Yesterday’s Fuji X Weekly + Nuzira collaborative Fujifilm photowalk in Scottsdale, Arizona, was a huge success! Altogether, 16 people showed up, including myself and Lucas White of Nuzira. It was a great group of photographers, and I think everyone had a good time. Most were local to the Phoenix metro area, but three came from Ohio and one from South Dakota—they were in the area, and it just happened to work out that they could attend. It was such an honor to co-lead everyone through Old Town Scottsdale!
The weather cooperated wonderfully, but it didn’t initially seem like it was going to. May is typically a hot month—the average high temperature right now is 90° Fahrenheit; however, a cool-front passed through shortly before the photowalk, which kept it at a more reasonable 82° at the start, and 77° by the end. Because of the frontal system, the wind howled most of the day, and clouds covered the sky. Just as the photowalk was about to begin, the wind calmed and the clouds cleared, revealing endless blue. Really, it couldn’t have been better.
Most people had an X100-series camera, ranging from an X100T to the new X100VI. The other cameras I saw were an X-T100, X-T20, X-E4, X-S10, X-S20, X-Pro3, and X-T5. The camera I brought was my X100VI, which is perfect for walk-around photography. Lucas had a bag full of gear, which he graciously let anyone try out if they wanted. Fujifilm provided some stickers and pins to give away, and Sigma provided multi-use tools (screwdriver/wrench/bottle-opener, etc., combo) with their logo.
The Film Simulation Recipes that I used for the photowalk were Kodak Portra 400 v2, Kodachrome 64, Kodak Tri-X 400, and two upcoming Recipes that have not yet been published, one based on Nostalgic Neg. and the other on Reala Ace. As we were walking around, I was stopped by someone who recognized that I had a Fujifilm camera, but seemed only vaguely familiar. “I’ve heard about those,” he stated. “Can I see some of the pictures?” So I showed him the images I had just captured on the photowalk. “It’s just like the Reels!” He took note of the camera name, said “thanks” and walked away.
It was great to meet everyone who attended, and have some face-to-face conversations about Fujifilm gear, Film Simulation Recipes, and photography. Every time I looked around, I noticed that those in attendance were talking with each other; it was great to help facilitate community. Fujifilm cameras and Recipes seem to bring people together.
I want to give a big “thank you” to those who came out and joined us! I appreciate you taking time out of your busy day to meet up, chat, and photograph. I hope to see everyone again sometime in the future!
Recently, a lot of people have asked me which Fujifilm cameras do I recommend. Should they buy an X100VI? X-T5? X-H2? X-S20? You get the idea. This is an impossible question for me to answer because it is personal; what I might like in a camera you might dislike, as each person’s needs, experiences, and priorities are different. Still, I’ll try to give some thoughtful answers.
To make this even more challenging, some Fujifilm cameras are difficult to get. As the saying goes, a bird in the hand is worth two in the bush. Should you patiently wait for the Fujifilm X100VI? Or should you get an X-T30 II or X-T5 instead? I cannot tell you what you should or shouldn’t do, I can only offer my opinions, which should be taken with a grain of salt.
I learned photography during the film era, and used full-manual cameras for many years. Because of this, PASM mode-dial cameras never made sense to me and were always an awkward experience. Fujifilm’s retro designs and tactile controls are like home to me. For this reason, I’m not personally a big fan of the Fujifilm’s models that trade those for mode dials, such as the X-S10, X-S20, X-H2, and X-H2s. This is not to say that those are bad cameras (because they’re not), only that they’re not for me—you might, in fact, love them very much.
This article is specifically about new cameras, and not models that have been discontinued and are now only available used. I might make a part two that covers used models; there are so many to choose from, that’s a different beast altogether. For the sake of simplicity, I’m just talking about what is currently available brand-new.
Now, let’s get to it!
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Best Overall: Fujifilm X-T5
Whether you are a photographer, videographer, or both, the Fujifilm X-T5 is the top allrounder. It’s Fujifilm’s most premium model with retro tactile controls. It has a 40mp X-Trans V sensor, IBIS, weather-sealing, dual-card slots—just excellent specs. There’s so much to love about this camera, but no camera is perfect; however, this is in my opinion the closest to perfect among the current interchangeable-lens options. I’ve been using mine for about a year-and-a-half now, and still really enjoying it.
The Fujifilm X-T30 II is currently Fujifilm’s most entry-level model, but don’t be fooled: this camera is highly capable. It has a 26mp X-Trans IV sensor, which is my personal favorite Fujifilm sensor generation. It’s not as feature rich as other models—it doesn’t have IBIS, weather-sealing, or dual-card slots—but it is more than good enough for most people, especially if you plan to use it more for still photography than video. The X-T30 II can sometimes be difficult to find—it was purportedly discontinued at one point, but new copies seem to appear now and then. If you have less than $1,000 to spend, the X-T30 II is definitely your best bet.
