Fujifilm X100V Film Simulation Recipe: Verano Tostado

Sunshine Pines – Mirror Lake, UT – Fujifilm X100V – “Verano Tostado”

There are some film simulation recipes that are more series and some that are more fun. This one is falls into the latter category. Even the name, Verano Tostado (“Toasted Summer”), and the story behind it, is fun. Fuji X Weekly reader Ricardo Guzman sent me this recipe to try. He called it “Tostado” and when I asked him why, Ricardo answered, “Toasted like summer—when you sleep after lunch at the beach, you wake up looking at funny colors.” Yes, that’s exactly what it looks like—verano tostado!

What’s great about this recipe is, even though the title says Fujifilm X100V, this actually will work on any X-Trans III and X-Trans IV camera. Simply disregard Grain set to Large if your camera doesn’t have that option. Clarity, Color Chrome Effect and Color Chrome Effect Blue are all set to 0 or Off, which makes this recipe usable on cameras that don’t have those options. I tried it on both a Fujifilm X-T20 and X-T30 and it worked great!

Roof and Ceiling – Farmington, UT – Fujifilm X100V – “Verano Tostado”

I did not include a “typical” exposure compensation because you can get some really interesting looks with this recipe from both overexposure and underexposure. Try -2/3 all the way up to +1 1/3 and see what happens. I want to thank Ricardo Guzman for creating this recipe and allowing me to share it here with you. Thanks, Ricardo!

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: +2
Color: +3
Noise Reduction: -4
Sharpening: +2
Clarity: 0
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: Auto, -2 Red & -5 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Verano Tostado film simulation recipe on my Fujifilm X100V:

Summer Flowers – Mirror Lake, UT – Fujifilm X100V
Lake Fishing – Mirror Lake, UT – Fujifilm X100V
Mountain Lake – Mirror Lake, UT – Fujifilm X100V
Water Log – Mirror Lake, UT – Fujifilm X100V
Blue Lake Water – Mirror Lake, UT – Fujifilm X100V
Baiting a Fishing Lure – Mirror Lake, UT – Fujifilm X100V
Small Stream & Tiny Waterfall – Mirror Lake, UT – Fujifilm X100V
Green Leaf – Mirror Lake, UT – Fujifilm X100V
Forest Light Peek – Mirror Lake, UT – Fujifilm X100V
If a Tree Falls in the Forest – Mirror Lake, UT – Fujifilm X100V
Summer Feelings – Farmington, UT – Fujifilm X100V
Hello – Farmington, UT – Fujifilm X100V
Stripes – Farmington, UT – Fujifilm X100V
Table Plant – Farmington, UT – Fujifilm X100V

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

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Film Simulation Review: Abandoned RV Dealer with Kodak Portra 400

Journal – North Salt Lake, UT – Fujifilm X100V – “Portra 400”

I recently stumbled upon an abandoned RV dealership in North Salt Lake, Utah. It’s been vandalized. Broken glass and graffiti abound. Nature is doing its thing, too. It’s significantly dilapidated.

Hugh’s R.V. apparently hasn’t been closed for very long, I believe less than two years, but the building looks like it has been abandoned for a decade or more. One of the reviews I found for this place stated that it looked dilapidated—this was when it was still open!—so it was already in a state of disrepair prior to abandonment, and that partially explains why it looks so bad now. Perhaps more than anything, people have just trashed it since it closed.

I captured Hugh’s R.V. with my Fujifilm X100V using my Kodak Portra 400 film simulation recipe. I love how this recipe looks for many things, including structures. Really, it was an easy choice! This particular film simulation recipe could be many people’s “only” recipe. It’s good for such varied situations, and an abandoned building in afternoon light is no exception. This Portra 400 recipe on the X100V is an especially great combination, and a one camera, one lens, one recipe philosophy could be embraced. I appreciate the film-like aesthetic of my Portra 400 settings.

My challenge to you is for one week (or at least one day if that’s too much) use one camera with one lens and one film simulation recipe. If you don’t have an X100V, that’s no problem, just use what you do have. I think the restriction will empower your creativity. Limitations improve art. If you accept this challenge, let me know in the comments which camera, lens and recipe you plan to use, and also report how it goes. I look forward to your feedback!

Hugh’s R.V. – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Hugh’s Graffiti – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Closed Circuit – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
ERNL – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Open Door, Broken Window – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Trash in the Shadow – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Tubes & Tablets – North Salt Lake, UT – Fujifilm X100V – “Portra 400”
Out of Office – North Salt Lake, UT – Fujifilm X100V – “Portra 400”

See also: Film Simulation Reviews

Vuhlandes: Fujifilm Photographers Be Like….

Photographer Vuhlandes (YouTube, Instagram) shared a video yesterday that I thought you might find funny. It’s definitely a great view for your Monday. Entitled Fujifilm Photographers Be Like, the video is a comical look at stereotypical Fujifilm shooters. I swear the comment at the 2:00 mark is aimed at me personally, but I don’t know for sure. It’s all in good fun. Check it out!

One of Vuhlandes’ videos actually does mention me, this website and the Portra 400 film simulation recipe. He published it a week ago. Maybe you’ve already seen it, but if not, I’ve included it below. Hopefully these two videos help you make it through another Monday.

Also, while you’re watching videos, be sure to check out the Fuji X Weekly YouTube channel! I’ve published a few new videos over the last week-and-a-half. More will be coming soon. Go on over and take a look!

Fujifilm X-T20 (X-Trans III) + X-T30 Film Simulation Recipe: Kodak Ultramax

Street Lamp Sunset – Farmington, UT – Fujifilm X-T30 – “Kodak Ultramax”

I’ve received a lot of positive feedback from my Fujifilm X100V Kodak Ultramax 400 film simulation recipe, which I published two weeks ago. I’ve had a ton of requests to make a version of this recipe that’s compatible with X-Trans III sensor cameras, plus the X-T30 and X-T3. Well, I’ve done it, and here it is!

This version of the Ultramax recipe is pretty close to the original, but not precisely the same. Because the new cameras—the X100V, X-T4 and X-Pro3—have different tools, that recipe isn’t compatible with “older” Fujifilm cameras, but I made some adjustments and changes, and created this new version, which produces similar results. It’s fully compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3 and X-T30 cameras. While not 100% exactly the same as the original recipe, it definitely has the same overall Ultramax aesthetic.

Sunstar Through Peach Leaves – Farmington, UT – Fujifilm X-T20 – “Kodak Ultramax”

Ultramax 400 is Kodak’s consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.

Classic Chrome
Dynamic Range: DR400
Highlight: +2
Shadow: +2
Color: +4
Sharpening: +2
Noise Reduction: -4
Grain: Strong
Color Chrome Effect: Off or N/A
White Balance: Auto, +1 Red & -6 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Ultramax film simulation recipe on a Fujifilm X-T20 and X-T30:

Creek – Farmington, UT – Fujifilm X-T20
Shadow Catcher – Farmington, UT – Fujifilm X-T30
Boy by a Window – Farmington, UT – Fujifilm X-T30
Jonathan in Window Light – Farmington, UT – Fujifilm X-T30
Pencils on the Table – Farmington, UT – Fujifilm X-T30
Balcony – Farmington, UT – Fujifilm X-T20
Panda Express – Farmington, UT – Fujifilm X-T20
Window Flag – Farmington, UT – Fujifilm X-T30
American Tree – Farmington, UT – Fujifilm X-T30
Green Mountain Summer – Farmington, UT – Fujifilm X-T30
Summer Pear Tree – Farmington, UT – Fujifilm X-T30
Greens of Summer – Farmington, UT – Fujifilm X-T30
Backyard Tree Evening – Farmington, UT – Fujifilm X-T20
Backyard Aspen Leaves – Farmington, UT – Fujifilm X-T30

See also:
Fujifilm X-Trans III Film Simulation Recipe Compatibility
Fujifilm X-Trans IV Film Simulation Recipe Compatibility

Help Fuji X Weekly

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Fuji Film Simulation: Fujifilm XQ1 + Astia at Mirror Lake (Video)

I just posted the third video in the Fuji Film Simulation series today! This new video, which you’ll find above, is about using the new X-Trans II Astia film simulation recipe at Mirror Lake in Utah on a Fujifilm XQ1 camera. I want to give a special “thank you” to Fuji X Weekly reader Gus Potenza for loaning me his camera. It’s been a lot of fun to shoot with!

If you like this video, give it a “thumbs up!” I invite you to share it on your social media. Be sure to leave a comment—I appreciate the feedback!

