What’s better, the Ricoh GR III or the Fujifilm X-E4 with a Fujinon 18mm f/2 lens? They’re both compact APS-C cameras that are reasonably affordable. They are both capable of producing excellent straight-out-of-camera JPEGs that don’t require editing. But which one is the best? If put head-to-head, which one will come out on top? Let’s find out!
The biggest pro for the Ricoh GR—and let’s be honest, this is the reason to own it—is its super compact size—the smallest APS-C camera, in fact. The GR III easily fits into my pants pockets or nearly anywhere. It’s perfect for travel or for just carrying around. The inconspicuous design lends itself well for street photography. The GR III has IBIS, albeit a mediocre one that’s not particular necessary with an 18mm lens (but, still, it has it). Snap focus is a pretty useful feature. Ricoh just gave it a new Image Control Effect (their version of a Film Simulation) with a Kaizen firmware update, something Fujifilm hasn’t done in a long time. Perhaps the second biggest pro to the Ricoh GR III is that you can actually buy one without too much difficulty.
The biggest con for the Ricoh GR is that it has a fixed lens. That could be good or bad, depending on your perspective, but for certain it lacks versatility—the GR III is a one-trick pony, but of course it does that one trick very well. Another big con is that it lacks a viewfinder; because the LCD doesn’t move, the camera can be hard to use in harsh light conditions. I don’t like that it has a PASM dial, as I much prefer the manual tactile controls found on most Fujifilm cameras. While the camera-made JPEGs do look good, I prefer those from the Fujifilm X-E4, as I think Fujifilm’s JPEGs are a little better than Ricoh’s. Finally, the GR III is now over four years old, and it’s perhaps beginning to feel slightly dated.
For the Fujifilm X-E4, the biggest pro is Fujifilm’s renown JPEG output and the large number of Film Simulation Recipes available for it. For straight-out-of-camera photography, it’s very hard to beat this camera! The X-E4 has an electronic viewfinder, as well as a tilting LCD. You can attach any number of different lenses to it; the Fujinon 27mm f/2.8 is my favorite. The Fujinon 18mm f/2 is a full stop brighter than the f/2.8 lens on the Ricoh GR III, which can occasionally be a big deal, but most of the time isn’t. The X-E4 has the traditional camera controls that Fujifilm cameras are known for. Fujifilm released the X-E4 two years after Ricoh released the GR III, and to a small extent you can tell.
The biggest con for the Fujifilm X-E4 is that it’s difficult to find, and, if you do, it might be at an inflated price. Due to parts shortages, Fujifilm couldn’t keep up with demand, and then they (inexplicably) discontinued the camera. Good luck finding one. While the X-E4 is small and pocketable if your pockets are large enough, it’s significantly bigger than the Ricoh GR III. It doesn’t have IBIS, although with the 18mm lens it’s not really necessary. The Fujifilm X-E4 paired with the Fujinon 18mm f/2 has an MSRP of $1,450, while the Ricoh GR III has an MSRP of only $900.
Comparing the Ricoh GR III to the Fujifilm X-E4 with the Fujinon 18mm f/2 lens isn’t really fair. They’re two different tools for two different purposes. But there are enough similarities and crossover that they do make some sense to test side-by-side. I like the Fujifilm X-E4 better—much better, in fact—than the Ricoh GR III, but that doesn’t mean it’s the best camera. Best is subjective, and it kind of depends on your goals and how you’ll use the cameras.
The Ricoh GR III is significantly cheaper and you can buy it right now without too much trouble. The Ricoh GR III is easier to carry around and is more inconspicuous. The Fujifilm X-E4 offers a more fun shooting experience and is much more versatile. I prefer the pictures from the X-E4, but those from the Ricoh GR III are still very good. Ultimately the winner is the one that makes the most sense to you. I own both cameras, and I use the Fujifilm X-E4 probably ten or maybe fifteen times more often than the Ricoh GR III, so it is my winner; however, you might prefer the GR III for various reasons, so it could be your winner. Even though I use the X-E4 much more often, there are times that the GR III is more practical to have with me, so I’m glad that I own it.
Below are some pictures that I recently captured with a Ricoh GR III and a Fujifilm X-E4 with a Fujinon 18mm f/2 lens.
Summer is here! Traveling, camping, visits to the beach, boating on the lake, and stuff like that are common during these months. Perhaps you are looking for some Film Simulation Recipe recommendations for your Fujifilm camera for the summer season. I thought I’d take this opportunity to revisit my Which Film Simulation Recipe, When? series of articles. This post will make a lot more sense if you’ve read the original series—especially the first article—so be sure to take a look at it if you haven’t yet (or if it’s been awhile and you don’t remember).
This Part 1 is for Fujifilm X-Trans IV cameras, except for the X-T3 and X-T30, which will be covered in a different section. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II model, I invite you to give these Recipes a try! There are seven suggestions below—one for each C1-C7 Custom Preset—and three alternative ideas for each in case you don’t like the first recommendation. Each Custom Preset slot serves a specific purpose, so you should have a good Recipe option programmed into your camera no matter the subject or lighting. This group of seven isn’t necessarily better or worse than my original recommendations, just a different set chosen specifically for the summer months.
Golden Lake – Culleoka, TX – Fujifilm X-E4 – Fujicolor Natura 1600 Recipe
Fujicolor Natura 1600 is a Film Simulation Recipe that does well at anytime during daylight hours—and it’s one of my all-time favorites—but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. If you like the aesthetic, this really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, this is one I definitely recommend shooting with. I personally use this recipe frequently.
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe
Pacific Blues is another one that could be your go-to everyday-use Recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, which it excels at, but I think it is an excellent option for when the sun is not low—from mid-morning to mid-afternoon. It’s especially well suited for a day at the beach.
Cienega Bridge on Old Highway 80 – Vail, AZ – Fujifilm X100V – Urban Dreams Recipe
If it’s thick overcast and rainy, the Urban Dreams Recipe is surprisingly an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour” and at night), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.
Watch and Jewelry – Farmington, UT – Fujifilm X100V – Nostalgic Negative Recipe
For natural-light indoor photography, a good option is the Nostalgic Negative Recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural-light indoor pictures. For artificial-light indoor images, use the Recipe for nighttime photography below.