The Fujifilm X100VI is the camera that everyone wants but few can actually get. It’s the wildly successful successor to the X100V, which was also hard to find after it became a social-media sensation two-and-a-half years after it was initially released. The X100VI has a 40mp X-Trans V sensor, IBIS, and is (for the most part) weather-sealed. It has great stats; most importantly, it’s a lot of fun to use. The fixed lens, leaf shutter, built-in ND filter, and relatively compact size make it a joy to use. My wife gifted me an X100V for my birthday four years ago; just three weeks ago my X100VI arrived in the mail—these are my desert island cameras, and if I could only have one for the rest of my life, I’d be quite happy with either one of them. If you can get one, in my opinion it’s worth doing so; however, they’re definitely not for everyone, so only you can determine if you’ll appreciate it or not. Aside from that, the X100VI is not easy to get, and you might have to wait awhile for one to become available.
Fujicolor 100 Industrial was a color negative 35mm film sold in bulk only in Japan—it’s not the same as the Fujicolor 100 that was widely available worldwide. It has been said that Fujifilm keeps their best film stocks in Japan, and there are two Japanese-only Fujicolor 100 emulsions: one is known as Fujicolor 100 Japan, and the other is Fujicolor 100 Industrial; however, they might be the exact same film—some say they are, while others say they are not (I’m not certain which is true, but I think they might be the same). The “Industrial” part of the name does not mean that it was for photographing industrial buildings, but simply that it was intended for commercial use by corporations who go through a lot of film—Fujifilm did not desire for it to be sold individually, but some did so nonetheless. Fujicolor 100 Industrial was discontinued by Fujifilm in 2020.
This film is unusual because it was made for daylight photography, but it is actually Tungsten-balanced. Fujifilm shifted the dyes so that it looked “normal” when used in sunny conditions. I’m not sure why they did this. Was it an experiment from their lab that they thought was cool but didn’t really know how to market? Is it that Tungsten film is cheaper to produce? I have no idea why, but it does give it a slightly different look than other Fujifilm emulsions.
Ford – Buckeye, AZ – Fujifilm X100VI – Fujicolor 100 Industrial
Back in 2019 I made a Fujicolor 100 Industrial Film Simulation Recipe for the Fujifilm X-T3 and X-T30 cameras, which uses PRO Neg. Std as the base. Ever since I published that Recipe, it has been one of my personal favorites for my X-T30; however, I never adapted it for the newer models. The solution is simple: if you have a Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, or X100VI, set Color Chrome FX Blue to Off, Grain size to Small, and Clarity to 0 (or -2, if you prefer). I have used that adaptation on my X100V, X-E4, and X-T5 a few times, but never made it an official Recipe.
Since the new Reala Ace film simulation is so similar to PRO Neg. Std, I decided to make a version of Fujicolor 100 Industrial using it as the base. I also used the latest JPEG options (that aren’t available on the X-T3 and X-T30) to fine-tune it just a tad more. While this new version of the Recipe isn’t identical to the old, it is still very similar. I like this new one, which uses Reala Ace, a tiny bit better than the old one, which uses PRO Neg. Std., but since they are so similar, you can go with whichever one you personally prefer.
At this time, the only X-series camera that this new Fujicolor 100 Industrial Film Simulation Recipe is compatible with is the Fujifilm X100VI; however, sometime this coming summer Fujifilm will purportedly give the new Reala Ace film simulation to the other fifth-generation models (X-H2s, X-H2, X-T5, and X-S20), so if you have one of those cameras, you’ll be able to use it soon enough. Also, the GFX100 II has Reala Ace, so you can use this Recipe on that camera, but it will likely render slightly differently (try it anyway).
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: 3100K, +8 Red & -8 Blue Highlight: +0.5 Shadow: +1.5 Color: -1 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fujicolor 100 Industrial Film Simulation Recipe on my Fujifilm X100VI:
Sunkissed Leaves – Buckeye, AZ – Fujifilm X100VI
Sunlight Pouring on the Tree – Buckeye, AZ – Fujifilm X100VI
Easter Bunny – Buckeye, AZ – Fujifilm X100VI
Looking for Hidden Eggs – Buckeye, AZ – Fujifilm X100VI
Main Street Fountain – Buckeye, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Exit 137 – Buckeye, AZ – Fujifilm X100VI
Two Men at Breakfast – Goodyear, AZ – Fujifilm X100VI
Suburban Roof – Buckeye, AZ – Fujifilm X100VI
Roofline Abstract – Buckeye, AZ – Fujifilm X100VI
Rural Backyard – Litchfield Park, AZ – Fujifilm X100VI
Building in Ruins – Gila Bend, AZ – Fujifilm X100VI
Little Yellow Flower at the Base of a Tree – Buckeye, AZ – Fujifilm X100VI
Small Outdoor Table – Goodyear, AZ – Fujifilm X100VI
Mudflap – Litchfield Park, AZ – Fujifilm X100VI
Palm Shadow on Window – Buckeye, AZ – Fujifilm X100VI
Tower Reflection – Buckeye, AZ – Fujifilm X100VI
Coffee Cove – Buckeye, AZ – Fujifilm X100VI
Patriotic Neighborhood – Buckeye, AZ – Fujifilm X100VI
Lion Spitting Water – Buckeye, AZ – Fujifilm X100VI
Yellow Wall – Gila Bend, AZ – Fujifilm X100VI
Sunset out the Window – Buckeye, AZ – Fujifilm X100VI
Dusk Lamps – Goodyear, AZ – Fujifilm X100VI
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Amazing Grace – Glendale, AZ – Fujifilm X100VI – PRO Negative 160C
This is the very first Film Simulation Recipe that I created using my brand-new Fujifilm X100VI camera, and also the very first using the new Reala Ace film simulation. I’m very excited to share it with you, because I think many of you who have received their X100VI cameras will love it, and those still waiting for their order to be shipped can look forward to it—as well as those with the other X-Trans V cameras whenever it is that Fujifilm gives the Reala Ace film simulation to those models via a firmware update, which Fujifilm has said that they will do.