If you don’t follow me on YouTube, be sure to do so! There are many more videos in the works. These projects take up a lot of time, so they’ve been slow to come out, but my hope is to release a new video each week. That may or may not happen; if you don’t subscribe you might miss them when they do come out. I appreciate everyone who has already hit that Subscribe button!

My wife, Amanda, is the one who created this video. She did all of the videography and editing. If you’re interested, the gear she used (accompanied by affiliate links; yes, I will be compensated a small amount if you purchase something using those links) is listed below. Let me know if you’d like to see more of the video side of things, and what specifically you’d be interested in. Thanks!

Fujifilm X-T20 https://amzn.to/2Beu6MM
Fujifilm X-T30 https://amzn.to/2YHKiir
Fujinon 10-24mm https://amzn.to/3i6WPnq
Rokinon 12mm https://amzn.to/2CUHPJI
GoPro Hero 8 Black https://amzn.to/2BKBwY6

Fujifilm X-Trans II Film Simulation Recipe: Astia

Evergreen Sunstar – Mirror Lake, UT – Fujifilm XQ1 – “Astia”

One of my favorite film simulation recipes that I’ve created is Fujicolor 100 Industrial. It’s not compatible with X-Trans II cameras, but I wanted to make something similar to it for the Fujifilm XQ1. This camera doesn’t have PRO Neg. Std, the film simulation that the Fujicolor 100 Industrial recipe requires. For color photographs, the XQ1 has three options: Provia, Velvia and Astia. I tried both Provia and Astia, and neither worked, but I liked how the Astia recipe looked, so I continued working with it.

What this Astia recipe reminds me of is Provia 100F film. When Fujifilm created their film simulations, the one they named Provia more closely resembles Astia film, and the one they named Astia more closely resembles Provia film, but neither are a great match. This recipe isn’t a 100% match to Provia 100F, but it is closer than the Astia film simulation out-of-the-box or especially the Provia film simulation. Confused? Well, to make it even more confusing, since it’s not really intended to look like Provia 100F and it’s not an especially close match, I named this recipe “Astia” after the film simulation it requires. Whatever the name, and whatever film it may or may not resemble, this film simulation recipe is actually pretty good for everyday use.

Diagonal Lines on Decor – Farmington, UT – Fujifilm XQ1 – “Astia”

The XQ1 has a small X-Trans II sensor inside, which means this recipe is fully compatible with all X-Trans II cameras. If you are using it on an APS-C X-Trans II camera, you can increase the maximum ISO to 3200. Feel free to try this recipe on X-Trans I or Bayer sensor cameras, too—it will work but the results might be slightly different.

Astia
Dynamic Range: DR400
Highlight: -2 (Soft)
Shadow: 0 (Standard)
Color: -2 (Low)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: 2650K, +8 Red & -8 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs made using this Astia film simulation recipe on a Fujifilm XQ1:

Mirror Lake Sign – Mirror Lake, UT – Fujifilm XQ1
Floating Preparations – Mirror Lake, UT – Fujifilm XQ1
Lake Boardwalk – Mirror Lake, UT – Fujifilm XQ1
Blue Boat by the Boardwalk – Mirror Lake, UT – Fujifilm XQ1
Fishing Blues – Mirror Lake, UT – Fujifilm XQ1
Lone Pine – Mirror Lake, UT – Fujifilm XQ1
Tree Silhouette – Mirror Lake, UT – Fujifilm XQ1
Nature Flames – Mirror Lake, UT – Fujifilm XQ1
Reaching Leaves – Mirror Lake, UT – Fujifilm XQ1
Mountain Flower Blossom – Mirror Lake, UT – Fujifilm XQ1
Sunlit Pine Needles – Mirror Lake, UT – Fujifilm XQ1
Trunk & Log – Mirror Lake, UT – Fujifilm XQ1
Logs in the Lake – Mirror Lake, UT – Fujifilm XQ1

See also:
Film Simulation Recipes
X-Trans II Compatible Recipes

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Fujifilm White Balance Shift: What It Is + How To Use It

White Balance: Daylight. Shift: +3 Red & +1 Blue. Fujicolor Superia 1600.

What is White Balance Shift and how do you use it on your Fujifilm camera? White Balance Shift is one of my favorite JPEG tools that Fujifilm has included on their cameras. It can have a big impact on the aesthetic of an image, and it’s a critical component of my Film Simulation Recipes. It’s one of those things that’s easy to overlook. In this article I’ll explain what White Balance Shift is and how to use it.

White Balance is the adjustment of color temperature (measured in Kelvin) to account for various light conditions, so that white objects appear white, and not yellow or blue or some other color. White Balance Shift is a tool to precisely fine-tune the White Balance. The intention of White Balance and White Balance Shift is to achieve a natural color balance that matches what the eye sees. But you can give your photographs whatever color balance you’d like—this is art; there are no rules.

How do you adjust White Balance Shift on your Fujifilm camera? It’s not immediately obvious, but quite easy once you know where it is. In your camera’s Menu select White Balance. Once in the White Balance Menu, arrow up or down to whichever White Balance you’d like to use, and then arrow right to adjust the White Balance Shift for that particular White Balance. Select OK to set.

Easy, right?

Now that you know how to adjust the White Balance Shift, let’s take a look at what it does to a photograph. The image below demonstrates the dramatic impact White Balance Shift can have on a picture:

Center: 0 Red & 0 Blue. Top-Left: -9 Red & +9 Blue. Top-Center: 0 Red & +9 Blue. Top-Right: +9 Red & +9 Blue. Center-Right: +9 Red & 0 Blue. Bottom-Right: +9 Red & -9 Blue. Bottom-Center: 0 Red & -9 Blue. Bottom-Left: -9 Red & -9 Blue. Center-Left: -9 Red & 0 Blue.

Those are examples of big White Balance Shifts, but what about subtle Shifts? Do they make a difference? Take a look at the picture below. The left image is without a Shift (0 Red & 0 Blue), and the right image is with a subtle Shift (+1 Red & -1 Blue). It’s not a huge change, but noticeable nonetheless.

Slide left and right to compare images.

Now let’s take a look at some less subtle White Balance Shifts and how it can change the aesthetic of a picture. The examples below are all Auto White Balance using various White Balance Shifts, which are prescribed in different Film Simulation Recipes. The specific Shifts and Recipes are listed under each picture.

Shift: +2 Red & -2 Blue. Recipe: Fujicolor Pro 400 Overexposed.
Shift: +2 Red & -4 Blue. Recipe: Vintage Kodachrome.
Shift: +5 Red & -6 Blue. Recipe: Eterna.
Shift: -3 Red & -8 Blue. Recipe: Cross Process.

As you can see, you can get many different color casts using White Balance Shift. In fact, Fujifilm gives you over 350 different options! You can get creative and mix a White Balance Shift with a White Balance that’s other than Auto. Below you’ll find some examples of this. The specific White Balance, Shift, and Recipe are located under each picture.

White Balance: Daylight. Shift: +2 Red & -5 Blue. Recipe: Kodachrome 64.
White Balance: Fluorescent 1 (Daylight Fluorescent). Shift: -3 Red & -1 Blue. Recipe: Kodak Vision3 250D.
White Balance: 6050K. Shift +3 Red & 0 Blue. Recipe: Kodak Ektar 100.
White Balance: 2650K. Shift: -1 Red & +4 Blue. Recipe: Jeff Davenport Night.

White Balance and White Balance Shift affect black-and-white pictures, too! You can manipulate how grey tones are rendered in an image using these tools. The picture below was captured using Acros+R. The version on the left has Auto White Balance and no Shift (0 Red & 0 Blue), while the one on the right has a White Balance of 4200K and a Shift of 0 Red & +9 Blue. Otherwise these two dramatically different images have identical settings.

Slide left and right to compare images.

Below are a few more examples of combining White Balance and White Balance Shift in black-and-white pictures. The specific White Balance, Shift, and Recipe are located under each picture.

White Balance: Auto. Shift: 0 Red & +9 Blue. Recipe: Monochrome Kodachrome.
White Balance: Daylight. Shift: +9 Red & -9 Blue. Recipe: Kodak Tri-X 400.
White Balance: 2750K. Shift: -5 Red & +5 Blue. Recipe: B&W Ifrared.

