Fujifilm X100VI

Fujicolor Film — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film Recipe

As a part of the Philadelphia photowalk that I co-led last month, I gave a presentation at Unique Photo on Fujifilm’s Film Simulations and my Film Simulation Recipes. While I was researching for that presentation, I came across a statement by Fujifilm where they dubbed the new Reala Ace film sim as “a negative for the new era.” That slogan—negative for the new era—caught my imagination, and made me consider what it might mean, and how that could translate into a Recipe aesthetic.

Fujifilm claims that the Reala Ace film simulation is modeled after the Reala Ace 100 color negative film, which was a variant of Fujicolor Superia Reala 100 that was only sold in Japan; however, I believe that is more marketing than reality. The emulsion that the Reala Ace film sim is the most similar to is Fujicolor PRO 160C. In my opinion, Fujifilm should have called it PRO Neg. C, as it is clearly in the same family as PRO Neg. Std and PRO Neg. Hi, and is not a Superia aesthetic, which is what the Classic Negative film simulation mimics. But, either way, the Reala Ace film simulation is quite nice, and definitely has a color negative film quality to it.

Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe

Prior to making this Fujicolor Film Recipe, I pulled out a photobox from my closet, and begin sorting through some of my prints from 15-20 years ago that I knew I had captured using a Fujicolor negative film. All of them were printed on Crystal Archive paper at Ritz camera. While I used those pictures to help create this Recipe, I didn’t try to closely copy any specific aesthetic, but was more just generally inspired by those prints. Later, I dug out the negatives (stored in a different box), and I was a little surprised by what films were actually used for those photos: Fujicolor PRO 160S, Fujicolor NPS 160, Fujicolor PRO 400H, Fujicolor Superia Reala 100, Fujicolor Superia 100, and Kodak Gold 100 (oops… I guess I got that one wrong).

I would describe this new Fujicolor Film Recipe as generally similar to a Fujicolor negative film printed on Fujicolor Crystal Archive paper. It’s true-to-life, and not particularly punchy. It definitely has the right feel for printed Fujicolor PRO 160S, although it’s not specifically closely modeled after that—it’s more of a happy accident than on purpose; however, it was inspired in part by that emulsion, so it shouldn’t be too surprising.

Palm & Blue Sky – Buckeye, AZ – Fujifilm X100VI – Fujicolor Film Recipe

This Film Simulation Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can also use it on the latest GFX models; however, it will render slightly different (try it anyway). For best results, use in sunny daylight; however, as you can see from the photos in this article, it can be used in a variety of light conditions. It is intended to be your Fujicolor “negative” for the new era.

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Weak 
White Balance: 5500K, -1 Red & -1 Blue
Highlight: -1
Shadow: -0.5
Color: -2
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “Fujicolor Film” Film Simulation Recipe on a Fujifilm X100VI:

Floating on the Ocean – Plymouth, MA – Fujifilm X100VI
New York – Plymouth, MA – Fujifilm X100VI
Happiness is a Beach – Plymouth, MA – Fujifilm X100VI
Yankees Girl – Plymouth, MA – Fujifilm X100VI
Low Tide – Plymouth, MA – Fujifilm X100VI
Salt Pond – Plymouth, MA – Fujifilm X100VI
Atlantic Through Trees – Plymouth, MA – Fujifilm X100VI
Clothes Pins – Plymouth, MA – Fujifilm X100VI
Sunstar & Clothesline – Plymouth, MA – Fujifilm X100VI
Chimney – Plymouth, MA – Fujifilm X100VI
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI
Garden Flowers – Plymouth, MA – Fujifilm X100VI
Bunches of Blossoms – Plymouth, MA – Fujifilm X100VI
Yellow Blooms – Philadelphia, PA – Fujifilm X100VI
Independence – Philadelphia, PA – Fujifilm X100VI
Independence Hall – Philadelphia, PA – Fujifilm X100VI
Sky Rainbow – Philadelphia, PA – Fujifilm X100VI
Carrabba’s Twice – Maple Shade, NJ – Fujifilm X100VI
Fruitstand – Hoboken, NJ – Fujifilm X100VI
Firetrucks – Hoboken, NJ – Fujifilm X100VI
Fuji – Hoboken, NJ – Fujifilm X100VI
Black Bike – Jersey City, NJ – Fujifilm X100VI
Don’t Walk – New York City, NY – Fujifilm X100VI
Yankees Stadium – New York City, NY – Fujifilm X100VI

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujifilm’s 7 Best Cameras

Posted on by Ritchie Roesch

I get asked occasionally which Fujifilm cameras are the very best. Sometimes people want to jump into the Fujifilm system, but are unaware of which camera to buy; however, they know that they want the “best” model, whichever one that is. Of course, best is highly subjective—what is “best” for one person may not be for another. My list might look a lot different from another’s. This is simply my opinion as a long-time experienced Fujifilm photographer, so take it for what it’s worth, which might only be two pennies.

My list of Fujifilm’s seven best cameras is limited to X-series models. I’m not including GFX, Instax, Fujica, or anything else. I’m only discussing the APS-C line that Fujifilm introduced with the fixed-lens X100 in 2011, and the interchangeable-lens X-Pro1 in 2012. Those cameras and the ones introduced afterwards are the models being considered for this list.

Without any further delay, let’s get started!

#7: Fujifilm X70

The Fujifilm X70 is a fixed-lens X-Trans II camera that was released in 2016. It had a short sales-life because Sony suddenly discontinued production of the 16mp APS-C sensor that the camera used, and by the end of that year the X70 was discontinued, and out-of-stock shortly thereafter. As a compact camera with an 18.5mm (28mm full-frame-equivalent) lens, it competed directly with the Ricoh GR II. I like the X70 better than the GR II because it has the traditional tactile controls that Fujifilm is known for, while the GR cameras utilize PASM.

Today, at eight-years-old, the camera often sells for more than when it was brand-new. It’s much beloved by many who own one. Some proclaim it to be their favorite Fujifilm camera of all time. Compared to the latest models, the X70 is less advanced and with fewer options, but it does what few Fujifilm cameras can: fit into your pocket. In my opinion, it’s the best carry-everywhere camera ever made by Fujifilm. A successor—an X80—should be a high priority for Fuji.

#6: Fujifilm X-Pro2

While all three of the X-Pro cameras are great, there’s something especially special about the Fujifilm X-Pro2. It’s the seemingly perfect balance of form and function. It’s one of those cameras that will be desired and used for many years to come. While other digital cameras of its era will be long forgotten, I’m convinced that the X-Pro2 will still be sought out even when it’s 20 years old or older.

Introduced at the same time as the X70, the Fujifilm X-Pro2 is an X-Trans III model, and as such it doesn’t seem quite as dated as the X70. It still holds up fairly well in ability and features compared to the latest models. I would be perfectly happy if it were my only camera; unfortunately, I let it get away from me twice.

#5: Fujifilm X-E4

The X-E4 is the smallest and most minimalistic of Fujifilm’s modern offerings. While it is not perfect (no camera is), it does offer a slightly unique experience for Fujifilm that some like and some don’t. Personally, I appreciate the camera—it is one of my favorite Fujifilm models—and I find it especially great for travel or just everyday walk-around photography, thanks to its compactness. I have more expensive cameras, but often choose the X-E4 instead.