I mentioned a few days ago that Reala Ace isn’t much like Reala film, but is actually similar to PRO Neg. Std, mostly with just a small increase in Highlight and a moderate increase in Color. It is essentially a third PRO Neg. option, with a tonality in-between Hi and Std, and saturation more similar to Hi (just a little more, actually); for whatever reason, it’s easier to replicate the Reala Ace film sim with PRO Neg. Std than PRO Neg. Hi, but you can get pretty close with either. The most similar emulsion to the new Reala Ace film sim is, in my opinion, Fujicolor PRO 160C, which was made by Fujifilm between 2004 and 2010. “PRO Neg. C” is probably a more appropriate name for the new film sim than Reala Ace, but that’s not what Fujifilm chose.
Vibrant Trumpets – Buckeye, AZ – Fujifilm X100VI – PRO Negative 160C
I didn’t necessarily set out to recreate Fujicolor PRO 160C with this PRO Negative 160C Film Simulation Recipe, although I had it in my mind because I had just looked at a bunch of pictures captured with the film. More simply, I was intending a PRO Neg. Std tonality, but with vibrancy more like (or possibly slightly beyond) PRO Neg. Hi with Color set to +4. You can get about 90% similar to this Recipe using PRO Neg. Hi, but you can’t quite match it. You could probably get a 95% match if PRO Neg. Std had a +6 Color option, but alas +4 is the most that Fujifilm provides. Even though this wasn’t exactly meant to replicate Fujicolor PRO 160C film, it is definitely in the ballpark of that emulsion, and you could probably convince some people that used the film, and not a digital camera.
For those unfamiliar with Fujicolor PRO 160C, it was a natural-yet-vibrant low-ISO color negative professional-grade daylight film. Fujifilm made three different emulsions in the PRO 160 line: 160S, 160NS, and 160C. The PRO 160 series was intended to compete against Kodak’s Portra 160 films; specifically, PRO 160S was Fujifilm’s answer to Portra 160NC, PRO 160C was Fujifilm’s answer to Portra 160VC, and PRO 160NS was Fujifilm’s answer to (the later updated) Portra 160. With that said, Fujifilm’s emulsions were significantly divergent from Kodak’s offerings; while Portra is now legendary, PRO 160 has nearly been forgotten. I never shot with PRO 160C personally, but I did use PRO 160S a couple of times; in retrospect, I think I would have liked 160C more.
Railroad Water Tower – Gila Bend, AZ – Fujifilm X100VI – PRO Negative 160C
As of this writing, the only Fujifilm cameras this PRO Negative 160C Film Simulation Recipe is compatible with are the X100VI and GFX100 II. I’ve not tested this on the GFX model, but I’m certain that it will render slightly differently, although that shouldn’t stop you from trying it. Eventually all X-Trans V cameras will be able to use it once Fujifilm releases it to those models, but I’m not certain exactly when that will happen (hopefully soon). This is a versatile Recipe—use it anytime of the day or night! I believe that it could be your go-to option for everyday photography.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -2 Blue Highlight:-1 Shadow: -1 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this PRO Negative 160C Film Simulation Recipe on my Fujifilm X100VI:
Afternoon in Spring – Buckeye, AZ – Fujifilm X100VI
Bougainvillea & Arch – Buckeye, AZ – Fujifilm X100VI
Shrub along Stucco Wall – Buckeye, AZ – Fujifilm X100VI
Water Angels – Buckeye, AZ – Fujifilm X100VI
Yellow Wall – Gila Bend, AZ – Fujifilm X100VI
Abandoned Service Station – Gila Bend, AZ – Fujifilm X100VI
Old Fire Engine – Gila Bend, AZ – Fujifilm X100VI
Old Fire Engine Cab – Gila Bend, AZ – Fujifilm X100VI
Steering Wheel in an Abandoned Truck – Gila Bend, AZ – Fujifilm X100VI
Yellow Wall, Abandoned Building – Gila Bend, AZ – Fujifilm X100VI
Window Basket – Buckeye, AZ – Fujifilm X100VI
Jon with a Camera – Glendale, AZ – Fujifilm X100VI
American Turkey Legs – Glendale, AZ – Fujifilm X100VI
Bud Bud, Light Light – Glendale, AZ – Fujifilm X100VI
Thunderbird & Canopies – Glendale, AZ – Fujifilm X100VI
Mirrored Jets – Glendale, AZ – Fujifilm X100VI
Four Birds in the Sky – Glendale, AZ – Fujifilm X100VI
Collision Course – Glendale, AZ – Fujifilm X100VI
Travis – Glendale, AZ – Fujifilm X100VI
Twin Engine – Glendale, AZ – Fujifilm X100VI
Blue Angel 0 – Glendale, AZ – Fujifilm X100VI
Green Buckets – Glendale, AZ – Fujifilm X100VI
Rescue – Glendale, AZ – Fujifilm X100VI
Airmen in Sunglasses – Glendale, AZ – Fujifilm X100VI