There’s one more application of White Balance Shift that I’d like to mention: Multiple Exposure photography. One example of White Balance Shift applied to Multiple Exposures, which is the first image below, is an exposure (the “main exposure”) made without a Shift, and then a second exposure of white paper or card-stock with a Shift applied. This gives the picture a faded color-cast aesthetic. Another example, which is the second picture below, is to capture two or more (for cameras capable of more than two) exposures, changing the Shift between exposures. This creates an abstract color rendering.

Shift: +9 Red & +9 Blue. Recipe: Faded Color.
Four exposures, each with a different Shift: +9 Red & -9 Blue; +9 Red & +9 Blue; -9 Red & -9 Blue; -9 Red & +9 Blue.

Most Fujifilm cameras do not have the ability to save White Balance Shifts within Custom Presets. Most of my Film Simulation Recipes require a Shift, yet you cannot save the Shift, so each time you change Recipes you must manually adjust the Shift. This is unfortunate, but thankfully Fujifilm has fixed this issue on the X100V (review here), X-Pro3 and X-T4! If you have one of those three cameras, you can save a White Balance Shift with each Custom Preset. As much as I love the new Clarity setting, Color Chrome Effect Blue, and the new Classic Negative film simulation, my absolute favorite new feature Fujifilm has added to their cameras is the ability to save White Balance Shifts. Thank you, Fujifilm!

White Balance Shift is an amazing tool on your Fujifilm camera! Found within the White Balance Menu, it allows you to fine-tune the color cast of your pictures. You can use this tool to customize your picture aesthetics. I use it extensively in my Film Simulation Recipes, both color and black-and-white, to achieve various looks. Without White Balance Shift many of my Recipes would not be possible. You can use it subtly or dramatically, with Auto White Balance or one of the other White Balance options.

Now you know what White Balance Shift is on your Fujifilm camera and how to use it. Now it’s time to get creative with it!

Review: Fujifilm X100V – Like Shooting With An Endless Roll of Film

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The Fujifilm X100V is like shooting with an endless roll of film. Actually, it’s like shooting with up to seven endless rolls of film. You can capture as many frames as you wish on each roll, and change the film anytime you want. Kodachrome 64? Yep! Kodak Portra 400? Absolutely! Fujicolor Superia 100? No problem! Kodak Tri-X 400? That one, too! Do I need to list seven films? Actually, I could list 80! You’ll just have to decide which ones you want. Once loaded, your supply will never run out. There’s no need to send it off to a lab, as your pictures come out of the camera already developed. Sound too good to be true? It’s not. This is what it’s like shooting with the X100V!

The point is, you load the “film” that you want to shoot with, and then you shoot! Change anytime you want. Download the files onto your phone, tablet, or computer—crop or touchup if you wish—and you’re done! No waiting for the film to come back from the lab. No sitting for hours in front of a computer editing RAW files. There’s no need for any of that. You have pictures that appear film-like or resemble post-processed RAW images, yet they’re straight-out-of-camera JPEGs. It frees up time to do what you love: photograph. The X100V is about capturing, one fraction of a second at a time. It’s not about the other things that bog you down.

You might ask, “What sets the X100V apart from other Fujifilm cameras?” That’s a great question, and I hope this review answers it for you. There’s a good chance, if you are reading this, that you’re considering purchasing this camera, and you are trying to decide if it’s right for you or worth upgrading from an older model. I hope that this article will be helpful to you in your decision.

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The Fujifilm X100V is fixed-lens, fixed-focal-length compact mirrorless camera. It has a 26-megapixel APS-C X-Trans IV sensor. It’s fairly small: approximately 5″ wide, 3″ tall and 2″ deep. It weighs about a pound. It’s mostly weather sealed, and can become weather sealed by adding a UV filter to the front of the lens. It has an MSRP of $1,400.

Fujifilm X100 cameras are incredibly well designed, fusing form and function. The X100V resembles a classic 35mm rangefinder. It might be the best-looking digital camera ever made. People stop me frequently to ask about it. The most common question: “Is that a film camera?” The X100V’s striking design is a conversation starter. 

As you probably know, I create film simulation recipes for Fujifilm cameras (and if you didn’t know, you do now). These recipes mimic different films or aesthetics through customized JPEG settings. Something that sets the X100V apart from other Fujifilm cameras are the new JPEG options, such as Clarity, Color Chrome Effect Blue and B&W Toning, among several other things. Unsurprisingly, the new Classic Negative film simulation, which has received much praise, is just incredible! Perhaps even more important is the ability to save white balance shifts with each custom preset. All of these things are what separates the X100V from older models, providing an improved user experience and the opportunity for improved picture aesthetics. Right now, the X100V, X-Pro3 and X-T4 are the only Fujifilm cameras with these features. For the JPEG shooter, the X100V is a nice step forward from previous versions.

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The original X100 through the X100F all shared the same lens, but Fujifilm redesigned the lens for the X100V. It looks pretty much the same, and it’s still 23mm (35mm equivalent) with a maximum aperture of f/2. What’s different is the sharpness of the lens, as it’s now razor sharp across the entire frame no matter the aperture and no matter how closely focused you are. Essentially Fujifilm eliminated the “flaws” of the old lens. Otherwise, it’s still quite similar in performance. Also, autofocus has improved over the previous model.

One unfortunate change is that Fujifilm removed the D-Pad from the back of the camera, replacing it with touch-screen gestures. The touch screen is nice I suppose, but I prefer not to use it. That’s just me. What works for you might be different. There are enough customizable buttons and controls that losing the D-Pad isn’t a huge deal, but I prefer the setup of the X100F over the X100V in this regard. And speaking of the rear screen, it now flips up and down, similar to the one on my Fujifilm X-T30.

One of the X100V’s greatest features is the leaf shutter and fill-flash. Leaf shutters are typically found on expensive medium-format gear, and you rarely see them on other cameras; however, Fujifilm has included a leaf shutter on their X100 series. A leaf shutter works like an iris. There are blades, similar to aperture blades, inside the lens that open and close. It opens from the center outward, and for this reason you can sync it to the flash at much higher shutter speeds than traditional focal-plane shutters. Besides that, it’s nearly silent. Fujifilm has programmed the camera to perfectly balance the built-in flash with whatever lighting is available. The camera almost never gets it wrong, it just seems to know the perfect amount of light to add to the scene. The results are very natural looking, and the pictures don’t scream that a flash was used.

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A cool feature that I find helpful is the built-in four-stop neutral density filter, which decreases the light into the camera. It’s helpful for utilizing a large aperture in bright conditions, for showing motion using a slow shutter speed, or for selecting a higher ISO for a grittier look (yes, this is a thing). The X100F has “only” a three-stop ND filter, and the extra stop on the X100V can make a big difference.

If you’ve ever used an X100 camera, you know that it’s incredibly fun, which is why it’s so popular. This is many people’s “desert island” camera—if they could only choose one, it would be this. The X100 series is what photographers shoot just for the joy of it. There are some who use it as their only camera, and I did that for awhile with the X100F, but the fixed-focal-length lens does limit its practicalness a little; I think for many people it is a great tool to go along with an interchangeable-lens camera. Despite its limitations, this camera is for those seeking the pure joy of photography.

The Fujifilm X100V is a great travel camera. It’s small and lightweight enough to not get in the way, so you can take it everywhere. One camera with one lens is often all you need. It’s good for street photography, portraits, weddings, snapshots of the kids, landscapes—it can be used for pretty much any genre of photography. While travel and street are what it’s often touted for, I find that 90% of the time, no matter what I’m shooting, this is the only camera I need and use. I reach for the X100V almost every time!

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There is that 10% of the time when the X100V isn’t the right tool for the job. If I need a wider or more telephoto lens, I don’t use this camera. It’s important to understand that, while the X100V is nearly perfect, it has shortcomings and limitations. Every camera does. You could use the X100V as your only camera, and some people do, but I don’t recommend it. At the same time, if you own an X100V, your other cameras are going to collect a lot of dust. You’ll have to decide if it’s better to just buy one of the Fujinon 23mm lenses instead of buying a camera with a permanently attached lens. Personally, I appreciate the X100V and can’t imagine giving it up. I plan to keep it until it stops working, which I hope is a long time from now.

People like to talk about image quality in camera reviews. I suppose that’s important, but not nearly as important as it once was. You’d be hard-pressed to find a camera nowadays with poor image quality. I can attest that the image quality from the X100V is outstanding! One thing that separates Fujifilm from other brands is their dedication to the camera-made JPEG. That’s not to say all other brands have junky JPEGs, only to say that Fujifilm has in my opinion the best. I don’t think it would be possible to create all of the different film simulation recipes that I’ve made using any other brand. I’ve printed as big as 2′ x 3′ from the 26-megapixel JPEGs and it looks very good, even when viewed up close.