Alternative for “natural-light indoor” photography:
Brad’s – Pismo Beach, CA – Fujifilm X-E4 – Pure Negative Recipe
If it’s after dark, an excellent option for nighttime or artificial light photography is Pure Negative. This is a low-contrast Recipe with a natural rendering, which makes it especially ideal for high contrast scenes, particularly during midday light; however, it also does quite well in the darkness between sunset and sunrise and in indoor artificial light situations.
The C6 slot is a bonus, and the Vibrant Arizona Recipe is a solid option to fill it with—and it’s one of the most popular Recipes right now. If you didn’t want to use Vibrant Arizona, you could instead select your favorite “alternative” Recipe from C1-C5 above, or use one below.
The newest black-and-white Film Simulation Recipe is Kodak T-Max P3200, and it has quickly become one of my favorites! If you don’t want to use this one, definitely give Kodak Tri-X 400 a try.
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What’s different about Fujifilm cameras that make me want to pick them up and shoot with them? This is something that I was thinking about today. I concluded that the experience of shooting with the cameras and the images produced by the cameras are what makes me want to use them more than other brands.
What is the Fujifilm shooting experience? Is it the retro styling? The manual knobs and rings? The optical viewfinder on camera series like the X-Pro and X100? What-you-see-is-what-you-get, perhaps? I think yes to all of those, but even more it’s about the feeling in the moment. That’s a very abstract explanation, so let’s see if I can do better.
When I have a Fujifilm camera in my hands with the retro styling, tactile manual controls, perhaps even through an optical viewfinder or maybe via an EVF showing me exactly what the final picture will look like, the moment slows, and it’s just me and my gear for an instant. I feel the sense of possibilities (as Rush put it in the song Camera Eye). It’s not about quickness. It’s not about resolution—it’s not about any specs of any sort. It’s just that instant and how it feels and that’s all. It feels different with a Fujifilm camera (like the X-Pro1, pictured at the top) because the body is designed significantly dissimilar from most digital cameras. “If I like a moment,” as Sean O’Connell stated in The Secret Life of Walter Mitty, “I don’t like to have the distraction of the camera.” I know I just took that quote completely out of context, but for me, Fujifilm cameras aren’t a distraction, but an extension of my creative self, something I cannot say about any other digital camera I’ve ever owned. Perhaps if Sean was shooting with a Fujifilm instead of a Nikon, he would have captured a picture of the cat (joking, of course).
The other aspect of Fujifilm cameras worth noting is image quality. Again, this has nothing to do with resolution, dynamic range, lens sharpness or any technical specs whatsoever. It’s about the feel of the pictures. Fujifilm has a long history with film photography, and they felt it important to somehow infuse some analog aspects into their digital images. You can get straight-out-of-camera pictures from Fujifilm cameras that look less digital and more film-like than other brands. In fact, I’ve seen Fujifilm pictures captured using Film Simulation Recipes trick unsuspecting film pros into thinking the picture they were viewing was shot on film and not digital (true stories!). And, yes, with software and manipulation, you can achieve this with most modern cameras, but I’m talking SOOC, as in unedited. Fujifilm cameras have gotten better at this with time—thanks to new JPEG options, film simulations, and improved processing—but even the early models were quite capable.
To the second point—that the JPEG output from Fujifilm cameras is unique, wonderful, and an important aspect of the experience—I feel that Fujifilm has been on the right track with this, and it’s been getting better and better with each generation. I think there’s a bit of that analog-esque quality going all they way back to the very beginning—every Fujifilm camera has that soul—but the newer models especially have it. I know that some of you might disagree with this assessment, but that’s my opinion.
To the first point, I feel that Fujifilm has taken a divergent path lately, and has pursued pure specs and popular designs over experience—or, at least the experience that I spoke of—with most of their recent models. That’s not to say the cameras aren’t good or that people won’t love them or that Fujifilm shouldn’t have made them, just simply that it’s not going to provide the same experience (which is true); whether or not that is better or worse depends on your perspective. I might mourn it and you might celebrate it, and that’s ok—we can still be friends.
Today I dusted off my 11-year-old Fujifilm X-Pro1, attached a TTArtisan f/0.95 lens, and shot with that combo today. I programmed the Ektachrome Film Simulation Recipe, but to give the images a little more film-like character, I lightly post processed them in the RNI App using the Fuji Astia 100F v3 filter set to 40% intensity (so as to not overly manipulate the original aesthetic… I didn’t want to lose all of the original look, only slightly change it) and Grain set to 25% strength. I don’t normally edit my pictures—in fact, I had to download the RNI App because it had been so long since I last used it—but sometimes I wish the old models had some of the JPEG options found on the new cameras. Funny enough, though, the edited pictures are actually pretty similar to my Reminiscent Print Recipe, so I probably should have just shot with that and saved myself some time. Oh, well—lesson learned.
Even though this camera is ancient compared to the latest models, I personally prefer the shooting experience with it over some of my other (newer) cameras. If the Fujifilm X-Pro1 was my one and only camera, I’d be happy with it. But since I have an X100V, X-E4, and X-T5, which are the three models I’m using the most right now (all of which offer the Fujifilm experience I mentioned earlier—the X100V in particular), the X-Pro1 spends most of the time on the shelf. I happily put it to use today! Below are the pictures:
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
Fujifilm X-Pro1 & TTArtisan f/0.95
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A couple of weeks ago I had this realization that I hadn’t been using my Fujifilm X100V as much as I would have liked to or normally would have. I was grabbing some of my other cameras, like the Fujifilm X-E4 and Fujifilm X-T5, instead. But I really like shooting with my X100V—it’s my “desert island” camera; if I could only ever shoot with one for the rest of my life, it would be the X100V.
While having the realization that the camera was collecting more dust than usual, I also noticed that the light was changing and becoming favorable for photography. I snatched the X100V, set it to my Vintage Vibes Film Simulation Recipe, and headed out the door, in search of an interesting picture opportunity nearby.
Just as the sun was nearing the horizon, I found a spot in the desert with some pops of late-spring color. I decided this was my opportunity, so I began capturing images. The light didn’t last long, and the bugs were becoming a nuisance; nevertheless, I was able to snap a few interesting pictures before heading home.