Palm Tree Checkerboard – Buckeye, AZ – Fujifilm X100VI
It’s all Greek to Me – Buckeye, AZ – Fujifilm X100VI
Little Lights, Big Lights – Buckeye, AZ – Fujifilm X100VI
The Black Hole – Buckeye, AZ – Fujifilm X100VI
Kool & The Gang, Crowd – Buckeye, AZ – Fujifilm X100VI
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Let’s talk about the X100VI Digital Teleconverter! Beginning with the X100F, Fujifilm has included a Digital Teleconverter on each of their X100-series cameras. The X100VI also has this feature, but it works just a little different. What’s divergent and how it might be useful is something I’ll discuss in this article.
The X100VI, like all the previous X100-series cameras, has a 23mm lens, which is 35mm full-frame equivalent, permanently attached to the front. While 35mm is a very useful focal-length, obviously it is also quite a constraint. You have to embrace the one-camera-one-lens philosophy; since limitations improve art, this can be greatly beneficial. Still, there are times when a little additional versatility is appreciated.
Fujifilm X100VI — 70mm Digital Teleconverter
Fujifilm X100VI — 70mm Digital Teleconverter
To add some versatility to your X100VI, you could use the WCL and TCL conversion lenses, which can be attached to the front of the camera in order to make it more wide-angle or telephoto. This obviously makes the camera bigger and heavier, and you’ve got to carry a lens or two with you. It’s not an ideal situation, but not really any different than if you had an interchangeable-lens model with a few lenses, except probably still more compact and lightweight.
The other option is a feature built into the camera called the Digital Teleconverter. This is a digital zoom that crops the picture to either 32mm (50mm full-frame equivalent) or 46mm (70mm full-frame equivalent). I have mentioned several times that the 40mp sensor makes sense on an X100 camera because of the Digital Teleconverter; otherwise, 40mp is overkill for most photographers—only those who crop really deeply or print their pictures huge need that much resolution. For most people, 20mp is plenty enough. More resolution can cause storage issues and take longer to transfer and all sorts of other things, so sometimes less is more. Anyway, with the fixed-lens limitation, in situations where additional versatility is needed, the extra resolution can come in handy.
Fujifilm X100VI — 50mm Digital Teleconverter
Fujifilm X100VI — 50mm Digital Teleconverter
For the Digital Teleconverter on the X100F and X100V, Fujifilm did an upscale trick that increased the apparent resolution of the picture to 24mp or 26mp, respectively. Obviously upscaling can’t add details that weren’t there in the first place, but it appeared to do so. Basically, the camera takes the data from the surrounding pixels, and makes new “pixels” in-between from that information, than applies a little micro-sharpness to crisp it up. The reality is that there is only (for example) 6.5mp of data on the X100V using the 70mm Digital Teleconverter, but it appears that there is a lot more than that, perhaps closer to 12mp—that’s clearly not 26mp, but still significantly more apparent resolution than 6.5mp. I thought it was pretty slick, although the 70mm Digital Teleconverter is definitely pushing the boundary of what could and should be done; the 50mm Digital Teleconverter is much more practical. Yes, one can upscale using software, but I always appreciate when the camera can do something for me, so that I don’t have to sit at a computer and fiddle with software—I have better things to do with my time.
The Digital Teleconverter on the X100VI works a little differently. Gone is the upscale; it’s just a crop. The 50mm Digital Teleconverter crops the picture to 20mp, which is still plenty of resolution for most people. The 70mm Digital Teleconverter crops the picture to 10mp, which is fine for social media and web use, but is limiting for prints—12″ x 18″ is definitely the upper limit of how large you can go. I would like an option, which could be enabled or disabled, that would allow the 50mm Digital Teleconverter images to be upscaled to 40mp, and especially the 70mm Digital Teleconverter images to be upscaled to 20mp. I’d probably disable it for 50mm and enable it for 70mm. Unfortunately, this isn’t an option, but I’m sure Fujifilm could include it in a future firmware update if they wanted to, and hopefully they do (but probably won’t).