While the Fujifilm X-E4 doesn’t have IBIS or 40mp or the newest couple of film simulations, it is one of the last X-Trans IV models, and as such is quite advanced and capable. Unfortunately, Fujifilm greatly underestimated the demand for the X-E4, and failed to secure enough parts to manufacture as many copies as they should have, inexplicably discontinuing it when there were lengthy backorder lists. Because of that, right now the X-E4 sells for several hundred dollars more used than when it was brand-new.

#4: Fujifilm X100V

The X100 is where the X-series began; the X100V is the model that unexpectedly wen’t viral when it was over two years old. This list could be filled with X100 cameras—in fact, I debated if the X100F should have been placed in the #6 or #7 positions (it was a tough cut). The X100V is the fifth iteration—the X-Trans IV version—and served as my “desert island” camera until the introduction of the X100VI earlier this year.

I love the X100V because it is small and lightweight, and has great features like a built-in ND filter and leaf shutter plus a fill-flash that just seems to work perfect. For a fixed-lens camera, it is surprisingly versatile. I don’t travel without an X100 model. It’s no wonder why the X100V was the camera to have in 2023 (although few could get it); in 2024, it’s still an excellent choice. And it might be easier to find than an X100VI.

#3: Fujifilm X-T5

The X-T5 is Fujifilm’s flagship SLR-styled traditional tactile control model. If you want the best, look no further—it’s the cream of the crop: IBIS, 40mp, weather-sealing, dual SD-card slots, etc., etc.. The X-T5 is notably smaller and lighter than the X-T4. It’s such a great camera, there’s not much negative that can be said about it. This camera could very easily be #1 on this list, and on paper it should be.

While the Fujifilm X-T5 is technically a great camera, and it did slim down compared to its predecessor, it’s more camera than I need much of the time. Because of this, I will often choose a different model, including technically inferior options like the X-E4. Sometimes data sheets and spec charts don’t tell the full story. You don’t always need a fully loaded Land Cruiser, sometimes a Camry will get you there more efficiently; still, sometimes you need the Land Cruiser.

#2: Fujifilm X-T50

The X-T50 is an X-T5, but without weather-sealing, with only one SD-card slot, with a Film Dial instead of an ISO Dial, a lower resolution-EVF, the old battery, in a smaller and lighter body, and a little cheaper. Technically speaking, the X-T5 is superior, but, over the summer, I used an X-T50 far more than an X-T5. Between the two, most of the time I chose the X-T50.

The X-T30 II is in the same series as the X-T50; however, Fujifilm says that the X-T50 is not the X-T30 II’s successor. The X-T50 is closely related and similar, but is not the X-T30 II’s replacement, as they are currently manufacturing both models. The X-T30 II is a better value (and I almost placed it at #7); overall, the X-T50 is the better camera of the two. For those wanting to get into the Fujifilm system, the X-T50 is my top recommendation, but the X-T30 II isn’t far behind.

#1: Fujifilm X100VI

I love the Fujifilm X100V, and the X100VI is even better! It is my “desert island” camera, which is to say that if I could choose only one model to use for the rest of my life, it would be this one. It is my absolute favorite photography tool, and it gets a lot of use. In my opinion, this is Fujifilm’s best camera.

The Fujifilm X100VI is by far the most preordered camera by any brand in history. We’re over six months since it was announced, and some people who preordered on Day 1 are still waiting for their camera to arrive, and some have been told that it might be closer to Christmas. There were more preorders for the X100VI than there were X100V’s manufactured over its four-year production life. Fujifilm is assembling far more X100VI’s each month than they did the X100V, yet they still can’t even make enough to fulfill the orders that were placed back in February. This is the most viral camera ever, and if the hype continues (and it might), the X100VI could potentially end up as the most-sold model of all time by any brand. If you didn’t order one right away when it was announced, you may have to wait a long time to get one.

Some of you may have noticed that both the X-H2 and X-H2s, which are Fujifilm’s top-tier flagship models, did not make this list. Nor did the very capable X-S20. The reason is very simple: those are PASM models, and I don’t care much for PASM, personally. Those cameras are intended to give the most Canikony-like experience of any Fujifilm models; if you are coming from a Canikony brand, those models are going to feel more familiar to you. I never appreciated the (modern) Canikony approach, so I’m very much drawn to the traditional tactile controls that Fujifilm is known for. Fujifilm offers a unique experience in the camera world, which is one of the big reasons why I love Fujifilm, and that unique experience is found on each of the seven models in my list. While some might see it as merely “retro” (which it is), to me its preferable. It’s better—much better, in fact. You may or may not agree with that, and that’s fine—different strokes for different folks—I’m just explaining why those particular models didn’t crack my list.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

See also:
Fujifilm Film Simulation Recipes
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First

Is Fujifilm Purposefully Causing Shortages to Manipulate the Market?

Posted on by Ritchie Roesch

The short answer is no. The longer answer is below.

There’s a controversy that’s been brewing for awhile, but has really gained steam over the last couple of weeks, that suggests Fujifilm is purposefully crafting market shortages of products so as to create hype (or, really, FOMO), in an attempt to ensure that their products are constantly in high demand. The roots of this controversy are in the constant shortages of Fujifilm’s products. At one time, you could walk into most camera stores on any given day and buy the camera or lens that you wanted; however, over the last few years, that hasn’t always been the case. Then, just recently, Fujifilm seemed to confirm it.

Manhattan from Pulaski Bridge – New York City, NY – Fujifilm X-T50 – PRO Negative 160C

“The most important point is how much brand strength to create and how to maintain it,” said Teiichi Goto, Fujifilm President and CEO, in response to a question about their inventory situation and plan. “Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now. We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers.” When asked if the current inventory situation is normal, Mr. Goto replied, “Yes.”

A lot of people responded to this with something to the effect of: “This proves it! Fujifilm is purposefully creating camera shortages to manipulate the market.” But I think they misunderstand it. I wasn’t planning to write this article, but, since I’ve had several people ask me to comment on the controversy, I thought I’d type out my opinion.

I’m completely convinced that if Fujifilm could produce the precise number of gear (cameras, lenses, etc.) for the current demand, so that everyone who wanted to purchase something could do so without waiting, they would. But that’s nearly impossible to correctly estimate. When PetaPixel asked for clarification if they consider insufficient supply to be part of a marketing strategy, Fujifilm responded, “No. Our marketing strategy is to showcase the innovation behind our lineup of digital cameras and lenses to provide creators with a variety of options so they can choose the right tools for their craft.”

Sign on the Roof – Gila Bend, AZ – Fujifilm X100VI – Classic Color

It takes many months for a camera to be manufactured and end up at a camera store. Fujifilm has to secure the parts, get them assembled, and shipped across the world. They are guessing in December what the demand might be in July. And there are limited resources for manufacturing. How many parts can a supplier produce at any given time? How many cameras can an assembly line put together each day? The whole process is much more complex than I think many people assume. Fujifilm not only has to anticipate future demand, but they have to figure out how to meet that within the constrains of many and various limitations.

Demand isn’t steady, but constantly fluctuating. It can spike unexpectedly, and fall off a cliff unexpectedly. If the demand for a certain camera suddenly ceases, Fujifilm needs to anticipate that months and months in advance, or they’ll continue to manufacture tens of thousands of copies of a product that few are buying.