Perhaps more important than the images, I used the camera that I love most. I dusted it off, put it in my hand, took some steps outside, and pressed the shutter release button. Whether or not the pictures turned out was less critical than the act of actively using it. Yes, pictures are important, but so is the experience—actually, the experience is probably the most important. If you haven’t used your beloved gear much lately, be sure to get it in your hands ASAP and take some pictures!
On May 24th, Fujifilm will announce some new products, and, according to Fujirumors, who is almost always right, the headliner will be the Fujifilm X-S20. What initially seemed like a mild update to an entry-level model is now becoming a little more interesting as details emerge of what exactly the X-S20 will be.
I had actually typed out quite a bit, but decided to delete it (11 paragraphs!) after my second cup of coffee. If you want to know the leaked specs so far, definitely visit Fujirumors. From my perspective, the biggest upgrade from the X-S10 will be the bigger NP-W235 battery. The improvements to autofocus and video specs will be nice, too, I’m sure, but probably not a big deal for a lot of people in practical use. It will have a Vlog mode complete with faux-bokeh and product-tracking-autofocus. Otherwise, there will be a lot more similar than dissimilar between the X-S10 and X-S20, but the price will be significantly divergent, as the X-S20 will be $300 more!
I realize that the X-S20 is not intended for me. It’s probably not intended for you, either. Who, then, is it for? The X-S20 is specifically for YouTubers or TikTokers who are making unboxing videos or how-to tutorials or things like that. I think Fujifilm intends the X-S20 to compete against the Sony ZV-E1, as a similar yet cheaper camera. The biggest difference between the X-S10 and X-S20 is that Fujifilm has defined a little more clearly who exactly the camera is for.
So if you are a YouTube or TikTok content creator looking for something a little more advanced than the cellphone or GoPro that you’ve been using so that you can step up your game, the X-S20 is for you, and quite a bit cheaper than Sony’s offering. Even though this camera is intended for that group, it will still be a capable photographic tool no matter who is using it.
Captured with a Fujifilm X-E4 in Sedona, AZ, last week using the Fujicolor Natura 1600 Recipe
Unfortunately, it won’t have the traditional tactile controls or striking retro design that Fujifilm is known for. Or, used to be known for, as six out of the last nine Fujifilm cameras will have been PASM models—X-S10, GFX100S, GFX50S II, X-H2S, X-H2, and X-S20—while one of the three non-PASM models (X-T30 II) wasn’t much more than a firmware update (so essentially 3/4 of Fujifilm’s latest releases have been PASM). The three most recent traditional Fujfilm cameras are the X-E4, which is nearly two-and-a-half years old, the X-T30 II (the firmware-update model), and the X-T5. The only retro-designed tactile control cameras currently offered by Fujifilm are the X-T5 and the three-year-old-and-impossible-to-find X100V, all the rest have been discontinued, including the X-E4 and X-T30 II. Oh, and apparently Fujifilm is experiencing a shortage of X-T5’s…. In other words, if you want to buy a traditional Fujifilm camera, good luck with that—you’ll probably have to go the used route, and even that can be tough.
Fujifilm had previously stated that they are working on some “wow” products; the X-S20 isn’t one of those—or, if it is, their idea of “wow” and mine are two entirely different things.
If you had been thinking about buying a Fujifilm X-S10, but then thought maybe to wait for the X-S20 and get that instead… unless you just need the new Vlog mode or battery life, or just have-to-have the improved autofocus and video specs (which, on paper, sound wonderful, but aren’t a huge deal in practical use for most people), I’d consider saving a few hundred bucks and buying the X-S10 instead. That’s just my opinion.
The good news, though, is that on May 24, according to Fujirumors, Fujifilm will announce a new app to replace the terrible Cam Remote app. That’s exciting! Much more exciting than the X-S20, in fact.
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The story that I found in that email was absolutely incredible! Whether or not you ever use the Film Simulation Recipe that Anders sent to me, the story itself makes this article a worthwhile read. I was (and still am) just blown away by it! It’s funny how life comes full circle in surprising ways sometimes.
“Some years back,” Anders Lindborg wrote me, “I found myself being totally photographically stuck. People liked my photos, but I could feel there was something missing from them and I thought they were still too amateurish. By chance, a photography magazine published an article called Learning How to See in which they mentioned a photographer named John Sevigny, an art teacher at a university in Mexico City. The magazine referenced Mr. Sevigny because he often talked with his students—and had also written some papers—about the subject of the article. Anyway, I started searching the internet and found many articles about him and his work. I also found some of his papers on the subject. Afterwards, I noticed that something gradually happened to my photos, and I realized that I could often see a deeper meaning in random ordinary things, people’s expressions and behavior. It really helped me, and I swore to never forget about this guy.”
“Life is funny,” Anders continued, “and I think I’m slowly starting to believe in this karma stuff. As it happens, awhile back I was contacted out of the blue by no other than John Sevigny himself! He had apparently found my stuff published on Fuji X Weekly very interesting and asked very kindly if I could help him out with the final touches on his upcoming book. The project that he had been working on was really heavy stuff, so he was temporarily burned out and needed some technical assistance, which I gladly provided. After the material for the book was finished, we continued chatting and I’m now proud to call him my friend.”
“After weeks of talking about photography, John mentioned that he really missed shooting with Kodak T-Max P3200 that he used to use all of the time while working as a news photographer. So, he said, how about making a recipe for it? I couldn’t resist, so we started developing it immediately. John provided me with all the information about the emulsion that I could possibly need, including a bunch of his own 25-year-old scans, but most important was his experience of shooting it daily for years. According to John, anytime there was a request for something that was going to be an article inside the newspaper, that’s the film they used since the available light would almost always be ranging from bad to worse. It didn’t matter if it was a sports event or a murder, they used Kodak T-Max P3200. After reading up about it (since I never shot it myself, sadly), I understood why: it was optimized to create sharp and (reasonably) detailed photos in generally bad light.”
Now Serving Bacon – Buckeye, AZ – Fujifilm X-E4 – Kodak T-Max P3200 Recipe
“Much care and testing has been put into this recipe by both John and myself,” Anders concluded, “and since John had all this experienced with the film, he had to be the one to officially approve it, which he did. I couldn’t be happier with the results we got from the tests! I actually put his scans in a photo album together with my test shots and the only thing revealing was the lens quality. When using the recipe with a vintage lens, I promise that you’ll have a really hard time telling your photos apart from the real film! Even some of the film’s tell-tale quirks have been replicated.”