Fujifilm X100VI — 70mm Digital Teleconverter
Fujifilm X100VI — 70mm Digital Teleconverter
On the X100F, the Digital Teleconverter only works when the camera is set to JPEG, and you cannot use it with RAW. On the X100V and X100VI, the Digital Teleconverter will work with RAW+JPEG; you can reprocess the RAW file in-camera with or without the Digital Teleconverter crop. The RAW file is uncropped; however, the thumbnail preview of the RAW file is of the cropped JPEG.
One problem that I have with the Digital Teleconverter is that it doesn’t scale Grain size. If you have Grain size set to Small, on the 50mm Digital Teleconverter it will appear more like Medium (which, I know, doesn’t exist—but it should!), and on the 70mm Digital Teleconverter it will appear more like Large. Grain set to Large appears quite massive when using the Digital Teleconverter, especially the 70mm option; while this can be used creatively, it is otherwise not ideal, and I would avoid using Large Grain with the Digital Teleconverters. One day I hope that Fujifilm will figure out how to scale the Grain so that it appears the same size whether or not you are using this feature.
Fujifilm X100VI — 50mm Digital Teleconverter — Weak/Large Grain
Fujifilm X100VI — 70mm Digital Teleconverter — Weak/Large Grain
Invariably, someone will say, “Just carry an interchangeable-lens model.” Of course that’s great advice if 1) that camera plus its lenses can fit into a sweater pocket, 2) it has a leaf shutter and smart fill-flash with high-speed sync, 3) has a built-in ND filter, 4) is weather-sealed, 5) isn’t prone to dust on the sensor, and 6) can change focal lengths as quickly as turning a ring. There are advantages to the X100VI that no other Fujifilm camera can match; however, like every model, there are also some disadvantages. The Digital Teleconverter is a tool to minimize one of the disadvantages.
Someone will also say, “Just accept that it is a 35mm lens, and forget about 50mm and 70mm.” I think in many situations this is a good approach, but not in all. For example, the Digital Teleconverter came in quite handy at a local airshow. Also, I think that using the X100VI as a 50mm camera could be a lot of fun, and 20mp is still plenty of resolution. I believe that some people will use the 50mm Digital Teleconverter regularly just for the fun of it, and I think it illustrates that an X100 camera with a 50mm-equivalent lens would be desirable.
Fujifilm X100VI — 50mm Digital Teleconverter
Fujifilm X100VI — 50mm Digital Teleconverter
The answer to the question I posed in the title of this article—is the Fujifilm X100VI Digital Teleconverter any good?—is: maybe and sometimes. On the X100VI, it’s just a crop, which you could easily do yourself. The 40mp sensor has so much resolution, that cropping is no big deal. I prefer the concept of the Digital Teleconverter with upscaling found on the X100V more than the non-upscaled X100VI, personally. I had figured that the extra resolution would make it more useful, but this change made it only about equally as useful. Since you can crop yourself without any trouble, you might find that the camera doing it for you is unnecessary; however, you might appreciate seeing exactly how that crop will look. I used the Digital Teleconverter quite extensively at the airshow, but I don’t anticipate using it all of the time. I will likely activate the 50mm option occasionally, but I will likely avoid the 70mm Digital Teleconverter, and just crop myself if I need to.
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My Fujifilm X100VI arrived in the mail yesterday. Eagerly I opened the box, pulled out the X100V (but with an “I” after the “V”), placed a freshly charged battery inside, inserted an SD Card, programmed my C1-C7 custom settings presets, and went out shooting. The main reason why I wanted the X100VI was for the brand-new Reala Ace film simulation. I think a big reason why Fujifilm cameras are so in-demand right now are the film simulations and the many Film Simulation Recipes that can achieve various film-like looks straight-out-of-camera, no editing needed. Anytime that Fujifilm adds a new film sim is a good time, and is always a top reason for myself to spend money on a new camera that I don’t actually need.
My very first impression of the X100VI is that it’s an X100V. The two models are identical twins at initial glance. That’s not a bad thing whatsoever, because I absolutely love my X100V; if it ain’t broke, don’t fix it. The new camera is slightly heavier (but, really, you need to have one in each hand to be able to tell), and there’s a small amount of noise when you shake the X100VI due to the IBIS inside, but otherwise there’s not a lot to distinguish the two apart. Internally, the new camera has IBIS (which I haven’t had a chance to test yet since I only used it in bright daylight so far), the 40mp X-Trans V sensor and processor, and the latest JPEG options, including Eterna Bleach Bypass, Nostalgic Neg., and Reala Ace—all of which are the largest distinctions between the old and new versions.
I tried Reala Ace right away. The new film simulation was named after Fujicolor Superia Reala Ace 100 color negative film, a version of Fujicolor Superia Reala 100 that was only sold in Japan. Reala was introduced in the late-1990’s and discontinued in 2013, and was the first Superia film (although initially it didn’t have Superia in the name), the first with their 4th emulsion layer. The Classic Negative film simulation, which is closely modeled after Superia film, is the best way to replicate Reala on your Fujifilm camera; specifically, try my Fujicolor Reala 100 Film Simulation Recipe. My Reala Ace Recipe was intended to mimic the new Reala Ace film sim using Classic Negative, but it can also be thought of as a v2 for replicating Fujicolor Reala film. Unfortunately, the new Reala Ace film simulation is not modeled after the film that it was named after.