Let’s look at the Fujifilm X100V. It was released in early 2020, and, for about two-and-a-half years, Fujifilm was more-or-less manufacturing the number of copies it needed in order to meet the demand for that camera. Then, suddenly, demand spiked, due to several viral TikTok videos. Fujifilm did not ramp up production (or, if they did, it wasn’t nearly enough) of the X100V, likely because they assumed the hype would quickly dissipate, especially since the camera was approaching three-years-old at the time; however, they guessed wrong.

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color

For the X100VI, Fujifilm assumed that doubling the production of the X100V would be enough to meet the anticipated demand for it. Fortunately or unfortunately, depending on your perspective, the demand for the X100VI was historic and unprecedented. There were more preorders for the X100VI in China alone than there were X100V’s manufactured in total. Fujifilm has said that they will be increasing production of the X100VI, but I’m not certain to what extent exactly (I’ve heard that it could be 30,000 units per month by sometime in the summer, but I have no idea what the precise numbers are right now).

This is uncharted territory for not just Fujifilm, but for any camera maker. Fujifilm has to try to meet steep current demand while being hyper alert for any changes in future demand. If, for example, they are actually making 30K cameras per month, and suddenly the floor drops and nobody wants one, and they’ve already set in motion the manufacturing of 150K cameras, that could be enough to bankrupt the company (at least the camera division).

Another example is the Fujifilm X-E3 and X-E4 cameras. Fujifilm anticipated that demand for the X-E3 would be greater than it actually was, and made too many copies. Fujifilm had to discount the X-E3, and sometimes significantly, to clear the warehouse. You could still find brand-new (and discounted) X-E3 bodies 18 months after it had been officially discontinued. Fujifilm used the sales figures of the X-E3 to estimate the demand for the X-E4; however, the X-E4 was much more in-demand than the X-E3 was (largely because it was viewed as a top alternative to the impossible-to-find X100V in the aftermath of the viral videos). Fujifilm did not secure enough parts to manufacture nearly enough copies to meet the demand of the X-E4, and likely assumed (incorrectly) that the spike in demand would be short-lived. If you look at eBay, X-E4’s are listed for double the price of X-E3’s, and much higher than the MSRP when they were brand-new.

Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

I bring that up for a specific reason. While consumers prefer over-manufacturing (especially since it usually means one can find bargains, and you can readily buy what you want), producers prefer under-manufacturing. Most ideal is precise-manufacturing, but that is really difficult to achieve; between over and under, every company—including Fujifilm—would much prefer to err on the side of making too few of something than too much. And, if you want the gear that you spent a lot of money on to retain its value, you, too, will prefer them to err on the side of caution.

Toyota created the Toyota Production System in the aftermath of WWII. This system invented what is now referred to as Lean Manufacturing (or Lean Business Philosophy or Lean Strategy Process). Many books have been written on this topic—I have a few on my library shelf, although I’ve only actually read one. To understand Fujifilm’s approach to manufacturing and inventory means understanding the Lean approach, which is used worldwide, especially in Japan. This Harvard Business Review article gives a very brief synopsis of what the Lean strategy is, just to give you an idea; even better, I’m sure your local bookstore has a few books on this topic.

The conclusion is that Fujifilm (along with all manufacturers) is in the tough position of trying to accurately gauge demand for each product they offer, and attempt to produce just the right amount; if they are going to err on one side or the other, they much prefer to err by producing too few copies than too many. Making too many of something reduces its value, while making just the right amount or too few does not. They have to guess what the demand will be many months from now, not just what the current demand is. The current demand might be an indication of future demand, but it also might not. Fujifilm would love to make and sell 50,000 copies of something, but just because they make 50,000 copies of something doesn’t mean that they will actually sell them all. A much better position for Fujifilm is to make 30,00 copies of something, and sell them all. That’s not manipulating the market, but simply good business strategy that provides some stability in a turbulent market.

Easy Reala Ace — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Vintage Shell – Bisbee, AZ – Fujifilm X100VI – Easy Reala Ace Recipe

This Easy Reala Ace Film Simulation Recipe comes from Nathalie Boucry, who shared it on her blog (click here — look at the very bottom, sample pictures within the article). Nathalie and I cohost a YouTube program called SOOC Live, which you should definitely check out if you haven’t yet. When Nathalie received her Fujifilm X100VI, there were not any Reala Ace Recipes for it yet. Now there are a few—PRO Negative 160C, Fujicolor 100 Industrial, Fujicolor PRO 160C Warm, and Kodak Gold 200 v3—but back then there weren’t any, so she made her own.

“I’m liking the new film simulation a lot,” Nathalie said. “I had to think out of the box when I first got the camera and was out in the bright South Africa sun. I enjoy the gentle, true color reproduction and the tonal contrast to make my images come alive.” I think that’s an excellent description of the Recipe: gentle yet true-to-life that makes images come alive. It’s also highly versatile, and can work well for many subjects, in many different conditions, and in a variety of light situations. It’s not a huge adjustment from factory-default Reala Ace, but it definitely does improve on it.

Waterfall over Tunnel – Anaheim, CA – Fujifilm X100VI – Easy Reala Ace

The Easy Reala Ace Film Simulation Recipe is currently only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm gives Reala Ace to the other fifth-generation X-Trans cameras—the X-H2s, X-H2, X-T5, and X-S20—later this year, it will be compatible with those models, too. I’m sure it can be used on the latest GFX cameras, but it will likely render slightly differently (try it anyway, though). Thank you, Nathalie, for creating and sharing this Recipe, and allowing me to publish it on Fuji X Weekly!

Film Simulation: Reala Ace
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: Auto, 0 Red & 0 Blue
Highlight: -1
Shadow: 0
Color: 0
Sharpness: 0
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Easy Reala Ace Film Simulation Recipe on my Fujifilm X100VI:

The Power of Tree Leaves – Buckeye, AZ – Fujifilm X100VI
Abandoned Old Truck – Bisbee, AZ – Fujifilm X100VI
Bisbee Breakfast – Bisbee, AZ – Fujifilm X100VI
Steering Wheel & Bullet Holes – Bisbee, AZ – Fujifilm X100VI
Old Ford Box Truck – Bisbee, AZ – Fujifilm X100VI
White Stripes – Los Angeles, CA – Fujifilm X100VI
Building Blue – Los Angeles, CA – Fujifilm X100VI
Singapore in LA – Los Angeles, CA – Fujifilm X100VI
Scooters & Step – Los Angeles, CA – Fujifilm X100VI
Escalator Down – Los Angeles, CA – Fujifilm X100VI
Guts – Los Angeles, CA – Fujifilm X100VI
Metroscape – Los Angeles, CA – Fujifilm X100VI
Stars & Stripes & Customer Entrance – Anaheim, CA – Fujifilm X100vI
Stars & Stripes & Smile – Anaheim, CA – Fujifilm X100VI
Breakfast Beignets – Anaheim, CA – Fujifilm X100VI
Luxo Lamp – Anaheim, CA – Fujifilm X100VI
Sith Sabor – Anaheim, CA – Fujifilm X100VI
Night Water Fountain – Anaheim, CA – Fujifilm X100VI

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Appalachian Negative — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Pershing Square – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe

This Appalachian Negative Film Simulation Recipe was sent to me by Logan Ballew. Like a lot of Fujifilm photographers, he really likes Classic Chrome Recipes, but one day he thought he’d like to try the Nostalgic Neg. film simulation. Instead of loading one of my Nostalgic Neg. Recipes into his camera, he simply used Nostalgic Neg. instead of Classic Chrome with my Kodak Portra 400 v2 Recipe; however, the results weren’t quite right, so he made a number of tweaks and adjustments until he got the look that he wanted. While this Recipe initially began as Kodak Portra 400 v2 but with Nostalgic Neg., it doesn’t much resemble that now, and produces a significantly divergent look.