I’m a stills photographer, and that’s who the X100V is geared towards. My wife, Amanda, is more of a videographer (she’s an integral part of the Fuji X Weekly YouTube channel), so I gave her the camera to create a video with, which just so happened to be the very first time she used this camera. The video specs are very good on the X100V, but it does have one significant limitation: it overheats easily when recording 4K. The camera doesn’t have any image stabilization, either, which makes it a little more challenging to use. It’s not really intended for the videographer, but that doesn’t mean it can’t be used as a cinema camera. Video quality is quite good on the X100V, and as long as you keep the clips under two minutes and give the camera a short breather here and there, it does fine. You’ll have to use a tripod, gimbal, or have a steady hand to keep it from shaking too much. The short video below was recorded entirely with the X100V hand-held using the Eterna film simulation to demonstrate what you could do with this camera.

The Fujifilm X100V is a great camera that combines form and function, delivering beautiful film-like photographs without fuss. It’s a joy to use—probably the most fun camera I’ve ever owned! Load it with your favorite film simulation recipes and just shoot. It’s that experience that makes this camera so wonderful.

The X100V would make a great addition to whatever other Fujifilm camera you’re using, or it could be your gateway into the Fujifilm family. I don’t know if there are enough updates to justify upgrading from an X100F (although, to be clear, it is an upgrade), but if you have the original X100, X100S or X100T, you will likely find enough here to make the upgrade worthwhile. The X100V is a fantastic little camera, and I have no doubts that you’ll love it.

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

The photographs below are all camera-made JPEGs captured on my Fujifilm X100V:

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Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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#FujiXWeekly Episode 002 – Your Instagram Photos Are Impressive!

I just published Episode 002 of the #FujiXWeekly video series on the Fuji X Weekly YouTube Channel!

Fuji X Weekly is on Instagram, and when I created that account I also created the hashtag #fujixweekly. I’ve noticed that many of you are also using that hashtag, and since I follow it, whenever you post using #fujixweekly your pictures show up in my feed. You guys are creating some impressive images! It’s very inspiring to me, so I wanted share that with everyone.

Please keep using #fujixweekly on Instagram. I’ll pick some of the pictures to showcase in the next video. Obviously I can’t use all of them, but I’ll pick some that I find interesting. If you used one of my film simulation recipes, include which one you used in the description if you don’t mind. I’d love to know which recipes you guys are using!

I appreciate every one of you! Keep up the great work! Below I’ve included a link to everyone’s Instagram accounts who had pictures in the video above. Be sure to check out their work!

@503_x100v
@max_street_photography
@leongoossens_film
@jassonwu0529
@alensinthelandscape
@neopanacros
@yongjie1220
@hugovangool.nl
@smile_n_shoot
@1080paolo
@apollokreed
@mirrorlessron
@dennyf
@effzwo.thommy
@seize_the_moment
@cederaiz
@fujisbyjakob
@spicy.eye
@drjkgas
@kato.dng

Fujifilm X100V Film Simulation Recipe: Black & White Infrared

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Stop Here on Infrared – Yellowstone NP, WY – Fujifilm X100V – “Black & White Infrared”

Infrared photographing is capturing light beyond the visible spectrum. It requires special film, or a digital sensor that has had the infrared filter removed. Any digital camera has the potential to be infrared sensitive, but the process isn’t easy or cheap. Full spectrum photography is similar to infrared, but also includes ultraviolet and visible light (not just infrared light). With full spectrum photography you can choose by the use of filters which light you want to capture. You can use filters with infrared, too, to control what light comes through, but not to the extent of full-spectrum. A characteristic of both infrared and full-spectrum in black-and-white is deep contrast, with dark skies and white foliage. One of my favorite photographers is Mitch Dobrowner, who converted his Canon cameras to full-spectrum for dramatic monochrome storm photography.

When I purchased my Fujifilm X-T1, I had the intentions of converting it to full-spectrum, but the cost of the conversion has prevented me from doing it. I still hope to do so, maybe later this year or perhaps next year. We’ll see. But I figured out a way to simulate something that’s in the neighborhood of infrared or full-spectrum on my Fujifilm X100V without any conversions. In the right light and with the right subject, it can be quite convincing! Even though you are only using the visible spectrum of light, it can appear as though you are actually doing infrared photography. Amazing!

Even in situations where this recipe doesn’t resemble infrared or full-spectrum, it will still produce a dramatic, high-contrast look that you might find appealing. Those who have said that Acros+R doesn’t actually resemble the use of a red filter on black-and-white film will appreciate these settings. Many landscape photographers, including Ansel Adams, employed a red filter to achieve a dark sky (for example, Moonrise Over Hernandez).

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White Tree Black Sky – West Valley City, UT – Fujifilm X100V – “Black & White Infrared”

The trick is to use a low Kelvin white balance in conjunction with a dramatic white balance shift when using Acros+R. I got the idea from Fuji X Weekly reader James Clinich, who uses between 3800K and 4500K with a 0 Red & +8 shift to achieve a darker sky, which is something you can apply to other B&W recipes if you’d like to better mimic the use of a red filter. I just took his idea a step further to make it even more dramatic for this recipe.

My Black & White Infrared film simulation recipe can be difficult to use. I find that it doesn’t always work well. It can be very tough to gauge the best exposure, and I’ve had to go anywhere from -1 to +3 on the exposure compensation dial to get it right. It’s one of the more difficult to use recipes that I’ve created, yet it is highly rewarding. If you like dramatic black and white photographs, you’ll want to give this one a try! As of this writing, it’s only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: +3
B&W Toning: 0
Noise Reduction: -4
Sharpening: -4
Clarity: +5
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: 2750K, -5 Red & +9 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Black & White Infrared film simulation recipe on my Fujifilm X100V:

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Crafts & Hobbies – West Valley City, UT – Fujifilm X100V

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Cloud Above The Wall – Draper, UT – Fujifilm X100V

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Flags Over IKEA Infrared – Draper, UT – Fujifilm X100V

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Pinnacle – Farmington, UT – Fujifilm X100V

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Suburban Abstract – Farmington, UT – Fujifilm X100V

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Suites – West Valley City, UT – Fujifilm X100V

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Paved Paradise – West Valley City, UT – Fujifilm X100V

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Accessible Parking – West Valley City, UT – Fujifilm X100V

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Done Shopping – West Valley City, UT – Fujifilm X100V

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Soda Glass – West Valley City, UT – Fujifilm X100V

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Couch Stripes – Farmington, UT – Fujifilm X100V

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Flowers in the Sky – Big Sky, MT – Fujifilm X100V

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Grey Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

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Abandoned Dream Infrared – Red Rock Lakes NWR, MT – Fujifilm X100V

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Abandoned House by the Hill IR – Red Rock Lakes NWR, MT – Fujifilm X100V

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Henry’s Fork River – Island Park, ID – Fujifilm X100V

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Upper Red Rock Lake IR – Red Rock Lakes NWR, MT – Fujifilm X100V

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Red Rock Road Monochrome – Red Rock Lakes NWR, MT – Fujifilm X100V

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Aspen Leaves Infrared – Farmington, UT – Fujifilm X100V

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Illuminated Tree – West Valley City, UT – Fujifilm X100V

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Infrared Tree – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

$2.00

Fujifilm X100V Film Simulation Recipe: Kodak Ektar 100

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Dock Light – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”

I already have a Kodak Ektar film simulation recipe that I published a little over two years ago, but I’ve been wanting to revisit it for awhile. In the article that I published for that recipe, I wrote, “I’m actually a little hesitant to call this film simulation recipe Kodak Ektar 100 because it’s not quite right. It’s close, but a little off. The color palette is slightly askew.” That’s a true statement. My original Ektar recipe is close but no cigar. Since that time Fujifilm has added more JPEG options to their cameras, so would it be possible to get closer to real Ektar on my X100V?

Kodak introduced Ektar in 1989. It has been made in ISO 25, 100, 125, 400 and 1000 versions at one time or another. Kodak discontinued Ektar in 1997, but they brought it back in 2008 with an updated emulsion. I’ve shot the old Ektar but never the new Ektar. It’s my understanding that they’re similar but not exactly the same.