Wow! Thank you, Anders Lindborg and John Sevigny, for creating this Kodak T-Max P3200 Film Simulation Recipe and allowing me to share it with the Fujifilm community on Fuji X Weekly—your work is much appreciated! I really love how Fujifilm cameras and Film Simulation Recipes are bringing people together across the world—it’s truly amazing! As great as this Recipe is—and it is great—the story behind it is even better.
Like Anders, I have also (sadly) never shot with Kodak T-Max P3200 black-and-white negative film (I went with Ilford Delta 3200 instead). Originally released in 1988 (the ISO 100 and ISO 400 versions were released two years prior), Kodak discontinued T-Max P3200 in 2012, but reintroduced it (with an “improved” emulsion) in 2018. It’s actually an ISO 800 (some say ISO 1000) film that labs automatically develop with two stops of push-processing, unless you tell them otherwise. But you can shoot it at ISO 800 and not push or ISO 400 and pull one stop (for less contrast) or ISO 1600 and push one stop. Some (brave? crazy? desperate?) photographers even shot it at ISO 6400 and pushed it three stops! Kodak T-Max P3200 can basically be anywhere from an ISO 400 to an ISO 6400 film, and it can go from a fairly flat and fine-grained emulsion to a punchy and gritty film, just depending on how you shot and developed it.
With this Kodak T-Max P3200 Film Simulation Recipe, the higher the ISO you shoot with, the more it will resemble shooting the film at a higher ISO and push-processing, and the lower the ISO it will more resemble shooting at ISO 800 and not pushing in development. In other words, you are going to get somewhat different results at ISO 640 than ISO 6400; I especially appreciate how this Recipe looks from ISO 3200 to ISO 12800. You will need to consider if you want a cleaner or more grainy aesthetic, and choose an ISO that will produce those results.
If you have a Fujifilm X-Trans IV camera (X-Pro3, X100V, X-T4, X-S10, X-E4, X-S10, X-T30 II) or X-Trans V (X-H2, X-H2s, X-T5, X-S20, and any other released after publication), I invite you to give this Kodak T-Max P3200 Film Simulation Recipe a try! It’s not compatible with the X-T3 or X-T30 or X-Trans III, unfortunately; however, if you ignore Toning, Grain size, and Clarity, it should still produce good results, so don’t be afraid to give it a try. This Recipe should also work with GFX cameras, although I haven’t tested it and have no firsthand experience if it will look similar or not.
Film Simulation: Acros (orAcros+Y, Acros+R, Acros+G) Monochromatic Color (Toning): WC -1 & MG -1 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: 5500K, +4 Red & +7 Blue Dynamic Range: DR400 Highlight: +1 Shadow: +3 Sharpness: +2 High ISO NR: -4 Clarity: +1 ISO: up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max P3200 Film Simulation Recipe on my Fujifilm X-T5, X-E4 and X100V cameras:
Tall Flower Vine – Buckeye, AZ – Fujifilm X-E4
Tiny White Blooms – Phoenix, AZ – Fujifilm X100V
Garden Bulb – Buckeye, AZ – Fujifilm X-E4
Forest Stream – Sedona, AZ – Fujifilm X-T5
38th Way – Phoenix, AZ – Fujifilm X100V
Palm in the Contrail Sky – Phoenix, AZ – Fujifilm X100V
Tall Cactus – Phoenix, AZ – Fujifilm X100V
Highlight & Shadow Leaves – Buckeye, AZ – Fujifilm X-E4
Backyard Barrel – Phoenix, AZ – Fujifilm X100V
Water Wheel – Sedona, AZ – Fujifilm X-T5
Castle Rock – Sedona, AZ – Fujifilm X-T5
Jet Above the Rocks – Buckeye, AZ – Fujifilm X-T5
Cloud Above the Desert – Sedona, AZ – Fujifilm X-T5
Arizona’s High Desert – Sedona, AZ – Fujifilm X100V
Oak Creek & Cathedral Rock – Sedona, AZ – Fujifilm X-E4
Rocks & Big Sky – Sedona, AZ – Fujifilm X-E4
Busy Parking Lot – Sedona, AZ – Fujifilm X100V
Delilah – Sedona, AZ – Fujifilm X100V
Sunlit Suburban Tree Branch – Buckeye, AZ – Fujifilm X100V
Peaceful Pool – Phoenix, AZ – Fujifilm X100V
Josh by the Pool – Phoenix, AZ – Fujifilm X100V
Closed Umbrella 2 – Phoenix, AZ – Fujifilm X100V
Towel on Chair – Phoenix, AZ – Fujifilm X100V
Empty Bench – Phoenix, AZ – Fujifilm X100V
Please Don’t Litter – Phoenix, AZ – Fujifilom X100V
Basket – Phoenix, AZ – Fujifilm X100V
Hoop & Pine – Phoenix, AZ – Fujifilm X100V
Bus Rider – Sedona, AZ – Fujifilm X100V
Camera Fight 1 – Sedona, AZ – Fujifilm X100V
Camera Fight 2 – Sedona, AZ – Fujifilm X100V
Sisters in the Back of the Bus – Sedona, AZ – Fujifilm X100V
Lady with Paw-Print Earring – Phoenix, AZ – Fujifilm X100V
Joy’s Smile – Buckeye, AZ – Fujifilm X100V
Girl Along a Wall – Phoenix, AZ – Fujifilm X100V
Preparing Hands – Phoenix, AZ – Fujifilm X100V
Sink Full of Dirty Dishes – Phoenix, AZ – Fujifilm X100V
Fake Plant – Phoenix, AZ – Fujifilm X100V
Floor – Phoenix, AZ – Fujifilm X100V
Table Lamp – Phoenix, AZ – Fujifilm X100V
Outdoor Patio Lights – Phoenix, AZ – Fujifilm X100V
Betty Elyse – Phoenix, AZ – Fujifilm X100V
ISO 640 vs ISO 12800:
ISO 640 Crop
ISO 12800 Crop
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Bougainvillea Blues – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion Recipe
My 15-year-old daughter, Joy, approached me and asked, “Can I make a Film Simulation Recipe?”