When there are not many example photographs of a new film sim, there’s not a lot to go on for replicating it. It’s impossible to know if the samples are straight-out-of-camera with everything set to factory defaults, or if some of the parameters were adjusted, or if post-editing was done, unless the photographer discloses that. When Reala Ace was introduced on the GFX100 II, I believe that many of the samples that initially came out were post-edited to some degree (one photographer did specifically state that their’s was), and that makes sense since most GFX owners are not shooting SOOC JPEGs. My Reala Ace Recipe is probably as close as one can get to the Reala Ace film sim using Classic Negative, and is more similar to the actual film than the Reala Ace film sim is; overall, my Recipe is only a so-so match to the new film sim, and is off in several aspects.
My Reala Ace Film Simulation Recipe
Default Reala Ace film sim, except DR200, Grain Weak/Small & High ISO NR -4
Fujifilm placed the Reala Ace film simulation right above PRO Neg. Hi in the film sim list, and I quickly discovered why. The two PRO Neg. film simulations are not closely modeled after any emulsions, but are generally inspired by Fujifilm’s PRO lines of film, such as PRO 160S, PRO 160NS, PRO 160C, and PRO 400H. The main difference between PRO Neg. Hi and PRO Neg. Std is that the Hi version has more contrast and saturation, and the Std version has less. Reala Ace is quite similar to both PRO Neg. Std and PRO Neg. Hi, and you can more-or-less approximate the Reala Ace film sim with either. I found that PRO Neg. Std is actually the best option for replicating Reala Ace, so if your camera has PRO Neg. Std, you pretty much have Reala Ace. Fujifilm should have named the new film sim PRO Neg. C, since it is the third version of PRO Neg. (“C” is the third letter in the alphabet), and the emulsion that the new film sim is most similar to is Fujicolor PRO 160C (and not Reala).
To get close to Reala Ace (PRO Neg. C) using PRO Neg. Std, make these adjustments: – For Reala Ace, I set both Highlight and Shadow to -0.5. Additionally, I used DR200, Grain Weak/Small, and High ISO NR -4; otherwise, everything else was factory defaults (Off, Auto, or 0). – For PRO Neg. Std, I set Highlight to +1, Shadow to -0.5, Color to +2, Color Chrome FX Blue to Weak, DR200, and Grain Weak/Small; otherwise, everything else was factory defaults (Off, Auto, or 0). You might question why, for example, I didn’t keep Reala Ace at Highlight/Shadow 0, and on PRO Neg. Std simply adjust Highlight to +1.5? I tried that, but for whatever reason, the changes I made are an ever-so-slightly closer match. Both are acceptable, though.
Can you guess which is Reala Ace (PRO Neg. C) and which is PRO Neg. Std in the sets below, Pic 1 or Pic 2?
Pic 1
Pic 2
Pic 1
Pic 2
Pic 1
Pic 2
There are, of course, some small differences. Reala Ace renders blue slightly deeper, but applying Color Chrome FX Blue Weak to PRO Neg. Std is a little too much to exactly match; CCEB Extra-Weak would be perfect, but that doesn’t exist. A WB Shift of -0.5 Blue (-1 Blue is too much) to PRO Neg. Std would be good if you could; I used Auto WB, but if you used Kelvin instead, you could try something like 5100K on PRO Neg. Std to replicate 5000K on Reala Ace. Setting Color to +2.5 on PRO Neg. Std would be great, but that doesn’t exist, either. There are small differences in both Highlight and Shadow rendering, but you’d need 0.25 adjustments to more accurately match them. There is a level of fine-tuning required to precisely replicate Reala Ace that’s not available on Fujifilm cameras, but you can get pretty darn close nonetheless.
The larger point is that if you want a Reala Ace (PRO Neg. C) film simulation look, all you really need is PRO Neg. Std. Simply increase Highlight by +1 and Color by +2 and you’re pretty much there—a little more fine-tuning can get you slightly closer. You can’t 100% match them, but you can get pretty darn close—nobody would be able to tell without a side-by-side comparison, and even then it’s not completely obvious without studying closely.
Reala Ace film simulation
For those still wondering which is which in the photos above, Pic 1 in each set is PRO Neg. Std, and Pic 2 is Reala Ace. You can spot the differences when you know what to look for, but otherwise they’re very similar. Reala Ace is a little nicer at factory defaults than PRO Neg. Std, perhaps more like PRO Neg. Std that has been adjusted into a Film Simulation Recipe. I think there is potential for some new Recipes utilizing Reala Ace as the base; overall, I prefer my Reala Ace Recipe that uses Classic Negative. I am looking forward to seeing what can be done with the new film sim, so expect some Reala Ace (PRO Neg. C) Recipes soon!