This new film simulation recipe will be controversial. To achieve a more correct color palette, this recipe is based off of Classic Chrome instead of Astia. The reason that I used Astia in the original recipe is because “Classic Chrome isn’t vibrant enough, even with Color set to +4.” That’s still true, although Color Chrome Effect does help a little. Honestly, if +6 was an option, that’s what I’d set Color to. Unfortunately that’s not an option, so we have a slightly undersaturated recipe. Another issue is that Ektar can have several different looks, depending on how it’s shot, developed, and printed or scanned, just like any film; however, with Ektar, even a 1/3 stop over or under exposure can noticeably effect the aesthetics of the picture.

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Peach Sun – Farmington, UT – Fujifilm X100V – “Kodak Ektar 100”

Fuji X Weekly reader Thomas Schwab helped me immensely with this recipe. He’s had a hand in several recipes, and even created one from scratch that’s quite popular: Urban Vintage Chrome. Thomas captured a bunch of pictures with actual Ektar film, and made several similar exposures with his X-Trans IV cameras. He showed me examples of both, applying my original Ektar recipe to the pictures captured with his Fujifilm cameras. Then we began to create a new Kodak Ektar 100 film simulation recipe based on his Ektar pictures, hoping to achieve something closer to the film than the original recipe.

We discovered very quickly that Ektar is impossible to faithfully recreate on Fujifilm cameras, because only Classic Chrome has the correct color palette, and it’s not vibrant enough. We tried Astia, Provia, Velvia, and PRO Neg. Hi, and of those Astia was the closest, but none of them were right. We settled on Classic Chrome despite it not being vibrant enough. We went back-and-forth on different settings, but especially the white balance. There were several times that we said, “This is it,” only to modify something the next day.

A problem we encountered is that Ektar can have several different looks, even from the same roll of film. There was a discussion about creating as many as three different recipes, depending on the exact aesthetic we wanted to recreate, but decided to go with just one recipe, modeled after our favorite pictures from Thomas’ Ektar film. After even more back-and-forth we finished with this recipe here. We feel confident that it is as close as we could get to actual Ektar film, acknowledging that it’s very close but not exactly right.

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Boat in the Bay – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”

The original Ektar recipe isn’t an exact match to the film, and I believe that this new recipe is closer. The two recipes each produce a different look, and perhaps they both have a place, depending on what exact aesthetic you are after. This new recipe was a collaborative effort, and I want to give a special “thank you” to Thomas Schwab for all of the time and effort he put into making this a reality. It’s much appreciated!

This Kodak Ektar 100 film simulation recipe is intended for and only compatible with (as of this writing) the Fujifilm X100V, X-Pro3 and X-T4. It uses Clarity, which slows down the camera considerably. I just allow the pause to slow myself down. Another option, which is what Fujifilm recommends, is to add Clarity later by reprocessing the RAW file in-camera or with X RAW Studio.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +3
Grain Effect: Off
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 6050K, +3 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Ektar 100 film simulation recipe on my Fujifilm X100V:

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Daisies by the Dock – Flathead Lake, MT – Fujifilm X100V

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Henry’s Fork – Island Park, ID – Fujifilm X100V

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Johnny Sack Cabin – Island Park, ID – Fujifilm X100V

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North Shore of Island – Wild Horse Island State Park, MT – Fujifilm X100V

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Butters – Roy, UT – Fujifilm X100V

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Mustang Evening – Farmington, UT – Fujifilm X100V

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Roofline Sky – Farmington, UT – Fujifilm X100V

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Finding Clues – Farmington, UT – Fujifilm X100V

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Golden Boy – Farmington, UT – Fujifilm X100V

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Rocket Launching – Farmington, UT – Fujifilm X100V

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Yellow Lady – Layton, UT – Fujifilm X100V

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Light Too Bright – Farmington, UT – Fujifilm X100V

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Lawnmower Handle & Shadow – Farmington, UT – Fujifilm X100V

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Air Pump – Farmington, UT – Fujifilm X100V

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Blossom Red – Farmington, UT – Fujifilm X100V

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Flower Garden Blossom – Farmington, UT – Fujifilm X100V

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Bug Hiding on a Flower – Farmington, UT – Fujifilm X100V

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Rose Fence – Farmington, UT – Fujifilm X100V

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Marsh Reeds – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

$2.00

Fujifilm X100V Film Simulation Recipe: Kodak Ultramax 400

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Empty Outdoor Seating – Farmington, UT – Fujifilm X100V – “Kodak Ultramax 400”

Ultramax 400 is Kodak’s consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.

This recipe is a happy accident. I was actually working on a different Kodak film simulation recipe, and this was a failed attempt. But I liked how this one looked, so I made a minor adjustment, and created this recipe, which I determined looked a heck-of-a-lot like Ultramax 400. I didn’t intentionally create an Ultramax 400 recipe, but nonetheless here it is! Sometimes it’s better to be lucky than good.

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Colorful Store Decor – Layton, UT – Fujifilm X100V – “Kodak Ultramax 400”

For some of you this new recipe will be an instant favorite. I really love how it looks and plan to use it frequently. This one might be right up there with Kodachrome 64 and Portra 400 for favorite Kodak presets. A word of caution: it does require Clarity, which slows down the camera considerably. This film simulation recipe (as of this writing) is only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1
Shadow: +1
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +3
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto, +1 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Ultramax 400 film simulation recipe on my Fujifilm X100V:

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Road Construction – Clearfield, UT – Fujifilm X100V

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Store Closing – Farmington, UT – Fujifilm X100V

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Urban Roses – Farmington, UT – Fujifilm X100V

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Summer Fruit Tree – Farmington, UT – Fujifilm X100V

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Ripening Peaches – Farmington, UT – Fujifilm X100V

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Wood Barrel – Layton, UT – Fujifilm X100V

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Table & Chair – Farmington, UT – Fujifilm X100V

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Library Lights – Farmington, UT – Fujifilm X100V

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Contemplation – Farmington, UT – Fujifilm X100V

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Blackberry Boy – Farmington, UT – Fujifilm X100V

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End Table Succulent – Farmington, UT – Fujifilm X100V

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Math Books on a Table – Farmington, UT – Fujifilm X100V

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Kitchen Tools – Farmington, UT – Fujifilm X100V

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Quality Goods – Layton, UT – Fujifilm X100V

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75 – Layton, UT – Fujifilm X100V

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Table Bloom – Layton, UT – Fujifilm X100V

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Fake Tulips – Layton, UT – Fujifilm X100V

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Fake Flowers in Window Light – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

$2.00

Film Simulation Recipe Compatibility: X-Trans IV

Bayer, X-Trans I & II
X-Trans III

Those with Fujifilm X-Trans IV cameras, which include the X-T3, X-T30, X-Pro3, X100V and X-T4, have the most film simulation recipes to choose from. There are currently five X-Trans IV cameras, and they actually fall into two groups: “Old” (X-T3 & X-T30) and “New” (X100V, X-Pro3 & X-T4). The two groups have different options. The latter has the new Classic Negative film simulation (also the new Bleach Bypass film simulation on the X-T4), Color Chrome Effect Blue, Clarity, new Grain options, and new B&W Toning. This means that the recipes that are intended for the X100V, X-Pro3 and X-T4 are not compatible with the X-T3 and X-T30, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado, which are compatible with X-Trans III & IV (just follow the directions explained in those recipes). I do hope that Fujifilm adds these new features to the X-T3 and X-T30 via firmware updates.

X-T3 & X-T30

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The list below are the film simulation recipes that are intended for use on the X-T3 and X-T30. Also, all of the X-Trans III recipes are also fully compatible with these two cameras, so you have that list to choose from, too.

Kodachrome 64
Kodak Gold 200
Kodak Portra 160
Kodak Portra 400
Kodak Ultramax
Kodak Vision3 250D
Eterna
Expired Eterna
Eterna Low-Contrast
Polaroid
Polaroid II
Analog Color
Jeff Davenport Night
Faded Color
Vintage Color Fade
Elite Chrome 200 Color Fade
Color Negative
Fujichrome Sensia 100
Fujicolor Pro 400H Overexposed
Warm Contrast
Bleach Bypass
Kodacolor
Kodacolor II 126
Classic Slide
Urban Vintage Chrome
Fujicolor 100 Industrial
Lomography Color 100
Velvia
Redscale
Cross Process
Acros
Monochrome Kodachrome
Ilford HP5 Plus Push-Process
Ilford Delta Push-Process
Dramatic Monochrome
Faded Monochrome
Split-Toned B&W
Cyanotype
Sepia

If you have an X-Trans III camera, you can use some of the recipes above, even though they are intended for X-Trans IV. Those recipes that use the Eterna film simulation are only compatible with the X-H1, because that’s the only X-Trans III camera with Eterna. Those that call for Color Chrome Effect or B&W toning are not fully compatible with X-Trans III (but some can be used anyway, it will just look a little different). Others, such as Portra 160 and Warm Contrast, are actually full compatible with X-Trans III, because Color Chrome Effect is Off.