Logan’s goal was an aesthetic reminiscent of home: the Appalachians near Asheville, North Carolina. “I spent most of my time as a kid hiking around the Blue Ridge Mountains or with my grandfather,” he told me. While his grandfather, Lanny Phillips, was an avid photographer (among other arts, including woodworking), it wasn’t until after college that he picked up a camera and began his own photographic journey; he’s been a hobbyist photographer for about five years now. This Recipe reminds him of his childhood memories in the Appalachians.

Breakfast Home – Anaheim, CA – Fujifilm X100VI – Appalachian Negative Recipe

“The foliage back home is super dense, and trying to capture that without blowing out the greens and messing up the saturation is somewhat of a task,” Logan said. “What’s nice about Nostalgic Negative is that it gives this amber color to your images.” While this Recipe is specifically intended for photography in the Appalachians, he found that it works well in many other environments, too. After using it in Los Angeles, California, I can attest that this one works quite well for urban scenes. I especially like the feelings of nostalgia that this Recipe infuses into the photographs.

Logan is enlisted in the U.S. Navy, and is currently stationed in Norfolk, Virginia. Joining the Navy allowed him to travel quite extensively—not just across the country, but internationally. However, he initially found Virginia to be photographically underwhelming; however, Logan says that Jason Hunter and other local photographers have been a huge help and inspiration, and now he spends a lot of time walking the boardwalks and driving around town capturing things that he would have overlooked before.

Beware my Fuji X-Pro3 – Los Angeles, CA – Fujifilm X100VI – Appalachian Negative Recipe

Thank you, Logan Ballew, for sharing this Recipe with me, and allowing me to share it with the community! This Appalachian Negative Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can be used on newer GFX models, too, but will likely render slightly different (try it anyway, though). Logan encourages the use of a diffusion filter, such as a 5% or 10% CineBloom, with this Recipe. I used a 5% CineBloom for all of the photographs captured in Los Angeles.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 5200K, +2 Red & -2 Blue
Highlight: -1.5
Shadow: 0
Color: +4
Sharpness: +2
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Appalachian Negative Film Simulation Recipe on my Fujifilm X100VI:

Yellow Pants, Blue Cart – Los Angeles, CA – Fujifilm X100VI
Urban Photographer – Los Angeles, CA – Fujifilm X100VI
Urban Flowerbed – Los Angeles, CA – Fujifilm X100VI
City Tree – Los Angeles, CA – Fujifilm X100VI
Urban Bougainvillea – Los Angeles, CA – Fujifilm X100VI
The Skateboarding Photographer – Los Angeles, CA – Fujifilm X100VI
Midair – Los Angeles, CA – Fujifilm X100VI
Push Cart – Los Angeles, CA – Fujifilm X100VI
Left Circles – Los Angeles, CA – Fujifilm X100VI
Local Metro – Los Angeles, CA – Fujifilm X100VI
Crossing – Los Angeles, CA – Fujifilm X100VI
Parking – Los Angeles, CA – Fujifilm X100VI
No Stopping Any Time – Los Angeles, CA – Fujifilm X100VI
Palms & Blue – Anaheim, CA – Fujifilm X100VI
Quintessential California – Los Angeles, CA – Fujifilm X100VI
Joe’s – Los Angeles, CA – Fujifilm X100VI
City Smoke – Los Angeles, CA – Fujifilm X100VI
Street Level View – Los Angeles, CA – Fujifilm X100VI
Hope the Light Changes – Los Angeles, CA – Fujifilm X100VI
Yellow Car – Los Angeles, CA – Fujifilm X100VI
Red Car – Los Angeles, CA – Fujifilm X100VI
Classic Chrysler – Los Angeles, CA – Fujifilm X100VI
Vehicle Exit – Los Angeles, CA – Fujifilm X100VI
Red Box – Anaheim, CA – Fujifilm X100VI
Careful Which Way You Go – Los Angeles, CA – Fujifilm X100VI
Bokeh Tree Lights – Anaheim, CA – Fujifilm X100VI
Fire Fountain – Anaheim, CA – Fujifilm X100VI
Jon in Golden Light – Anaheim, CA – Fujifilm X100VI
Paseo – Anaheim, CA – Fujifilm X100VI

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Kodak Gold 200 v3 — Fujifilm X100VI (X-Trans V) FXW App Patron Early-Access Recipe

Posted on by Ritchie Roesch

Flowers & Field – Buckeye, AZ – Fujifilm X100VI – Kodak Gold 200 v3

I ran across an image in a (pretty interesting) PetaPixel article, and was inspired to create a Film Simulation Recipe. The picture itself sent me down a long rabbit hole; while the photograph in the article served as one of the reference photos, it was far from the only. Actually, I couldn’t closely match that particle picture, but it served as inspiration nonetheless. After sleuthing, I discovered that the image was captured on Kodak Gold 200. But why was it so green? That question is what opened up the rabbit hole.

Kodak Gold 200 is particularly prone to a green cast, and there are a whole bunch of things that can cause it. Underexposure. Heat (such as left in a hot car). Expired. Waiting too long to develop after exposure. Fluorescent lights. Airport scanners. Improper development. Improper storage of negatives prior to scanning. Poor color correction of the scan. Those are the main reasons. That lead me to a trove of Kodak Gold 200 examples that had various levels of green casts.

Clearance Parking – Los Angeles, CA – Fujifilm X100VI – Kodak Gold 200 v3

This Kodak Gold 200 v3 Film Simulation Recipe is modeled after some of those Kodak Gold 200 photographs that have a green cast. Quite obviously I couldn’t match all of them, because there was so much variance. For most of the references pictures I’m not sure what exactly caused the cast. This definitely isn’t a “normal” Kodak Gold 200 Recipe; for that, I recommend this, this, or this. But, if you’d like an alternative aesthetic that is perhaps a bit more lomo, this is a fun Recipe to try.

Kodak Gold 200 v3 is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. As of this writing, it is only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm brings Reala Ace to the other fifth generation cameras (supposedly this summer), it will be compatible with the X-H2s, X-H2, X-T5, and X-S20, too.