“Sure,” I happily replied. I handed her my Fujifilm X-H1, gave her a quick tutorial on the menu and settings (she hadn’t previously used this model), and off she went.
A couple of hours later Joy returned. “I’m not sure this is right. Can you help me?” She showed me her pictures.
“What look are you trying to create?” I asked.
“Well,” she replied, “it’s this aesthetic that’s dark with deep greens.”
“Where did you see it?” Joy then proceeded to show me some music videos, including Daylight by David Kushner. “That’s the aesthetic I want to make,” she told me, while stopping on a forested scene.
Rose of Sharon Backlit – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion Recipe
The camera settings she had chosen weren’t all that far off, so I suggested a few adjustments. After more testing and review, another couple changes were made, and then even more testing was done. I asked, “Are you happy with this look?”
“Yes!” Joy excitedly responded. “This is the aesthetic I wanted.”
After she was done capturing pictures, I shot with her settings for a little while myself. I really like the moody and nostalgic feeling that this Film Simulation Recipe produces. It has a retro negative film look, maybe along the lines of Fujicolor Super HQ or Agfa XRG or something like that. You can expect dark shadows and a cool cast that leans green. It’s not a Film Simulation Recipe that everyone will love, but I bet it will be an instant favorite for some of you. It requires a White Balance setting that I had not previously used for a Recipe; for those trying to avoid adjusting the WB Shift when switching between C1-C7, this is another option for you to try.
Concrete Vine – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion – by Joy Roesch
The Fuji X Weekly App is free, yet becoming a Fuji X Weekly App Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. In fact, many Early-Access Recipes have been publicly published on this blog and the App, so now everyone can use them. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
This Nostalgic Emulsion Patron Early-Access Recipe is compatible with all Fujifilm X-Trans III cameras, plus the X-T3 & X-T30. For those with newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and I’d suggest Grain size Small. Those with “older” GFX cameras can use it, too, although it will render slightly different (but try it anyway!).
If you are a Fuji X Weekly App Patron, the Nostalgic Emulsion Recipe is available to you right now on the App! Don’t have the Fuji X Weekly App? Download for free today! Consider subscribing to unlock the best App experience and to support this website.
Example photographs, all camera-made JPEGs captured using this Nostalgic Emulsion Film Simulation Recipe on my Fujifilm X-H1:
Water Fountain – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Concrete Fountain – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Little Vine Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Backlit Green Leaves – Buckeye, AZ -Fujifilm X-H1 – by Joy Roesch
Hidden Bougainvillea – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Garden – Buckeye, AZ – Fujifilm X-H1
Spring Window Reflection – Buckeye, AZ – Fujifilm X-H1
Fallen Bougainvillea – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Sprouting – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Sage – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Bloom Small – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Backyard Trumpet Blossoms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Rose of Sharon – Buckeye, AZ – Fujifilm X-H1
Rosebud – Buckeye, AZ – Fujifilm X-H1
Bright Green Leaves – Buckeye, AZ – Fujifilm X-H1
Bush & Blocks – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Pouring Sunlight over Honeysuckles – Buckeye, AZ – Fujifilm X-H1
Garden Gate – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Pink Oleander Blooms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Dark Blooms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Wall and Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Joyful Josh – Buckeye, AZ – Fujifilm X-H1
Peaches – Buckeye, AZ – Fujifilm X-H1
Architecture & Jon – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Blue Glass – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Three Bright Ideas – Buckeye, AZ – Buckeye, AZ – Fujifilm X-H1
Dusk Light – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Green Leaves at Dusk – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Veiled Lightbulb – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Blue Hour Light – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Disabled Parking – Buckeye, AZ – Fujifilm X-H1
Illuminated Plant – Buckeye, AZ – Fujifilm X-H1
Night Corridor – Buckeye, AZ – Fujifilm X-H1
Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!
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Last Light on Brush – Antelope Island SP, UT – Fujifilm X-H1 – Fujicolor Pro Recipe
This Film Simulation Recipe is intended to produce an analog-like color-negative-film aesthetic with a classic Fujicolor palette. While I didn’t attempt to mimic any specific film, I had Fujicolor Pro 160NS in my mind as I made this. There are already Recipes for that film (here and here), and this one isn’t “better” than those two, but more of an alternative version that you might like. I also had pulled-process Fujicolor Pro 400H on my mind (there’s also already a Recipe for that); again I didn’t necessarily try to mimic that film and process specifically, but instead had the intention of producing a general Fujicolor Pro “memory color” (similar to what I did with my Nostalgic Color Recipe). This Fujicolor Pro Film Simulation Recipe works well in a variety of daylight situations, and produces a fairly distinct look.
The Fujicolor Pro Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App for over a year—it’s well past due to become available to everyone! And now it is. If you are an App Patron, be sure to look for the Early-Access Recipe that replaced this one.
Parking Garage – Salt Lake City, UT – Fujifilm X-H1 – “Fujicolor Pro”
This Fujicolor Pro Film Simulation Recipe is compatible with all Fujifilm X-Trans III cameras, plus the X-T3 & X-T30. For those with newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and I’d suggest Grain size Small. Those with “older” GFX models can use this Recipe, too, although it will render slightly differently (but try it anyway).
PRO Neg. Std Dynamic Range: DR400 Grain: Strong White Balance: 5900K, -2 Red & 0 Blue Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30) Highlight: -2 Shadow: +3 Color: -2 Sharpness: -2 Noise Reduction: -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 Fujicolor Pro Film Simulation Recipe on my Fujifilm X-H1:
Bunch of Honeysuckle Blooms – Buckeye, AZ – Fujifilm X-H1
Cage – Buckeye, AZ – Fujifilm X-H1
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-H1
Jon with Messy Hair – Buckeye, AZ – Fujifilm X-H1
Stairs Up – Salt Lake City, UT – Fujifilm X-H1
Main St. Market – Salt Lake City, UT – Fujifilm X-H1
Yellow Among Green – Salt Lake City, UT – Fujifilm X-H1
Frary Peak Sage – Antelope Island SP, UT – Fujifilm X-H1
Great Salt Lake Rocks – Antelope Island SP, UT – Fujifilm X-H1
Lake Between the Rocks – Antelope Island SP, UT – Fujifilm X-H1
Salt Lake From Antelope Island – Antelope Island SP, UT – Fujifilm X-H1
Island Brush – Antelope Island SP, UT – Fujifilm X-H1
Jetty – Antelope Island SP, UT – Fujifilm X-H1
Sunset Over Salt Lake – Antelope Island SP, UT – Fujifilm X-H1
Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!