X100V, X-Pro3 & X-T4

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The film simulation recipes below are only compatible with the X100V, X-Pro3 and X-T4, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado (just follow the instructions in that article). Expect this list to grow significantly over the coming weeks and months, as I have a number of different recipes in the works.

Kodachrome 64
Kodachrome 1
Kodak Portra 400
Kodak Ultramax 400
Kodak Ektar 100
Fujicolor Reala 100
Fujicolor Superia 100
Fujicolor Superia 800
Fujicolor Superia 1600
Agfa Vista 100
Classic Negative
Nature Neon
The Rockwell
Bleach Bypass
Verano Tostado
Bright Summer
Cine Teal
CineStill 800T
Kodak Tri-X 400
Kodak T-Max 400
B&W Superia
Black & White Infrared
Sepia

All of the X-Trans III and “Old” (X-T3 & X-T30) X-Trans IV recipes are fully compatible with the X100V, X-Pro3 and X-T4, but with two caveats: Grain and B&W Toning. You’ll have to decide if you want Grain set to Small or Large. That will be your call, whatever you think is most appropriate for your pictures. If the recipe calls for B&W Toning, you’ll have to figure out how the new B&W Toning translates, because it’s different. Other than that, all of those recipes are yours to use, in addition to the ones listed above.

Now it’s your turn! Which recipes are your favorite and what cameras are you using them on? Let me know in the comments!

Film Simulation Recipe Compatibility: X-Trans III

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Bayer, X-Trans I & II

Those with Fujifilm X-Trans III sensor cameras, which include the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1, might be unaware which film simulation recipes to use. I’ve published around 80 different film simulation recipes, so which recipes are compatible with your camera? The answer is simple: all of the ones in the list below:

Velvia
Astia
Classic Chrome
Vintage Kodachrome
PRO Neg. Hi
Fujicolor Superia 800
CineStill 800T
Eterna
Kodak Portra 400
Kodak Ektar 100
Kodak Ultramax
Cross Process
Kodachrome II
Dramatic Classic Chrome
Vintage Agfacolor
Aged Color
Kodak Ektachrome 100SW
Fujicolor Pro 400H
Agfa Optima
Classic Negative
Cine Teal
Acros
Acros Push-Process
Agfa Scala
Ilford HP5 Plus
Tri-X Push-Process
Sepia

If you have an X-Trans III camera, you have many recipes to choose from. Yet you actually have many more options than that. You see, X-Trans IV recipes intended for the Fujifilm X-T3 and X-T30 (not the X100V, X-Pro3 and X-T4, as that’s a whole other situation) are mostly compatible with your X-Trans III camera. The only X-Trans III camera with Eterna is the X-H1, so those X-Trans IV recipes that require the Eterna film simulation will work on that one camera only, and will not work on any other X-Trans III camera. Color Chrome Effect and B&W Toning are the two other features that are added to X-Trans IV. Not all of the X-Trans IV recipes call for those features, which makes those particular recipes fully compatible with X-Trans III. Those that do call for CCE or Toning can still be used, but results will be just a little different. In other words, those X-Trans IV recipes intended for the X-T3 and X-T30 are, for the most part, either fully or mostly compatible with X-Trans III cameras, especially if you have an X-H1, so I invite you to give them a try and see what you think!

X-Trans IV

Traveling With Fujifilm, Part 3: Red Rock Lakes National Wildlife Refuge

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Abandoned Dream – Red Rock Lakes NWR, MT – Fujifilm X100V

Part 1  Part 2

In 1970, E.B. White published a fictional children’s novel called The Trumpet of the Swan, which is largely set in Red Rock Lakes, Montana. E.B. White is probably best known for penning Charlotte’s Web and Stuart Little, both of which are literary classics. While The Trumpet of the Swan is not as well known as the other two books, it is also considered a classic children’s novel. Not long before our road trip, we read this book as a family.

My 10-year-old son, Jonathan, who likes geography—you will frequently find him looking at maps and drawing maps—said to me, “Look, I found Red Rock Lakes!” He pointed to a spot on the map that appeared to be very close to our campsite in Island Park, which is in Idaho but very close to Montana. It turns out that the Red Rock Lakes National Wildlife Refuge, which is where the book is set, was only an hour drive away from our campsite. We made plans to visit this remote refuge while there.

The Red Rock Lakes area features lakes, rivers, marshlands, prairies, forested uplands, and mountain peaks. It’s highly diverse. Over 250 species of birds have been spotted in the refuge, including the illusive trumpeter swan, the main character of E.B. White’s novel. Moose, elk, deer, bears, wolves and many other animals call this place home.

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Upper Red Rock Lake – Red Rock Lakes NWR, MT – Fujifilm X100V

The road to Red Rock Lakes is dirt. Rough at times, lightly flooded at times, and narrow at times, and quite rural the entirety, this was a fun drive in our four-wheel-drive truck. We did see some other cars and people, plus plenty of UTVs, but mostly we were alone. Not many people venture out to this lonely place. Red Rock Lakes might not be easy to get to, but it is highly rewarding and worth the journey.

Red Rock Lakes National Wildlife Refuge is incredibly beautiful! Breathtakingly beautiful at times, in fact. It’s a landscape photographer’s playground! I didn’t see much wildlife myself, but I image that wildlife photographers would love this place, too. Upper Red Rock Lake (which I have no idea why it’s named that as I didn’t see many red rocks) is surprisingly still and reflective. It reminded me a little of the Great Salt Lake, but smaller and freshwater. In some ways the refuge was like stepping into E.B. White’s book, and seeing it in person brought the words to life. I would love to spend several days there, not just a few hours. I hope to someday return.

These photographs were mostly captured with a Fujifilm X100V, and a couple were with a  Fujifilm X-T30 and Fujinon 90mm f/2 lens. On the X100V I used my “The Rockwell” and Kodak Tri-X 400 film simulation recipes. On the X-T30 I used my Velvia and Tri-X 400 recipes. Both cameras are great, but the X100V is such a wonderful travel camera that it renders the other gear largely unnecessary.

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Red Rock Lakes Sign – Red Rock Lakes NWR, MT – Fujifilm X100V

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Red Rock Road – Red Rock Lakes NWR, MT – Fujifilm X100V

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Frontier Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

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Dilapidated Dream – Red Rock Lakes NWR, MT – Fujifilm X100V

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Abandoned House by the Hill – Red Rock Lakes NWR, MT – Fujifilm X100V

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Green Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

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Distant Mountains – Red Rock Lakes NWR, MT – Fujifilm X100V

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Mountain Meadow – Red Rock Lakes NWR, MT – Fujifilm X100V

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Mountain Wildflowers 1 – Red Rock Lakes NWR, MT – Fujifilm X100V

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Mountain Wildflowers 2 – Red Rock Lakes NWR, MT – Fujifilm X100V

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Wildflower Meadow – Red Rock Lakes NWR, MT – Fujifilm X100V

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Wildflowers in the Forest – Red Rock Lakes NWR, MT – Fujifilm X100V

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Forest Flowers – Red Rock Lakes NWR, MT – Fujifilm X100V

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Flower in the Forest – Red Rock Lakes NWR, MT – Fujifilm X-T30 & Fujinon 90mm

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Poolside – Red Rock Lakes NWR, MT – Fujifilm X100V

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Red Rock Lake in Green – Red Rock Lakes NWR, MT – Fujifilm X100V

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Algae Water – Red Rock Lakes NWR, MT – Fujifilm X100V

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Pelican on the Shore – Red Rock Lakes NWR, MT – Fujifilm X100V

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Looking For Trumpeter Swans – Red Rock Lakes NWR, MT – Fujifilm X100V

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Grey Reflections – Red Rock Lakes NWR, MT – Fujifilm X-T30 & Fujinon 90mm

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Upper Red Rock Lake Monochrome – Red Rock Lakes NWR, MT – Fujifilm X100V

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Monochrome Lake Reflections – Red Rock Lakes NWR, MT – Fujifilm X100V

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Water Pipe – Red Rock Lakes NWR, MT – Fujifilm X100V

Part 4 coming soon!