Example photographs, all camera-made JPEGs using this Kodak Gold 200 v3 Film Simulation Recipe on my Fujifilm X100VI:

Green Girl – Buckeye, AZ – Fujifilm X100VI
Yellow-Orange Flowers on a Green Bush – Buckeye, AZ – Fujifilm X100VI
Spring Trumpets – Buckeye, AZ – Fujifilm X100VI
Village Green Fountain – Buckeye, AZ – Fujifilm X100VI
Spitting Lion – Buckeye, AZ – Fujifilm X100VI
Lion Spewing Water – Buckeye, AZ – Fujifilm X100VI
Lion Fountain – Buckeye, AZ – Fujifilm X100VI
No, No – Scottsdale, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Small Palm Frond – Buckeye, AZ – Fujifilm X100VI
Red Mustang – Buckeye, AZ – Fujifilm X100VI
Bumper Stickers – Surprise, AZ – Fujifilm X100VI
Red Chair with Flowers – El Segundo, CA – Fujifilm X100VI
Yellow Flower & Tree Trunk – Buckeye, AZ – Fujifilm X100VI
Tree Trunk at a Park – Buckeye, AZ – Fujifilm X100VI
Neighborhood Trees & Partly Cloudy Sky – Buckeye, AZ – Fujifilm X100VI
Parking Garage Reflected – Los Angeles, CA – Fujifilm X100VI
Photo Potential – Los Angeles, CA – Fujifilm X100VI
Paleta Cart – Los Angeles, CA – Fujifilm X100VI
Toyota – Los Angeles, CA – Fujifilm X100VI
First Order TIE Echelon – Anaheim, CA – Fujifilm X100VI
Millenium Falcon – Anaheim, CA – Fujifilm X100VI
Pier View – Manhattan Beach, CA – Fujifilm X100VI
Wave – Manhattan Beach, CA – Fujifilm X100VI

Comparison:

Kodak Gold 200
Kodak Gold v2
Kodak Gold 200 v3

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Vintage Cinema — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”

Awhile back I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.

This Vintage Cinema Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s been replaced by a different Early-Access Recipe, making this one available to everyone. Those who are App Patrons have had access to it for some time now.

Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”

The Vintage Cinema Film Simulation Recipe is compatible with the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I assume that those with the latest GFX cameras can also use this Recipe, but that it will render slightly different—I have not tested it to know for certain. This Recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this Recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 4900K, +3 Red & +3 Blue
Highlight: +3
Shadow: -2
Color: -1
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to -2 (typically)

Example photographs, all camera-made JPEGs using this Vintage Cinema Film Simulation Recipe on my Fujifilm X-T5 and X100VI:

Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
We All Live There – Anaheim, CA – Fujifilm X100VI
It’s Corn – Anaheim, CA – Fujifilm X100VI
Up – Anaheim, CA – Fujifilm X100VI
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Pruner & Gloves – Buckeye, AZ – Fujifilm X-T5
Fruit – Buckeye, AZ – Fujifilm X-T5

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujifilm X-T50 + Fujinon 23mm F/2 = Interchangeable-Lens Fujifilm X100VI??

Posted on by Ritchie Roesch

Fujifilm X100VI (left) & Fujifilm X-T50 + Fujinon 23mm f/2 (right)

I’ve seen a number of reviewers state that the new Fujifilm X-T50 is essentially an X100VI, but with interchangeable lenses—especially when combined with the Fujinon XF 23mm F/2 R WR. But is that really true? Is this camera and lens actually a good alternative to the Fujifilm X100VI? Let’s talk about it, and find out.

MPB is the sponsor of this article. They loaned me a Fujinon XF 23mm F/2 R WR to try out for a few weeks; however, they had no idea that I’d be using it with a Fujifilm X-T50. For those who don’t know, MPB is an online platform where you can buy, sell, or trade used photo and video gear. “At MPB, there’s something for everyone who wants to try something new, hone their skills, or pursue their passion—and it won’t cost the earth.” If you’re in the market for used camera gear, be sure to check out their platform—you can learn more about MPB here. Thank you, MPB, for making this article possible!

The premise is simple: the Fujifilm X-T50 and Fujifilm X100VI share a heck-of-a-lot of technical specs, they’re similarly sized, and, when you use the Fujinon 23mm f/2 lens on the X-T50, they have seemingly identical glass. The comparison is natural. But, if we dig deeper, it’s easy to spot some differences, too. In other words, there’s enough in common to consider them quite similar, but enough divergent that they shouldn’t be thought of as alike.

First, the similarities. Both Fujifilm cameras share the same 40mp X-Trans V sensor and processor. They both have IBIS. They use the same (old) NP-W126S batteries. They have the same film simulations. Video specs are identical. The tilting rear LCD is similar. On paper, the lenses are seemingly identical when the Fujinon 23mm f/2 is paired with the X-T50. At first glance you might think that the X-T50 is indeed an interchangeable-lens X100VI.

But there are some significant differences. Most obviously, the X100VI is rangefinder-styled, while the X-T50 is SLR-styled. The X100VI has a hybrid optical/electronic viewfinder, while the X-T50 has an EVF (not optical), and with a little less resolution. The X100VI has a (nearly) silent leaf shutter and built-in ND filter. The X100VI is weather-sealed (as long as you attach a filter to the lens), while the X-T50 isn’t (note: the Fujinon XF 23mm f/2 R WR lens is, in fact, weather-resistant). The X100VI has an ISO ring around the shutter knob; the X-T50 has a Film Dial. The X-T50 with the Fujinon 23mm f/2 is slightly larger than the X100VI. The X100VI is roughly $165 cheaper than the X-T50 with the Fujinon 23mm f/2 when you buy the lens used.

While the lens permanently attached to the X100VI is seemingly identical to the Fujinon XF 23mm f/2 R WR, they are actually not the same. Quite similar? Yes. Identical? No. They each have their own character. Things like lens flare, sunstars, micro-contrast, and bokeh are slightly divergent. I cannot say which is better, especially since that is subjective; personally, I like both lenses. If I didn’t own an X100VI, the Fujinon XF 23mm f/2 R WR is one that I would definitely have. Even though the characteristic of the two lenses are different, I feel like owning both is perhaps a bit redundant, unless you just really love the 35mm full-frame-equivalent focal length.

Dumbo Crowd – NYC, NY – Fujifilm X-T50 + Fujinon 23mm f/2 – Reala Ace Recipe

The Fujifilm X-T50 with the 23mm lens offers a similar yet divergent experience than the X100VI, but are they “close enough” for most people? Probably, especially if you cannot find an X100VI because the demand is so high currently. Overall, the X100VI is a more premium camera, and there’s a reason why it’s historically desirable. For the Fujifilm faithful, the X-T50 combined with the Fujinon XF 23mm f/2 R WR lens is not likely a sufficient-enough substitute for the X100VI; however, for the casual buyer, it probably is, and it might even make more sense, since you can interchange the lenses.

For those on a budget, you may want to consider the Fujifilm X-T30 II, which is similar to the X-T50 (however, without IBIS, fewer megapixels, and two less film simulations), but is less expensive. The Fujifilm X-T30 II combined with a used Fujinon 23mm f/2 lens will run you roughly $350 less than an X100VI, making it an excellent bargain. Yes, the X-T50 is the “better” camera, but the X-T30 II is nearly as good for significantly less money. The X-T30 II combined with the 23mm lens is more similar to the X100V than the X100VI, but most of the comparisons still apply.

Manhattan from Pulaski Bridge – Fujifilm X-T50 + Fujinon 23mm f/2 – PRO Negative 160C Recipe

I had a lot of fun photographing with the Fujinon XF 23mm f/2 R WR lens attached to a Fujifilm X-T50. It’s fantastic, a very useful focal length, and a compact size. Because I own a Fujifilm X100VI, I don’t anticipate buying the lens; however, if I didn’t have an X100-series camera, the 23mm f/2 would be essential to have in my kit. Thank you, MPB, for letting me use one for awhile!