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
My Fujifilm X100VI preorder was completed six minutes after the camera went live at the the top of the hour during the X Summit. It didn’t ship today. The store that I ordered from is not saying when it might ship, only that it could be weeks or months. I’m not worried or upset, though.
I’m guessing that many of you might be in the same boat as me. I’m sure some reading this didn’t preorder the new camera, but, with record-demand (not just for a Fujifilm model… the X100VI apparently had more preorders than any other camera by any brand ever), it’s a safe bet that many of you did order it. If you weren’t super quick (I thought I was, but obviously wasn’t quick enough), your order likely didn’t ship today. I’m sure that some of you did, in fact, receive a notice today that yours has shipped, and even a few of you might already have it in your possession. That’s awesome! Enjoy your new camera. For the rest of us, it’s easy to feel empty or even envious. If you preordered the X100VI but your copy wasn’t in the first batch, let me give you some reasons not to be dismayed.
First, in time, you’ll get your new camera. Just be patient. The hype will subside, new copies will be made, and it will get to you before you know it. Waiting a few weeks or months is not a big deal. Yes, we’re used to everything being instant. But a little delay won’t hurt you. Just take a deep breath in and out, and let the FOMO go. Know that it’s going to work out alright, and before you know it you’ll be shooting with the new model.
Second, the X100VI won’t be a night-and-day difference from your other Fujifilm gear. It likely is an upgrade, but it’s not going to be a massive upgrade, unless you’re coming from an early X-series model. Keeping expectations in check will not only help limit disappointments, but also help with patience.
Third, whatever camera you do have already, it’s plenty good enough. It’s a positive exercise to go back to the old reviews of your gear and read the glowing praise, which serves as a reminder that the cameras we own are actually pretty darn good. New gear won’t make you a better photographer. A camera like the X100VI can be a lot of fun, and sometimes that enjoyment can motivate us to use our gear more; however, there are plenty of ways to find renewed enjoyment from our old gear, such as trying different Film Simulation Recipes, using vintage lenses, or simply taking it on adventures.
So if you’re feeling disappointed that you’ll have to wait a bit longer for your new camera, I hope that this helps you feel a little better. A little patience will help ease your anxiousness, and a little fresh air is good for the spirit. So grab your current camera, whatever it is, and go out right now and shoot with it.
If you didn’t order the new Fujifilm X100VI but would like to, you’ll likely have a significant wait, but eventually it will be in stock.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
So you purchased a Fujifilm X100VI, but you’re not sure which Film Simulation Recipes to program into your camera’s C1-C7 Custom Presets first. Well, let me help with that! I’ve got just the seven Recipes for you to try. If you have any other X-Trans V camera, this set will work for you, too.
Like film, many Film Simulation Recipes have specific use cases where they work best. The majority are intended for sunny daylight situations; however, they can sometimes work really well in other scenarios, too. For example, I’ve gotten great results pairing Kodak Portra 800 v3 with flash for indoor photography, even though it was intended for sunshine. This set is meant to provide you with at least one Recipe that will work great in nearly any light situation and with almost every imaginable subject.
It’s important to note that everyone has different tastes and preferences. Your style might be different than mine. If you don’t like one or more of these seven Film Simulation Recipes, no problem. Simply try the suggested alternatives until you do. Perhaps you won’t like Kodachrome 64, but you’ll love Kodak Gold 200. Or maybe you’ll love both Reala Ace and Timeless Negative. The only way to know for sure is to give them a try! You can pick any from the X-Trans V list, and I’m always making more.
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
One benefit of having your own website is that you get to say whatever you want. It’s your platform, and nobody can tell you what you can or cannot state. They’re your opinions; if someone doesn’t like them, they’re free to leave and never come back. As the saying goes, everyone has opinions….
I don’t typically like to comment on the opinions of others, because they’re free to express their own, just as I’m free to express my own. I don’t have to like what they say, just as nobody who visits this website has to agree with everything that I say. We can disagree on things and still be friends (at least it should be that way, and it used to be). Arguments on the internet tend to be pointless endeavors that don’t do much good.
There’s an article I read on a photography website that I’m just really baffled by. I wasn’t going to say anything, though. Is it even my place? After all, they’re allowed to write whatever they want on their own page. If I don’t like it, I’m free to not return. Their article, though, has been bothering me for a few days now, so I thought maybe I should address it. Perhaps you read it, too, and are equally puzzled.
Initially I wasn’t even going to link the article in this post, because maybe I shouldn’t drive traffic to their website. Sometimes when people post outrageous things it is for attention, so maybe I’m doing just what they hoped people would do, and I’m falling for it hook, line and sinker. It’s a fairly popular and well-known page, so you could easily find it if you wanted to. But, for the sake of transparency, the website is The Phoblographer, and the article is their Fujifilm X100VI review by Chris Gampat, the founder and chief-editor of the site.