Film Simulation Recipe Compatibility: Bayer, X-Trans I & II

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Fuji X Weekly reader Gustavo Potenza sifted through all of the film simulation recipes on this website and organized them by sensor and camera compatibility. Whoa! That was a tall task, but he knocked it out in a matter of minutes. I wanted to share this information with you, but also separate it into multiple posts so that you can quickly find the recipes you’re looking for. I’ll link this article to the recipe page for easy access, and I’ll keep it updated as I make new recipes. Thank you, Gustavo, for doing the hard work on this!

The first list, which are recipes compatible with Fujifilm Bayer and X-Trans I sensors, is very short. I really need to make it longer by adding more recipes. I hope to do that eventually. If you have a Fujifilm camera with a Bayer sensor or X-Trans I sensor, these are the recipes that you can use. The Classic Chrome recipe is only compatible with those cameras that have the Classic Chrome film simulation. At the bottom is the X-Trans II list, which is much longer.

Bayer & X-Trans I

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Velvia, Classic Chrome, & Monochrome
Golden Negative
Analog Cool
Monochrome
Sepia

The above recipes are intended for the Fujifilm X-A1, X-A2, X-A3, X-A5, X-A7, X-A10, XF10, X-T100, X-T200, X100, X-PRO1, X-E1, and X-M1 (I hope I didn’t miss any). Some of the X-Trans II recipes below might also work on your Bayer or X-Trans I camera, although results might vary slightly, and it will depend if your camera has the film simulation that the recipe requires.

X-Trans II

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The film simulation recipes below are compatible with X-Trans II cameras. A few X-Trans II cameras don’t have all of the different film simulations required, so some of these recipes might not work on your camera.

Kodachrome 64
Kodachrome II
Ektachrome 100SW
Portra 160
Kodacolor
Eterna
Agfa Optima
Velvia, Classic Chrome & Monochrome
Faded Monochrome
Sepia
Lomography Color 100
Cross Process
Kodachrome Without Classic Chrome
Astia

The above recipes are intended for the Fujifilm X100S, X100T, X-E2, X-E2S, X-T1, X-T10, X70, X20, X30, XQ1, and XQ2 (I hope that I didn’t miss any). Not all of the recipes will be compatible with every X-Trans II camera. Some of them might even be compatible with Bayer and X-Trans I cameras with varying results, so feel free to try.

X-Trans III
X-Trans IV

Fujifilm XQ1 (X-Trans II) Film Simulation Recipe: Kodachrome Without Classic Chrome

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Red Greens – Kaysville, UT – Fujifilm XQ1 – “Kodachrome”

I’ve made a lot of Kodachrome film simulation recipes for Fujifilm cameras (click here, here, here, here, here and here), and they’re very popular. Kodachrome was an iconic slide film made by Kodak for many, many years, so it’s no surprise that people want to get that look out of their Fujifilm camera. All of my Kodachrome recipes use Classic Chrome because it has a Kodak-esque slide film aesthetic, but some cameras don’t have Classic Chrome, such as the Fujifilm XQ1. Yes, the XQ1 is an X-Trans II camera, and most X-Trans II cameras have Classic Chrome, but this one doesn’t, only Provia, Velvia, and Astia for color images.

I created this recipe by capturing an image on my X-T1 using my Kodachrome 64 recipe for that camera, and then as best as possible recreated the look not using Classic Chrome. While I tried Velvia and Astia, I ended up using Provia. It’s a surprisingly close match, although not exact. I think you’ll like this Kodachrome recipe if your camera doesn’t have Classic Chrome.

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!!! Ride !!! – Salt Lake City, UT – Fujifilm XQ1 – “Kodachrome”

Provia
Dynamic Range: DR200
Highlight: +2 (Hard)
Shadow: +1 (Medium-Hard)
Color: -2 (Low)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Daylight (Fujifilm calls it “Fine” for some reason), -1 Red & -4 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs made using this “Kodachrome Without Classic Chrome” film simulation recipe on a Fujifilm XQ1:

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Lights & Reflections – Kaysville, UT – Fujifilm XQ1

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Flag Poles – Farmington, UT – Fujifilm XQ1

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Drive Thru Gas & Wash – Kaysville, UT – Fujifilm XQ1

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Flowers in a Pot on Concrete – Kaysville, UT – Fujifilm XQ1

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Horse Ranch – Salt Lake City, UT – Fujifilm XQ1

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Closed Umbrella, Threatening Clouds – Farmington, UT – Fujifilm XQ1

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Drawing Jonathan – Farmington, UT – Fujifilm XQ1

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Breakfast – Farmington, UT – Fujifilm XQ1

See also: Film Simulation Recipes

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Shrinking Camera Market: What Fujifilm Should Do In 2021 & Beyond

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Fujifilm X100V captured by a Fujifilm X-T1

It’s no secret that camera sales have been declining for several years. The global pandemic has unsurprisingly significantly impacted the camera industry. Some companies have had bigger declines than others, and I think over the coming couple of years we’ll see some camera makers restructure, put themselves up for sale, or go out of business altogether. What should Fujifilm do to minimize declines and maximize profits in these tough times?

I’m not an industry insider or business expert. There aren’t any good reasons why Fujifilm should listen to me on this topic (other than I’m one of their customers). Besides, they have a pretty darn good track record for dealing with change within the industry and economy. Fujifilm doesn’t need my help. This article is more for my own enjoyment and perhaps yours. It’s fun to consider and discuss this topic. I don’t expect anything else to come from this.

Camera sales have been declining since the collapse of the compact camera market. Cellphone camera technology has come a long ways, which has rendered point-and-shoot cameras obsolete. The casual amateur snap-shooter uses their phone now to capture pictures, and has no need or interest in another camera. Before cellphone cameras had decent image quality, camera manufacturers were selling cheap automatic cameras to these folks. Lots and lots of them. But now that market is all dried up.

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Captured with a Fujifilm X-T1. This camera is four models old but is still quite capable.

The more serious shooters are still buying cameras, but cameras have reached a point of diminishing returns. Digital technology changes quickly, but if a camera is already really good, these improvements have less of a practical application. For instance, if a photographer finds that his or her camera’s autofocus is already more than good enough for their photography, a quicker autofocus system won’t likely tempt that photographer to upgrade. If a photographer finds that his or her camera already has enough resolution for the size they print, more resolution won’t likely tempt that photographer to upgrade. In other words, photographers by-and-large are keeping and using their gear for longer than they did 10 years ago, or even five. Digital is still disposable, but it is becoming less so, or at least photographers are beginning to realize that they don’t need to “upgrade” as frequently as they used to.

The camera industry isn’t Fujifilm’s main business. After the film collapse, Fujifilm diversified, and now they’re a pharmaceutical and cosmetics company that also happens to sell cameras. Their camera arm, which is just a small part of their business model, is doing better than many other camera makers right now. Still, the current market is impacting Fujifilm, and will continue to do so, which means Fujifilm might need to consider some changes.

Fujifilm has several camera models that are essentially the same, but look different and have only small feature differences. Fujifilm should consider ways to either further differentiate their similar models or combine them into one. The X-T200 and the X-A7 have nearly identical features, and having both models seems redundant. The X-Pro3 was made more unique to further separate it from the X-T3, and that worked out well, I believe. I look at the X-E line, which I love. My first Fujifilm camera was an X-E1. The X-E3 is so similar to the X-T20, aside from camera body design, so what differentiates the two besides shape? Fujifilm should consider discontinuing the X-E line, or do something to the eventual X-T40 or X-E4 to better differentiate the models. For example, if Fujifilm added IBIS to the X-T40 or made the X-E4 a black-and-white only camera (the “X-E Acros” is what I’d call it), that would separate them, and Fujifilm would have unique models. I think, alternatively, the X-T40 could basically be transitioned into a higher-end model, and serve as the (eventual) X-T5 without IBIS. The X-H line, now that the X-T4 has IBIS, is also redundant, so the X-H2 would need something to make it stand out, such as 8K video. Since the X-T4 has been so well received, I’m not sure how much of a market there is for an X-H2, but Fujifilm insists that this camera is in the works. It will be interesting to see it when it comes out, perhaps next year, and how well it does.

Fujifilm has situated itself as the leader in digital medium-format. It seems like overnight they went from not-even-in-that-market to top-dog, thanks to the success of the GFX line. Still, it’s more of a niche market than anything mainstream. I think what’s missing is a “budget” rangefinder-style 100-megapixel camera without IBIS. Essentially a GFX-50R, but with the 100MP sensor of the GFX100 inside. Maybe Fujifilm should consider adding IBIS to whatever camera replaces the GFX-50S. I have no idea how profitable this line has been for Fujifilm, and if it will stand the test of time, but I think it was smart of Fujifilm to jump into a market that they could easily dominate.

