott, AZ – Fujifilm X-T5 – 1970’s Summer
Short Train – Buckeye, AZ – Fujifilm X-T5 – 1970’s Summer
More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer
Ranch House – Tucson, AZ – Fujifilm X-T5 – Summer of 1960
I found the December 1960 issue of Arizona Highways in a used bookstore. It has page after page of amazing photography! I really love the look of the pictures in this particular issue—while not every image looks alike, there is definitely a commonality to the photo aesthetic. For those who don’t know, Arizona Highways is a magazine with an important history. It began in 1925, and in 1946 published the world’s first all-color publication. From the beginning, Arizona Highways has been dedicated to the art of photography. Ansel Adams was a regular contributor. Barry Goldwater, Ray Manley, Chuck Abbott, David and Josef Muench, Ed Ellinger, Esther Henderson, and many other talented photographers were often featured. The publication is full of wonderful images even to this day. While it is not purely a photography magazine, Arizona Highways is a publication that photographers love due to their passion for the medium.
The vast majority of the pictures in the December 1960 issue were captured on Ektachrome, and fair number were shot on Kodachrome. While it was the December issue, most of the photographs had been captured that previous summer. The Summer of 1960 Film Simulation Recipe mimics the aesthetic of the those images, including the magazine photo below, made by Chuck Abbott in July 1960 using Kodachrome.
Agaves in 1960 – Buckeye, AZ – Fujifilm X-T5 – Summer of 1960
Saguaro Spines – Tucson, AZ – Fujifilm X-T5 – Summer of 1960
Agua Caliente Pond – Tucson, AZ – Fujifilm X-T5 – Summer of 1960
When I was six-years-old, my family and I went to Expo ’86 World’s Fair in Vancouver, Canada. Not long ago I found many old pictures of that event—personal, in books, and online. The Emulsion ’86 Film Simulation Recipe is highly reminiscent of some of those photographs, producing a nostalgic analog aesthetic that is similar to some pictures from the mid-1980’s (presumably primarily Kodak emulsions). While it is a good option for sunny daylight photography, I especially like how this one looks on dreary overcast days.
Old California Architecture – San Diego, CA – Fujifilm X-T5 – Emulsion ’86
Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – Emulsion ’86
Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – Emulsion ’86
The Kodak Negative Film Simulation Recipe isn’t intended to mimic any specific emulsions; instead it has a “memory color” similar to some Kodak films, like Royal Gold, Gold 100, and Ektar 100. It’s not an exact match to any of those, but just in the general ballpark with a warm and vibrant Kodak color negative film palette. Because it uses Auto White Balance, the Kodak Negative Recipe is fairly versatile and can be used for many subjects and lighting situations.
Three Oranges – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative
Lake Lamp – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative
Water & Reflection – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative
Backlit Lupine – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
Thommy’s Ektachrome was made by Thomas Schwab, who was simply trying to make a Recipe using the Nostalgic Neg. film sim that would be good for portraits. The Recipe he created has a distinctive Ektachrome aesthetic, especially similar to National Geographic photographs prior to Ektachrome’s discontinuation by 2013 (prior to the revival in 2018). That was, of course, by chance and not intentional, but there certainly are some similarities. This Recipe is not only good for portraits, but also landscapes and I’m sure many genres of photography. Thommy’s Ektachrome does particularly well in sunny daylight, but is good for overcast, shade, and natural-light indoors, too.
Way Over That Way – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
Wildflower Spring – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
Historic Ranch House – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome
Lynx Lake Overlook – Lynx Lake, AZ – Fujifilm X-T5 – Nostalgia Negative
I wasn’t trying to emulate any specific film or process when I created the Nostalgia Negative Film Simulation Recipe, I just wanted something that looked good. This was my very first X-Trans V Recipe, and it was simply an attempt to create a better Nostalgic Neg. than just using the default settings. I hoped that perhaps it would even evoke feelings of nostalgia with a vintage analog-like aesthetic.
Two Ducks – Lynx Lake, AZ – Fujifilm X-T5 – Nostalgia Negative
311 – Lynx Lake, AZ – Fujifilm X-T5 – Nostalgia Negative
Soft Rose – Buckeye, AZ – Fujifilm X-T5 – Timeless Negative
The creators of the Nostalgic Neg. film simulation stated, “Nostalgic Negative is tuned for the best allrounder settings, but if you want to tweak it to get that classic American New Color look from the ’70’s, there are some adjustments you should make.” This Timeless Negative Film Simulation Recipe is a tweak to Fujifilm’s recommended settings, bringing it closer to a ’70’s vibe. This particular Recipe is especially versatile, and can be used for many different genres of photography and in various light conditions—it’s good for anytime of the day or night.