Here’s an interesting fact about The Phoblographer that I didn’t know until I was researching for this: they don’t have much more traffic than Fuji X Weekly. According to data available on the internet (which might not be 100% accurate), they get roughly about 10% more visitors than I do. They’re way more established, having been founded in 2009 (Fuji X Weekly dates back to 2017). At the current rate of growth, it’s probable that this website will exceed their’s by the end of the year, or possible sooner. I must be doing something very wrong, though, because they’re somehow able to support five employees off of that traffic.
Anyway, Fujifilm gave The Phoblographer a preproduction copy of the X100VI to try out, and Chris Gampat wrote about it. And he gave it a scathing review. Interestingly, Chris gave the X100V a five-star review, saying that it was “the closest they’ve come to a perfect camera.” Somehow, in a little less than four years, with some updates and improvements, it’s gone from nearly perfect to one-star, the lowest Chris could give. If you are Fujifilm and reading this, in the future perhaps you should consider sending your preproduction copies to someone else instead.
Now Chris is entitled to his opinions. He doesn’t have to be all-positive, and I don’t think anyone expects him or anyone else to be overtly optimistic about any gear. Being genuine is valuable. Authenticity is what people want. Overly positive reviews can seem dishonest, but so can overly negative reviews. Especially when the nearly-identical predecessor camera was “close to perfect”; somehow the barely different but definitely improved successor is “the embodiment of the word ‘meh.'” It just doesn’t make any sense. It doesn’t pass the smell test.
On one hand, Chris’ review reads like a toddler-tantrum after not getting his way. I guess he thought the “nearly perfect” camera was somehow due for a major overhaul (ignoring “if it ain’t broke don’t fix it” I suppose); since he didn’t get his way, it’s now garbage (or, as he puts it: a TikTok fashion accessory that’s actually a toy camera; Fujifilm betrayed him with this model). Many of the things that he liked about the X100V he now dislikes about the X100VI, despite them being the same. Stomping and kicking and screaming will surely get Fujifilm’s attention, no? Maybe he’s simply upset that this model is so popular, and soon there will be too many Star-Bellied Sneetches with it for his liking (time to get that star removed, eh?). Perhaps their partnerships with other brands is driving the over-the-top negativity? As they say, follow the money and you’ll find the truth. I don’t know what the answer is, but whatever the case, it’s baffling. And dishonest, even though he self-proclaims that he’s being “very honest” in the opening paragraph, and not to believe others. If you have to state that up front, that’s a big red-flag.
ISO 25600 — Expired Eterna Recipe — Fujifilm X-T5
What I found humorous is that he doesn’t like anything above ISO 800 for color photography, apparently. I guess he wouldn’t appreciate my GAF 500 Film Simulation Recipe, which uses ISO 12800 on purpose for the aesthetic of it. Or my Expired Eterna Recipe, which can be used as high as ISO 51200!
I’ve not touched or seen in real life a Fujifilm X100VI, but I have a Fujifilm X100V and a Fujifilm X-T5 (which collectively provide for me the experience of the outside and inside of the X100VI), and I disagree completely with many of his complaints. It’s perfectly ok to have some complaints, and I’m not saying Chris doesn’t have some valid criticisms; however, the one-star rating and excessive scathing complaints seem way unfair. Instead, say: I wish they had done this or that, and since they didn’t, it’s four-stars (or three-stars; something that seems remotely fair, unlike one-star). That would be honest and authentic.
In any event, The Phoblographer (faux-blographer?) has lost a lot of credibility with me, personally. I give them a one-star review. It’s clear—when it comes to X-series cameras, anyway—that they’re not a trustworthy source whatsoever. It’s a real shame, too, because I’m sure that they could bring some unique point-of-views to the table that could be valuable to somebody, if only they could get out of their own way (but they couldn’t and so didn’t). They’re missing the boat on what is sure to be the most-desired camera of 2024, and maybe of all time; however, that’s their choice. This was a curios decision that I don’t understand, but it’s important to not take any of it personal. I’m sure that Chris and everyone else at The Phoblographer are very nice people in real life.
Maybe their article will provide them with a much-needed traffic boost. Maybe it will prove to be the beginning of the end for them—the moment that they jumped the shark, so to speak. I have no idea if there will be any positive or negative consequences to their review. I’m just really baffled by it all, and I wonder if Fujifilm—or even the other camera brands—have taken notice. How will they respond? I don’t think the one-star review is having any impact on sales.
I did order the Fujifilm X100VI, approximately six minutes after it was available for preorders. I don’t expect to be in the first batch that’ll be shipped on February 28th, but if mine arrives before the end of March I’ll count myself as lucky. It’s easy to have FOMO (fear of missing out) when this camera is all that everyone seems to be talking about, but just know that whatever camera you have is pretty good. It’s a positive exercise to go back to the old reviews of your gear and read the glowing praise, which serves as a reminder that the cameras we own are plenty good enough. New gear won’t make you a better photographer. A camera like the X100VI can be a lot of fun, and sometimes that enjoyment can motivate us to use our gear more. There are plenty of ways to find renewed enjoyment from our old gear, such as trying different Film Simulation Recipes, using vintage lenses, or simply taking it on adventures. Experiences are often better investments than new gear.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