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This is a camera-made JPEG from a Fujifilm X100V, but looks more like film.

Something else that I think Fujifilm should consider is replacing cameras less frequently. When they release a camera and then replace it with a new model one year later, that’s too soon. Two years is too soon. Three years should be a minimum between updated cameras, and four to five years is even better. I know this might sound counter to what consumers want, but X-Trans III cameras, such as the X100F, X-T2, X-T20 and X-E3, are still very excellent! The X-E3 hasn’t been replaced yet, and the X100F was only recently replaced after three years, but the X-T2 is three models old now, and there’s already “talk” of an upcoming X-T40, while the X-T30 isn’t even a year-and-a-half old yet. It’s better to get the most out of a model, then replace it with something that’s a significant improvement over the previous edition. There’s a latin phrase festina lente, which means “make haste slowly.” Fujifilm needs to keep pushing the envelope and strive to produce more technologically advanced cameras, but not be too eager to release new models that only have small improvements over previous versions. If Fujifilm were to update the firmware on the X-T3 and X-T30 to breathe new excitement into these models, these cameras could still be sold for another two years easily.

There’s one more important point that I’d like to make, and this relates to Fuji X Weekly. I think Fujifilm needs to focus even more on JPEGs. I’ve discovered that there’s a huge community of photographers who love the camera-made JPEGs produced by Fujifilm cameras, whether straight-out-of-camera or with X RAW Studio. The film simulations—a brilliant idea by Fujifilm—were just the tip of the iceberg, and now film simulation recipes are all the rage. There’s something big here, bigger than I think Fujifilm realizes. Yes, Fujifilm has demonstrated their commitment to the JPEG with the X100V, X-Pro3 and X-T4, but they need to continue their commitment on future models. This is a fairly unique angle that Fujifilm has. While other camera makers do, in fact, have some nice JPEGs, Fujifilm is perhaps the only brand with a cult following based on it. They should absolutely capitalize on that, more so than they have been.

I doubt that Fujifilm will read this article, and I’m even more doubtful that they’ll make any internal changes based on it. I think it’s sound advice, but what do I know? Whether or not Fujifilm does any of the things I suggest, I think they’ll be just fine and will weather this “storm” without too much trouble. The guys running the company seem pretty smart to me, and are doing just fine without my advice. It will be fascinating to see exactly what happens within the camera industry in 2021 and beyond, and what Fujifilm does to find success during these tough times.

Fujifilm X100V Film Simulation Recipe: Fujicolor Superia 800

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Flags of IKEA – Draper, UT – Fujifilm X100V – “Fujicolor Superia 800”

One of the earliest film simulation recipes I created that was intended to mimic a specific film was Fujicolor Superia 800, which I made on a Fujifilm X100F about two-and-a-half years ago. This is a recipe that I’ve used often; I especially like it on overcast days. When I published the Superia 800 recipe, I stated, “It’s not a 100% match [to the film], but I feel like it’s convincing enough….” I think that’s a true statement, but with the new tools available on the X100V, could I create a closer match, one that might be even more convincing?

Classic Negative needed to be the starting point for a new Fujicolor Superia 800 recipe since this new film simulation is “modeled after” Fujicolor Superia with “Superia-like” colors. I incorporated the new Clarity and Color Chrome Effect Blue features into this recipe. Unfortunately, Clarity slows down the camera considerably, so you’ll either have to accept the slow speed (which is what I do) or add Clarity later by reprocessing the RAW file. I think this new recipe is indeed a closer match to actual Superia 800—in fact, you could likely convince people that you shot film!

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Horse Boarding – Salt Lake City, UT – Fujifilm X100V

I think this recipe might be my favorite of the Superia recipes that I’ve created thus far. If you like my Superia 100, Reala 100, and Superia 1600 recipes, you’ll certainly like this one, too! It has a great analog aesthetic. It’s pretty amazing that you can get this look straight out of camera. This Fujicolor Superia 800 recipe is (as of this writing) only compatible with the Fujifilm X100V, X-Pro3 and X-T4.

Classic Negative
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: -1
Noise Reduction: -4
Sharpening: -1
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, -1 Red & -3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor Superia 800 film simulation recipe on my Fujifilm X100V:

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Line Begins Here – Draper, UT – Fujifilm X100V

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Fire Suppression – Draper, UT – Fujifilm X100V

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Trash – Draper, UT – Fujifilm X100V

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Family Friendly Parking – Draper, UT – Fujifilm X100V

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Waiting for Hope? – Draper, UT – Fujifilm X100V

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Waiting to Enter – Draper, UT – Fujifilm X100V

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Waiting Reflection – Draper, UT – Fujifilm X100V

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Keeper of the Door – Draper, UT – Fujifilm X100V

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Entrance – Draper, UT – Fujifilm X100V

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Cloud Above Yellow Wall – Draper, UT – Fujifilm X100V

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Two Flag Poles – Draper, UT – Fujifilm X100V

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Home Furnishings – Draper, UT – Fujifilm X100V

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Upplaga – Draper, UT – Fujifilm X100V

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Track Closed – Salt Lake City, UT – Fujifilm X100V

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Artificial – Draper, UT – Fujifilm X100V

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Hanging Patio Lights – Draper, UT – Fujifilm X100V

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Two Step – Draper, UT – Fujifilm X100V

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Red Light – Draper, UT – Fujifilm X100V

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Rainbow Spirit – Farmington, UT – Fujifilm X100V

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Chair Back – Farmington, UT – Fujifilm X100V

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Joshua Eating – Farmington, UT – Fujifilm X100V

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Brother & Sister on the Couch – Farmington, UT – Fujifilm X100V

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Balcony Railing – Farmington, UT – Fujifilm X100V

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Umbrella Unopened – Farmington, UT – Fujifilm X100V

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Sunlight Sky & Green Leaves – Farmington, UT – Fujifilm X100V

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Ripening Soon – Farmington, UT – Fujifilm X100V

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Fallen Log in the Forest – Monte Cristo, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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RAW vs JPEG? The Debate Needs To End

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Did I post-processed a RAW file or is this a camera-made JPEG? Does it matter?

There’s a debate in the photographic community that I get really tired of: RAW vs. JPEG. Most of the time, what I find is RAW shooters telling JPEG shooters that they shouldn’t shoot JPEGs for one reason or another. Usually there’s name-calling or a put-down thrown in or a condescending tone. Sometimes it’s the other way around, although I find that to be much more rare. Here’s my opinion: find what works best for you and your photography, and do that.

I wasn’t intending to write this post today, but over the last few days I’ve seen a number of articles and videos that tell me why RAW is really remarkable and JPEGs are just junk. Some make a reasonable argument, while others are absolutely ridiculous. Earlier today I watched a video that falls into the latter category, and that’s why I’m writing this.

Here’s the deal: it wasn’t very long ago that camera makers across all brands did a poor job at in-camera JPEGs. Some were better than others, but by-and-large none of them were great. RAW made sense, since you were going to be editing your pictures. But over the last decade every camera brand has improved their camera’s JPEGs, and some, like Fujifilm, have really made massive strides in this department. Today’s camera-made JPEGs are nothing like they were 10 years ago. Fujifilm’s JPEGs can look like post-processed RAW images, or even film-like. If you plan to edit your pictures, RAW is your best bet. If you don’t want to edit your pictures (or only lightly edit), you can achieve some great looks right out of camera. Neither option is the “right” or “wrong” way, just different means to an end, which is a finished photograph that you’re happy with.

Shoot RAW if that’s what you want to do. Shoot JPEG if that’s what you want to do. One method is not inherently better than the other. One way might be right for you, but wrong for another. You might find that you use both, just depending on the situation. While I almost always shoot JPEG, I do also still shoot RAW sometimes (it’s helpful for developing JPEG recipes). I used to shoot RAW exclusively once upon a time, but I don’t anymore.

RAW vs. JPEG is a tired debate. You don’t need to justify with strangers why you choose one over the other. I don’t want to hear why I’m “wrong” for shooting JPEGs. Don’t try to convince me that RAW is better. I won’t try to convince you to abandon RAW and shoot JPEG only. Both methods have their advantages and disadvantages, and there is a time and place for both. I would encourage you, if you are unsure whether to shoot RAW or JPEG, to try both for a time, and see which you prefer. There isn’t one right path. The debate needs to end—find what works best for you and your photography, and do that!