Example pictures, captured with a Fujifilm X-T50 + Fujinon XF 23mm f/2 R WR lens on a recent trip to New York City:

Urban Dog – Fujifilm X-T50 + Fujinon 23mm f/2 – Reala Ace Recipe
Crochet Wall – Fujifilm X-T50 + Fujinon 23mm f/2 – Reala Ace Recipe
Ice Cream – Fujifilm X-T50 + Fujinon 23mm f/2 – Nostalgic Film Recipe
Forklift – Fujifilm X-T50 + Fujinon 23mm f/2 – Kodachrome 64 Recipe
Urban Reflection – Fujifilm X-T50 + Fujinon 23mm f/2 – Kodak Tri-X 400 Recipe
Food – Fujifilm X-T50 + Fujinon 23mm f/2 – Reala Ace Recipe
Headlights & Hotel Cab – Fujifilm X-T50 + Fujinon 23mm f/2 – PRO Negative 160C Recipe
Skyline from Newton Creek – Fujifilm X-T50 + Fujinon 23mm f/2 – PRO Negative 160C Recipe

Example pictures, captured with a Fujifilm X100VI on a recent trip to New York City:

Holland Tunnel – Fujifilm X100VI – Vintage Vibes Recipe
Bowl & Burger – New York City, NY – Fujifilm X100VI – Vintage Vibes Recipe
Yellow Cab – Fujifilm X100VI – Vintage Vibes Recipe
Psychic Bike – Fujifilm X100VI – Kodak Portra 400 v2 Recipe
Red – Fujifilm X100VI – Kodak Portra 400 v2 Recipe

See also: Fujifilm X-Pro2 — The camera that got away (again)

Up next in this series: Leica Q2 from the perspective of a Fujifilm fanatic

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

California Summer — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Orange Twist – Buena Park, CA – Fujifilm X100VI – California Summer

This California Summer Film Simulation Recipe was so much fun to create! I’m a big fan of Preet (Instagram), a photographer from Dubai. I really like his photographic style and picture aesthetics. If you’ve never seen his images, definitely check out his work—you’re in for a treat! This Recipe was modeled after some of his recent photographs.

Nearly four years ago I created a Recipe called Bright Summer that was inspired by Preet. That Recipe was the sixth most used last month (May 2024), so it’s quite popular. Funny enough, Preet himself called it Preetra 400, and I see that nickname used from time-to-time on social media. Preet doesn’t utilize camera-made JPEGs (as far as I’m aware, anyway), but prefers to edit RAW files; he even offers Lightroom Presets, should you wish to RAW-edit your pictures similarly to his (or just to support him as an artist).

Original Chop Shop – Scottsdale, AZ – Fujifilm X100VI – California Summer

The specific photographs that inspired this California Summer Recipe were from Preet’s recent trip to America—specifically, Texas. You can find these pictures on his Instagram. Obviously this Recipe doesn’t resemble all of his pictures, just certain ones; however, I think you can spot those pretty easily, because this Recipe is a pretty good match. Not 100%, but definitely very close. It would be a great honor if he ever tried this one someday.

I wasn’t sure what to name this Recipe. I called it “Preet Texas” in my camera, and initially “Texas Summer” for the article title. After carefully reviewing the pictures that I captured with this Recipe, I really felt that it produces a quintessential California summertime vibe. So at the last moment I renamed it to California Summer. I think that name matches the picture aesthetic well.

Colorful Shell – Anaheim, CA – Fujifilm X100VI – California Summer

For best results, use this Recipe in sunny daylight situations. It does well in harsh midday light and especially golden hour. It can be alright in shade. I would avoid it for indoor artificial light and nighttime photography, although under the right conditions I’m sure it can be ok for that, too. This California Summer Recipe is compatible with fifth-generation X-series cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can probably use this with newer GFX models, but I’ve not tested it for that, and it will likely render slightly different (don’t be afraid to try, though).

Film Simulation: Nostalgic Neg.
Dynamic Range: DR400
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 6700K, -1 Red & -6 Blue
Highlight: -2
Shadow: -1
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this California Summer Film Simulation Recipe on a Fujifilm X100VI & X-T50:

Palm Tops – Scottsdale, AZ – Fujifilm X100VI
Information – Buena Park, CA – Fujifilm X100VI
A Sign to Drink Coffee – Buena Park, CA – Fujifilm X100VI
Four Carts – Buena Park, CA – Fujifilm X100VI
Squares & Fronds – Anaheim, CA – Fujifilm X100VI
Food Mart – Anaheim, CA – Fujifilm X100VI
Yellow Apartments – Scottsdale, AZ – Fujifilm X100VI
STK – Scottsdale, AZ – Fujifilm X100VI
Yellow Wall – Anaheim, CA – Fujifilm X100VI
Rooftop – Anaheim, CA – Fujifilm X100VI
Pacific Coast – Buena Park, CA – Fujifilm X100VI
Fiesta Flags – Buena Park, CA – Fujifilm X100VI
Flying Ace – Buena Park, CA – Fujifilm X100VI
Loop – Buena Park, CA – Fujifilm X100VI
Xcelerator – Buena Park, CA – Fujifilm X100VI
Pines – Buena Park, CA – Fujifilm X100VI
Wood – Buena Park, CA – Fujifilm X100VI
Coaster Tracks – Buena Park, CA – Fujifilm X100VI
Spinning Dog – Buena Park, CA – Fujifilm X100VI
Wheel Through Glass – Buena Park, CA – Fujifilm X100VI
Rock Wall – Sedona, AZ – Fujifilm X-T50
Tree in a Meadow – Sedona, AZ – Fujifilm X-T50
Forest Sunstar – Sedona, AZ – Fujifilm X-T50
Colorful Rock – Sedona, AZ – Fujifilm X-T50
Last Light on Tall Rocks – Sedona, AZ – Fujifilm X-T50
Fast Car – Scottsdale, AZ – Fujifilm X100VI
Horse Fountain – Scottsdale, AZ – Fujifilm X100VI

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T50 in charcoal:
Amazon, B&H, Moment, Wex

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujifilm Photowalk was a Success!

Posted on by Ritchie Roesch

Captured on RitchieCam.

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!

Classic Color — Fujifilm X-T5 (X-Trans V) and X-E4 (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Bell Tower – Tumacacori, AZ – Fujifilm X-T5 – Classic Color

This Film Simulation Recipe has a fascinating story behind it… but I can’t get into all of the details of it yet. When the time is right, I will explaining everything to you. What I can say in the meantime is that I was hired to capture some photos, and to use a Film Simulation Recipe for those images, but the Recipe name shouldn’t include a brand name. Ideally for this project, because of the subject matter and light, I would have chosen my Kodak Portra 400 v2 Film Simulation Recipe, but I couldn’t because of the name of the Recipe. Instead, I created a very similar look, with an attempt to fine-tune it slightly for this specific project.