Dark Coffee – Buckeye, AZ – Fujifilm X-T5 – Timeless Negative
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July Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Pushed CineStill 800T
CineStill 800T is a Kodak Tungsten-balanced motion picture film (specifically, Vision3 500T) that has had the Remjet layer removed so that it can be processed in C41 chemistry. It’s intended for use in indoor artificial light and at night (but could be used anytime with the appropriate color correction filter). Awhile back I found some examples of CineStill 800T that had been shot during the day in overcast conditions and had been push-processed. I liked the picture aesthetics, so I set out to recreate it.
While this Film Simulation Recipe is intended for daytime photography (particularly on overcast days), it does really well at night, too. For the after-dark pictures in this article, I used a 5% CineBloom diffusion filter, but a 10% or 20% might have been more appropriate for replicating the emulsion. I do recommend the use of a diffusion filter for nighttime photography when shooting with this Recipe.
This Pushed CineStill 800T Recipe isn’t new, but simply a modification of the X-Trans IV version for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on some film simulations, a tweak to Color Chrome FX Blue—selecting Weak instead of Strong—was necessary for my Fujifilm X-T5. This Film Simulation Recipe isn’t for everyone or every situation, but some of you will really appreciate it for certain pictures.
Film Simulation: Eterna Bleach Bypass Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7700K, -9 Red & +5 Blue Dynamic Range: DR400 Highlight: -0.5 Shadow: +1.5 Color: +3 Sharpness: 0 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 CineStill 800T Film Simulation Recipe on my Fujifilm X-T5:
Flower Stems in Colored Water – Buckeye, AZ – Fujifilm X-T5
Playing Video Games – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers on a Dreary Day – Buckeye, AZ – Fujifilm X-T5
Birdcage Wall – Buckeye, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Green Tree on a Blue Day – Buckeye, AZ – Fujifilm X-T5
Suburban Grey – Buckeye, AZ – Fujifilm X-T5
Street Train – Tempe, AZ – Fujifilm X-T5
Hand Signal – Tempe, AZ – Fujifilm X-T5
Spin – Tempe, AZ – Fujifilm X-T5
Ice – Tempe, AZ – Fujifilm X-T5
Hair Chairs – Tempe, AZ – Fujifilm X-T5
Mellow Mushroom Pizza – Tempe, AZ – Fujifilm X-T5
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It’s summer and it’s hot. I live in Arizona, so when I say it’s hot, I mean that it feels like someone opened an oven door! Nobody wants to be outside during the day right now, so (like vampires) everyone comes out at night. Not that it’s all that much cooler at dusk—it’s still triple digits—but at least it’s more bearable. While it’s easy to look at the negative side of things, the positive aspect to the excessive heat is that opportunities for night photography are plentiful.
A few days ago I took my Fujifilm X-T5 to downtown Tempe for some after-dark photography. Attached to the camera was a Meike 35mm f/1.7 lens, and I had a 5% CineBloom diffusion filter screwed onto it. I like the Meike lens for its vintage-like character. I chose the 5% CineBloom because its effect is subtle. While the 10% or 20% might have been more appropriate for a couple of the Film Simulation Recipes, overall I appreciate what the 5% CineBloom does to the photographs, which is not much yet oftentimes just enough.
I programmed into my Fujifilm X-T5 eight different Film Simulation Recipes, and shot with all of them. How was I able to program eight? Well, obviously, there’s C1-C7. On the X-T5 (as well as my X-E4 and a few other newer models), you can program an additional Recipe into the IQ menu. As you scroll through C1-C7, when you’re in-between C7 and C1, the camera will display the shooting mode (either P, A, S, or M, depending on the configuration of your dials), and it will select the settings programmed into the IQ menu, giving you a bonus eighth custom preset.
I didn’t walk all that far with my camera—going down a few blocks on one side of the road, and then back up on the other side. It was dark, but still blazing hot. I did manage to capture a whole bunch of pictures, making sure that I had at least six decent exposures with each Recipe. Afterwards I cooled off with an ice cream shake at In-N-Out, a nice treat to beat the heat.
If you are searching for some Film Simulation Recipes to try out on a hot summer night, take a look at the eight below. They’re certainly not the only ones that are good for after-dark photography, but they are all excellent options, and have their own unique aesthetics. These eight Recipes are the ones that I used, and I invite you to try them, too, the next time you go out for some night photography.
Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2
Fujicolor Super HG v2 is a highly versatile Film Simulation Recipe that—because it uses the Auto White Priority white balance—you can use anytime of the day or night. This is a Recipe that makes a lot of sense to always have programmed into your camera, since, no matter the light scenario, it’s going to give you good results. There’s an X-Trans V version of Fujicolor Super HG v2 (for those with an X-T5, X-H2, X-H2s, or X-S20), and an X-Trans IV version of this Recipe (for those with an X-T4, X-S10, X-E4, or X-T30 II).