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I’m always fascinated by which Film Simulation Recipes you are using. I get a glimpse on social media, but my best gauge is the website statistics; specifically, which Recipe articles are viewed the most. Two months ago I shared with you the Top 10 most viewed Recipe articles of 2022 plus the most viewed through the first two months of 2023, and I was surprised by a couple of the rankings. Looking at this two months later, I’m once again surprised by a few things, and not so much by most of it.
So far in 2023, seven of the ten—including the Top 3—Film Simulation Recipes are for X-Trans IV camera. From the data I have, the majority of people who shoot with Recipes are doing so on X-Trans IV models. Kodachrome 64 remains king of Recipes, Kodak Portra 400 v2 is a close second, and Kodak Portra 400 is solidly third. Vintage Kodak and Classic Chrome (the original Fuji X Weekly Recipe), which are both for X-Trans III cameras (plus the X-T3 and X-T30), hold the fourth and fifth spots. Kodak Tri-X 400, the only B&W Recipe on this list, is sixth. Those first half-dozen are all identical rankings to 2022.
Kodak Ultramax 400 didn’t make last year’s Top 10 list, but it did rank number seven through the first two months of this year, and it continues to hold that through April. The X-Trans III version of Kodachrome II dropped one spot, while the X-Trans IV version moved out of the Top 10 completely. Pacific Blues didn’t make the Top 10 last year, but is number nine so far in 2023, up one spot from two months ago. Reggie’s Portra also didn’t make the Top 10 last year, but now holds the last spot, down one from two months ago, switching places with Pacific Blues. Kodak Ektar 100 and Nostalgic Negative both fell out of the Top 10.
10 Most Viewed Film Simulation Recipes of 2023 (…so far)
Now let’s look at April-only. How did the Film Simulation Recipes rank during those 30 days?
The big surprise is that Vibrant Arizona is number two. It’s a little complicated, because that article actually includes four Recipes—two for X-Trans IV and two for X-Trans V. Even though I published it only nine days ago, the Vibrant Arizona Recipe, which is intended to produce a Wes Anderson aesthetic, is being used a heck-of-a-lot right now! The only other surprises are that Pacific Blues moved up to number eight, while Kodak Tri-X 400 fell two spots to number nine and Kodachrome II fell two spots all the way to the bottom. The first seven Recipes, plus the last one, all use the Classic Chrome film sim, which is Fujifilm’s most popular.
Rocky Hill in the Desert – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
I asked OpenAI’s ChatGPT to make a Film Simulation Recipe to mimic the look of Kodachrome X slide film. This wasn’t the first time that I attempted to use ChatGPT to make a Recipe for Fujifilm cameras… you might recall that the Urban Dreams Film Simulation Recipe was made by ChatGPT, and by chance it has some resemblance to Kodachrome 200. I learned a lot about the AI’s ability (or is it inability?) to make Recipes, so I decided to try again just for the fun of it.
Kodak introduced Kodachrome—a color transparency film, and the world’s first commercially successful color film—in 1935. Kodachrome X was in the second era of the emulsion, sold between 1962 and 1973. It was replaced by Kodachrome 64, which was discontinued in 2009. Today you cannot buy Kodachrome, and even if you found some old rolls of the film, you cannot even get it developed. Shooting with a facsimile Film Simulation Recipe on Fujifilm cameras is a great way to experience some of these old emulsions that no longer exist, such as Kodachrome X.
Here’s a YouTube video I made documenting the experience!
My opinion is that ChatGPT’s Recipe is much too vibrant to mimic Kodachrome X. While the film was richly vibrant for its time, no emulsion in the 1960’s was that colorful. Today it would be described more as true-to-life. There are also other issues I take with the settings that the AI chose, so I don’t think it did well at mimicking Kodachrome; however, that doesn’t mean the settings (by chance) don’t look nice.
ChatGPT’s Kodachrome X Recipe
My Kodachrome II v2 Recipe
After examining the ChatGPT Recipe, I decided that it reminds me a lot of Kodak Ektachrome E100VS. There have been over 40 different emulsions that carried the Ektachrome name over the years—each with their own unique look—and E100VS was just one. Kodak introduced this film in 1999 and discontinued it in 2012. Ektachrome E100VS was Kodak’s best attempt at Velvia, and was their most vibrant emulsion. The “VS” in the name meant Vividly Saturated. While it was similar to Velvia, it wasn’t identical—the warmth of the film was the most obvious difference—and many photographers preferred Fujifilm’s Velvia over Kodak’s Ektachrome E100VS. Still, at the pinnacle of the film era, it was a popular choice for landscape photographers wanting a boost in vibrancy.
I noticed with AI generated Film Simulation Recipes that most of the time it chooses Auto White Balance, Grain Strong, and stays within -2 to +2 on all of the settings; my experience is that it only occasionally strays from that. It also seems to always leave some necessary settings out, and you have to ask it to add those. Of course, no film has Auto White Balance—most are Daylight (around 5500K), and some are Tungsten (around 3200K). While it is amazing that ChatGPT can produce a Recipe for Fujifilm cameras, if it looks good or not—and if it truly produces the aesthetic that you asked for—is more by chance than skill. Also, it doesn’t like to cite its sources, which is just wrong in my opinion.
While it tried and failed to resemble 1960’s era Kodachrome, I still liked the look produced by ChatGPT’s Kodachrome X Film Simulation Recipe. Since it has some similarities to Kodak Ektachrome E100VS color transparency film, I renamed it after that emulsion. I also refined the settings to more closely resemble the film, and am including that as a second Recipe, which I call Kodak Ektachrome E100VS v2. So v1 is ChatGPT’s Recipe, and v2 is my modified alternative.