The aesthetic of this Classic Color Film Simulation Recipe is bright and warm, with a Kodak-like color negative film rendering. It could be thought of as Kodak Portra 400 v3, as it has a strong Portra 400 resemblance, perhaps more similar to the old Portra 400 VC that was discontinued in 2010. This Recipe is best for sunny daylight situations, but it can sometimes produce good results in other light scenarios, too.

Birds on the Lake – Tempe, AZ – Fujifilm X-E4 – Classic Color

This Classic Color Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, and X100VI, as well as “newer” fourth-generation X-Trans models: X-T4, X-S10, X-E4, and X-T30 II. Just make sure that you are using the correct Color Chrome FX Blue setting for your camera. I’m sure it can also be used on newer GFX cameras, too, but I have not personally tried, and I’m certain that it will render slightly different (but try it anyway).

Film Simulation: Classic Chrome
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong (X-Trans IV), Weak (X-Trans V) 
White Balance: 5300K, 0 Red & -6 Blue
Highlight: -0.5
Shadow: -2
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Classic Color Film Simulation Recipe on my Fujifilm X-E4:

Gen Reflection – Tempe, AZ – Fujifilm X-E4
Ten Feet – Tempe, AZ – Fujifilm X-E4
Dam Ahead – Tempe, AZ – Fujifilm X-E4
Water Under the Bridges – Tempe, AZ – Fujifilm X-E4
Tempe Lake – Tempe, AZ – Fujifilm X-E4
Reflected Sunset – Tempe, AZ – Fujifilm X-E4
Dam Sunset – Tempe, AZ – Fujifilm X-E4
Pedestrian Bridge – Tempe, AZ – Fujifilm X-E4
Spirited Away – Tempe, AZ – Fujifilm X-E4
Studio – Tempe, AZ – Fujifilm X-E4
Mirrored Night – Tempe, AZ – Fujifilm X-E4
Juggling Fire – Tempe, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this Classic Color Film Simulation Recipe on my Fujifilm X-T5 & X100VI:

Sign on the Roof – Gila Bend, AZ – Fujifilm X100VI
Abandoned Filling Station – Gila Bend, AZ – Fujifilm X-T5
Unleaded Cash – Gila Bend, AZ – Fujifilm X-T5
G S – Buckeye, AZ – Fujifilm X-T5
Half Moon – Tumacacori, AZ – Fujifilm X-T5
Cross on a Dome Tumacacori, AZ – Fujifilm X-T5
Cross & Bell Tumacacori, AZ – Fujifilm X-T5
Church Steeple – Bisbee, AZ – Fujifilm X-T5
Old Industrial Lamp – Palo Verde, AZ – Fujifilm X-T5
Abandoned Window – Arlington, AZ – Fujifilm X-T5
Dilapidated Agricultural Structure – Palo Verde, AZ – Fujifilm X-T5
Cow & Reflection – Mesa, AZ – Fujifilm X-T5
Rock Reflected in the River – Mesa, AZ – Fujifilm X-T5
Stones in the Water – Mesa, AZ – Fujifilm X-T5
Yellow Flowers on the Rocks – Saguaro National Park, AZ – Fujifilm X-T5
Leaning Saguaro in the Desert – Tucson, AZ – Fujifilm X-T5
Yellow Flowers, White Fence – Tumacacori, AZ – Fujifilm X-T5
Hall’s – Arlington, AZ – Fujifilm X-T5
End of the Road? – Litchfield Park, AZ – Fujifilm X-T5
Music Box – Bisbee, AZ – Fujifilm X-T5
Lightning Strike – Goodyear, AZ – Fujifilm X-T5

Comparison:

Classic Color Film Simulation Recipe
Kodak Portra 400 v2 Film Simulation Recipe

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

CineStill 800T — Fujifilm X-Trans V Film Simulation Recipe

Posted on by Ritchie Roesch

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

CineStill 800T is a motion picture color negative film with the Remjet layer removed so that it can be developed in standard C41 chemistry. It’s actually repackaged Kodak Vision3 500T, which requires the ECN-2 development process. The “T” in the name means that it’s Tungsten-balanced, and is intended for use in artificial light; in daylight, it has a strong blue cast (unless you pair it with a color correction filter, such as Type 85), so most people use it at night. Because the Remjet layer has been removed, it’s prone to a blooming effect around bright light sources, such as streetlights.

It’s really difficult to accurately replicate a CineStill 800T aesthetic because there’s only so much that can be done to approximate certain aspects of it on Fujifilm cameras. As with any film, it can produce a lot of different looks depending on a host of factors, including how shot, developed, and scanned and/or printed. I feel that this Recipe does a pretty good job considering those factors, but I’ll be the first to admit that it’s not perfect. This isn’t a new Film Simulation Recipe, but a slight modification of the X-Trans IV CineStill 800T Recipe for use on X-Trans V models. The only change is that Color Chrome FX Blue has been adjusted from Strong to Weak, since X-Trans V renders blue more deeply on certain film simulations.

Ports Grill – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

This CineStill 800T Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which, as of this writing, are the X-H2s, X-H2, X-T5, X-S20, and X100VI. I’m sure that it can also be used on newer GFX models, but I’ve not personally done so, and most likely it will render slightly different (try it anyway). This Recipe is a great option for after-dark photography, and it can sometimes produce interesting results in daylight situations, too.

Film Simulation: Eterna
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak 
White Balance: Fluorescent 3, -6 Red & -4 Blue
Highlight: 0
Shadow: +2
Color: +4
Sharpness: -3
High ISO NR: -4
Clarity: -5
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this CineStill 800T Film Simulation Recipe on my Fujifilm X-T5 & X100VI:

Nightwalker – Buckeye, AZ – Fujifilm X100VI
GMC Van – Buckeye, AZ – Fujifilm X100VI
Street Lamp & Trees – Buckeye, AZ – Fujifilm X100VI
Corner Lamp – Buckeye, AZ – Fujifilm X100VI
Red Pill – Buckeye, AZ – Fujifilm X100VI
Lamplit Passage – Buckeye, AZ – Fujifilm X100VI
Arches in the Dark – Buckeye, AZ – Fujifilm X100VI
Red Means Stop – Buckeye, AZ – Fujifilm X100VI
Neighborhood Streetlamp – Buckeye, AZ – Fujifilm X100VI
Blue Water – Buckeye, AZ – Fujifilm X100VI
Lit Clocktower – Buckeye, AZ – Fujifilm X100VI
Misty Sidewalk – Tempe, AZ – Fujifilm X-T5
VW Bug – Tempe, AZ – Fujifilm X-T5
City Bug – Tempe, AZ – Fujifilm X-T5
Sunrise Night – Buckeye, AZ – Fujifilm X100VI
White Building, Dark Night – Buckeye, AZ – Fujifilm X100VI
Mainstreet – Buckeye, AZ – Fujifilm X100VI
Hall Bench – Buckeye, AZ – Fujifilm X100VI
Shadow – Buckeye, AZ – Fujifilm X100VI – Photo by Joy Roesch
Bricks & Powerlines – Bisbee, AZ – Fujifilm X-T5
Twisted Flag – Bisbee, AZ – Fujifilm X-T5
Unexpected Prayer Flags – Bisbee, AZ – Fujifilm X-T5
Lake Grass – Buckeye, AZ – Fujifilm X100VI

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

My Fujifilm Camera Recommendations

Posted on by Ritchie Roesch

Fujifilm X100VI

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!