I shot a number of rolls of Ektachrome E100VS back in my film days. Most of these pictures are stored away in little yellow boxes, but a few images have been scanned. Obviously, the scanner—and especially the quality of the scan—has an impact on the photo rendering. The four images below are some real Kodak Ektachrome E100VS frames that I shot many years ago. None of these are high-quality scans, and for that I apologize, and I hope you can overlook that aspect of the pictures. Also, it’s important to state that they all look significantly more impressive when viewed on a light table or especially from a slide projector.
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
How the film was shot had a significant impact on the look. For deeper blues and reds, one should underexpose the film slightly. For cyan sky and brighter (and warmer) colors, one should overexpose slightly. Of course, you had to be careful, because the film—like most slide films—had a narrow dynamic range, and there wasn’t much room for error either direction. These two Film Simulation Recipes behave similarly, although I believe v2 a little more so than v1.
Without further ado, here are the two Kodak Ektachrome E100VS Film Simulation Recipes!
Kodak Ektachrome E100VS v1
ChatGPT Recipe for Kodachrome X
Beef Franks – Vulture City, AZ – Fujifilm X-T5 – Ektachrome E100VS v1
This is the Recipe that ChatGPT created to mimic Kodachrome X, but it looks more like Kodak Ektachrome E100VS. It produces vivid colors similar to—but more warm and slightly less vibrant than—Velvia film. For darker blues and deeper reds, use a lower exposure compensation, and for lighter blues and brighter/warmer colors, use a higher exposure compensation. Because it uses Auto White Balance and DR400, you’ll find it to be quite versatile; however, the rendering is clearly “wrong” in some situations.
The Kodak Ektachrome E100VS v1 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!). For the X-T3 and X-T30 (plus older GFX), you’ll have to ignore Color Chrome FX Blue, Grain size, and Clarity (since your camera doesn’t have those options), so it will definitely look a little different, but you might like it nonetheless; for X-Trans III, you’ll have to additionally ignore Color Chrome Effect.
Film Simulation: Velvia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, +2 Red & -2 Blue Dynamic Range: DR400 Highlight: +1 Shadow: +1 Color: +2 Sharpness: +1 High ISO NR: -2 Clarity: +1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v1 Film Simulation Recipe on my Fujifilm X-T5:
Suburban Arches – Buckeye, AZ – Fujifilm X-T5
Red, Green & Yellow – Buckeye, AZ – Fujifilm X-T5
Pink Blossom in Spring – Buckeye, AZ – Fujifilm X-T5
Boy in a Red Hat – Buckeye, AZ – Fujifilm X-T5
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5
Agave at the Mine – Vulture City, AZ – Fujifilm X-T5
Spiderweb Among Thorns – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers Behind Cactus – Buckeye, AZ – Fujifilm X-T5
Cactus Vailed by Sunlight – Buckeye, AZ – Fujifilm X-T5
Little Purple Wildflowers – Buckeye, AZ – Fujifilm X-T5
Veiled Cactus – Buckeye, AZ – Fujifilm X-T5
Desert Spring in the Shade – Buckeye, AZ – Fujifilm X-T5
Shaded Bristlebush Blooms – Buckeye, AZ – Fujifilm X-T5
Kodak Ektachrome E100VS v2
Fuji X Weekly Recipe
Unexpected X – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v2
This version of Kodak Ektachrome E100VS is my modification to better mimic the film. It’s not too divergent—only slightly dissimilar—since it’s simply a modification of the AI Recipe, and not made from scratch. Because it uses more of a daylight-balanced Kelvin White Balance and DR200, it’s not quite as versatile as v1, and you have to be a little more careful of the light situation you are shooting in and pay closer attention to the highlights to avoid clipping. Sometimes it’s not completely correct, but I think in the “right” conditions it can be quite convincing—nearly identical to some slides I have.
The Kodak Ektachrome E100VS v2 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-T4, X-S10, X-E4, and X-T30 II. Unfortunately, it is not compatible with the X-T3, X-T30, X-Pro3, or X100V. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!).
Film Simulation: Velvia Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 5150K, +3 Red & -3 Blue Dynamic Range: DR200 Highlight: +1.5 Shadow: +0.5 Color: +1 Sharpness: -1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v2 Film Simulation Recipe on my Fujifilm X-T5 and X-E4:
Americana Home – Buckeye, AZ – Fujifilm X-T5
Blue Sky Behind Trees – Buckeye, AZ – Fujifilm X-E4
Boy in a Red Hat 2 – Buckeye, AZ – Fujifilm X-T5
Abunda la Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Garden Apex – Buckeye, AZ – Fujifilm X-T5
Bright Backyard Blossom – Buckeye, AZ – Fujifilm X-T5
Shaded Oleander Blooms – Buckeye, AZ – Fujifilm X-T5
Reddish Orange Cactus Flower – Buckeye, AZ – Fujifilm X-T5
White Paper Flowers – Beckeye, AZ – Fujifilm X-T5
Desert Hill through Palo Verde – Buckeye, AZ – Fujifilm X-T5
Little Pops of Purple – Buckeye, AZ – Fujifilm X-T5
Purple Spring – Buckeye, AZ – Fujifilm X-T5
Bunch of Yellow Trumpets – Buckeye, AZ – Fujifilm X-T5
Red Airplane – Buckeye, AZ – Fujifilm X-T5
Sunset in Suburbia – Surprise, AZ – Fujifilm X-T5
Comparison
In the three examples above, Kodak Ektachrome E100VS v1 is on the left (revealed by moving the slider right), and Kodak Ektachrome E100VS v2 is on the right (revealed by moving the slider left).
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
As a bonus, I asked OpenAI’s DALL-E 2 AI image creator to show me what ChatGPT creating Film Simulation Recipes looks like. The results? Awful, but also kind of funny! I tried rewording the request several different ways in hopes of getting a better image, but it never really got any better.
Here are a few:
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When I first watched the trailer for the upcoming Wes Anderson movie Asteroid City, I thought perhaps it might be possible to mimic the aesthetic on my Fujifilm X-T5; however, I quickly realized that it’s not possible straight-out-of-camera. The movie has an orange and teal look, and I’ve tried unsuccessfully for years to achieve that on Fujifilm. In order to get orange and teal, the White Balance Shift requires plus red for orange and minus red for teal; it’s not possible to do both, so you must decide which one you want: orange or teal? After a few hours of unsuccessfully trying to get the settings right, I gave up.