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

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.

Fujifilm X-T5 in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Best Budget: Fujifilm X-T30 II

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.

Fujifilm X-T30 II in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T30 II in silver:
Amazon, B&H, Moment, Wex, Nuzira

Most Fun: Fujifilm X100VI

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.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Fujicolor 100 Industrial — Fujifilm X100VI (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Lion Fountain – Buckeye, AZ – Fujifilm X100VI – Fujicolor 100 Industrial

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.

Bright Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X100VI – Fujicolor 100 Industrial

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

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Astia Azure — A FXW App Patron Early-Access Fujifilm X-Trans IV & X-Trans V Film Simulation Recipe

Posted on by Ritchie Roesch

Tumacacori Ruins in Spring – Tumacacori, AZ – Fujifilm X-T5 – Astia Azure Recipe

I mentioned in My 5 Favorite Film Simulation Recipes that use Astia article that—personally—Astia is one of my least-used film simulations. It’s not that the film sim is bad, because it’s not; for me, I think there are four reasons: 1) Astia doesn’t much resemble the film that it is named after, 2) it sits as a kind of a happy medium between Velvia and Provia, but doesn’t necessarily stand out as a better option than either, 3) it is most similar to PRO Neg. Hi, yet I prefer PRO Neg. Hi just a tad more, and 4) there are other film sims that I like significantly more (Classic Chrome, Classic Negative, Nostalgic Neg., etc.). Still, Astia can be a good option, particularly for vibrant portraits. I decided that I needed to create a new Astia-based Recipe, one that I would especially like—one that I would be happy to use regularly.

The majority of my Film Simulation Recipes are modeled after specific analog emulsions and/or film processes, but this one is not. I simply wanted a light and bright aesthetic with lovely blue sky, perhaps something vaguely negative-film-like. After a number of attempts, this Film Simulation Recipe, which I have named Astia Azure, is what I came up with. I’ve used it quite extensively over the last month.

Skates & Hoop – Tempe, AZ – Fujifilm X-E4 – Astia Azure Recipe

The Astia Azure Film Simulation Recipe is especially great for golden hour and blue hour photography. It’s good for many other situations, but from roughly 30 minutes before sunrise to an hour after, and an hour before sunset to 30 minutes after, is when this Recipe really shines. Astia Azure is compatible with all X-Trans V cameras, plus newer X-Trans IV models, but not the X-T3, X-T30, X-Pro3, or X100V. I’m sure it can also be used for the latest GFX models, too, although I have not tried personally and it will likely render slightly differently (try it anyway).

This Astia Azure Film Simulation Recipe is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe.

Example photographs, all camera-made JPEGs captured using this Astia Azure Film Simulation Recipe on my Fujifilm X-E4, X-T5, and X100VI cameras:

Salt River & Mountain Reflection – Mesa, AZ – Fujifilm X-T5
Night Lake – Tempe, AZ – Fujifilm X-E4
Studio Mirror – Tempe, AZ – Fujifilm X-E4
Photographers – Tempe, AZ – Fujifilm X-E4
Level 4 – Goodyear, AZ – Fujifilm X-T5
Sunset Glow & Salt River – Mesa, AZ – Fujifilm X-T5
Three Cows on the River Bank – Mesa, AZ – Fujifilm X-T5
Qaudcycle – Tempe, AZ – Fujifilm X-E4
Skateboarder – Tempe, AZ – Fujifilm X-E4
Eat – Tempe, AZ – Fujifilm X-E4
Gallery – Tempe, AZ – Fujifilm X-E4
Grain – Tempe, AZ – Fujifilm X-E4
Bridges & Wires – Tempe, AZ – Fujifilm X-E4
Unfinished Business – Gila Bend, AZ – Fujifilm X100VI
Cross & Bell – Tumacacori, AZ – Fujifilm X-T5
Church Cross – Bisbee, AZ – Fujifilm X-T5
Yellow House – Bisbee, AZ – Fujifilm X-T5
Abandoned White House – Arlington, AZ – Fujifilm X-T5
White Fence – Tumacacori, AZ – Fujifilm X-T5
Leaning Saguaro – Tucson, AZ – Fujifilm X-T5
Rocks & Flowers – Saguaro National Park, AZ – Fujifilm X-T5
Small Palo Verde – Saguaro National Park, AZ – Fujifilm X-T5
Lonely Desert Road – Tucson, AZ – Fujifilm X-T5
Little Shack on the Hill – Tucson, AZ – Fujifilm X-T5

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-T5 in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X-T5 in silver:  Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

PRO Negative 160C — Fujifilm X100VI Film Simulation Recipe

Posted on by Ritchie Roesch

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

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Is the Fujifilm X100VI Digital Teleconverter any good?

Posted on by Ritchie Roesch

Fujifilm X100VI — 50mm Digital Teleconverter

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 — 35mm (Digital Teleconverter Off) — Weak/Large Grain
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.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

The New Reala Ace Film Simulation is Actually….

Posted on by Ritchie Roesch

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.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

So your Fujifilm X100VI didn’t ship… now what?

Posted on by Ritchie Roesch

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.

Closed Gas Station Store – South Ogden, UT – Fujifilm X100V – Fujicolor Superia 1600

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.

Panic Purchases – Farmington, UT – Fujifilm X-T30 – Dramatic Monochrome

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.

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex

The first 7 Film Simulation Recipes to use in your Fujifilm X100VI

Posted on by Ritchie Roesch

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.

Don’t know how to program Film Simulation Recipes into your camera? Click here to find out how.

Now, to the first seven Film Simulation Recipes to program into your Fujifilm X100VI (or any X-Trans V camera) first!

C1 — Kodachrome 64

Kodachrome 64

Classic Kodak slide film aesthetic that’s great for sunny daylight situations. Alternatively, consider Kodachrome 25, Kodak Gold 200, or Kodak Negative.

C2 — Kodak Portra 400 v2

Kodak Portra 400 v2

This is the Recipe for a Kodak color negative film look, and it’s perfect for golden hour photography. Alternatively, consider Kodak Portra 160 v2, Kodak Vision3 250D v2, or Agfa Ultra 100 v2.

C3 — Kodak Portra 800 v3

Kodak Portra 800 v3

With warm summer-like analog colors, this Recipe is great for sunny daytime situations. Alternatively, consider Vibrant Arizona, 1970’s Summer, or Kodak Vericolor Warm.

C4 — Pacific Blues

Pacific Blues

The perfect Recipe for a sunny day at the beach, yet surprisingly great for other situations, too. Alternatively, consider Fujicolor Superia 100, Thommy’s Ektachrome, or CineStill 400D v1.

C5 — Reala Ace

Reala Ace

Great for versatility, use this Recipe anytime of the day or night. Alternatively, consider Kodak Ultramax 400, 1976 Kodak, or Timeless Negative.

C6 — Fluorescent Night

Fluorescent Night

Use this Recipe for after-dark photography. Alternatively, consider Pushed CineStill 800T, Fujicolor Super HG v2, or Superia Xtra 400.

C7 — Kodak Tri-X 400

Kodak Tri-X 400

Classic B&W aesthetic with strong grain and good contrast. Alternatively, consider Ilford FP4 Plus 125, Kodak T-Max P3200, or Ilford HP5 Plus 400.

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.