Then I saw your pictures on Instagram. Specifically, there were photos captured using the Bright Summer, Bright Kodak, Kodak Portra 400 Warm, and Pacific BluesFilm Simulation Recipes that had some Wes Anderson vibes to them, which convinced me to try again. I directly compared those four Recipes to Asteroid City screenshots, and decided that Bright Summer and Bright Kodak were the closest; however, none of them were quite right. So I set out to get a little closer—as close as I could—knowing that I wouldn’t be able to achieve a perfect match, but I hoped it would be similar enough that at a cursory glance it would pass for Asteroid City.
Popeyes – Litchfield Park, AZ – Fujifilm X-E4 – Vibrant Arizona Recipe
Knowing that most of you don’t have an X-Trans V camera, I made a version for X-Trans IV models, too, since the majority of those who shoot with Recipes do so on X-Trans IV cameras. Also, I figured that some of you won’t be satisfied with the results, and are after an even closer facsimile of Asteroid City, so I have some advice for that, too, a little further down, but it does require a small amount of post-editing with Capture One.
While attempting to mimic Asteroid City, I was inspired by another Wes Anderson film: The French Dispatch, specifically, the indoor scenes of the newspaper office, so I made Film Simulation Recipes for that, too—one for X-Trans V and another for X-Trans IV. I don’t know what the light situation was exactly in those scenes, so I don’t know if it would render similarly under identical light, but it does produce convincing results in certain artificial and mixed light scenarios.
If you are after a Wes Anderson look, check out the four Film Simulation Recipes below!
Vibrant Arizona (X-Trans V)
Look that Way – Buckeye, AZ – Fujifilm X-T5 – Vibrant Arizona Recipe
The Vibrant Arizona Film Simulation Recipe can be characterized as bright, colorful, and warm, yet still classic-analog-like, with some similarities to overexposed Kodak negative film. While not an exact match, I’m confident that it is as close as you’re going to get to an Asteroid City aesthetic straight-out-of-camera. The movie takes place in a fictional northern-Arizona town (although it was filmed in Spain, apparently), so that is why I’m calling it Vibrant Arizona.
An important note is that this Recipe uses D-Range Priority (a.k.a. DR-P), which takes the place of Dynamic Range and the Tone Curve (Highlight and Shadow). I don’t have a lot of Film Simulation Recipes which utilize D-Range Priority, but there are a few, including Pulled Fujicolor Superia, Scanned Superia, and Portra-Style, the last of which has some similarities to Vibrant Arizona.
This particular Recipe is for X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2s. For best results, use in sunny daylight. I shot in both the 3:2 and 16:9 aspect ratios, and preferred the latter for a more cinematic feel.
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Weak White Balance: 4350K, +6 Red & -8 Blue Dynamic Range: DR-P Strong Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to + 1 1/3 (typically)
Example photographs, all camera-made JPEGs using this Vibrant Arizona Film Simulation Recipe on my Fujifilm X-T5:
Backyard Spring – Buckeye, AZ – Fujifilm X-T5
Spring or Fall? – Buckeye, AZ – Fujifilm X-T5
Blue Star – Buckeye, AZ – Fujifilm X-T5
Ocotillo & Saguaro – Buckeye, AZ – Fujifilm X-T5
Palo Verde on Rocks – Buckeye, AZ – Fujifilm X-T5
Rocks & Vista – Buckeye, AZ – Fujifilm X-T5
Arizona View – Buckeye, AZ – Fujifilm X-T5
Girl with a Camera – Buckeye, AZ – Fujifilm X-T5
Contemplation – Buckeye, AZ – Fujifilm X-T5
Over There – Buckeye, AZ – Fujifilm X-T5
Please Let Me Get Back to Playing – Buckeye, AZ – Fujifilm X-T5
Neil’s – Buckeye, AZ – Fujifilm X-T5
Deere in the Desert – Buckeye, AZ – Fujifilm X-T5
Apartment Palm – Buckeye, AZ – Fujifilm X-T5
Sonoran Desert – Buckeye, AZ – Fujifilm X-T5
The Yellow Desert – Buckeye, AZ – Fujifilm X-T5
A Cactus Blossom – Buckeye, AZ – Fujifilm X-T5
Main Fountain – Buckeye, AZ – Fujifilm X-T5
Vibrant Arizona (X-Trans IV)
Red Light – Avondale, AZ – Fujifilm X-E4 – Vibrant Arizona Recipe
Because X-Trans V cameras render blue more deeply on some film simulations, the X-Trans IV version of this Recipe calls for Color Chrome FX Blue to be set to Strong instead of Weak, and is otherwise identical. This Vibrant Arizona Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For the X-T3 and X-T30, you can ignore Grain size and Color Chrome FX Blue (since your camera doesn’t have those options), and use a 1/4 Black Pro Mist or 10% CineBloom diffusion filter in lieu of Clarity; however, it will look slightly different. For newer GFX models… I’m not sure if you should use this version or the X-Trans V version, but one of the two should work well on your camera—try them both, and see which you prefer.
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Strong White Balance: 4350K, +6 Red & -8 Blue Dynamic Range: DR-P Strong Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to + 1 1/3 (typically)
Example photographs, all camera-made JPEGs using this Vibrant Arizona Film Simulation Recipe on my Fujifilm X-E4:
Bird in a Palm – Avondale, AZ – Fujifilm X-E4
Green Sign – Avondale, AZ – Fujifilm X-E4
Two Palm Building – Avondale, AZ – Fujifilm X-E4
Indicative? – Litchfield Park, AZ – Fujifilm X-E4
Spring or Autumn? – Buckeye, AZ – Fujifilm X-E4
Caged – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch Blossom – Buckeye, AZ – Fujifilm X-E4
Pink & Yellow – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Garden – Buckeye, AZ – Fujifilm X-E4
Green Meets Red – Avondale, AZ – Fujifilm X-E4
Asteroid City Edit
Asteroid City Edit
If you aren’t satisfied with how well the Vibrant Arizona Film Simulation Recipe matches Asteroid City, there is a quick and easy Capture One edit that will make your pictures even closer to the aesthetic of the motion picture film. Simply import your straight-out-of-camera JPEGs (not the RAW!) into Capture One, find the Basic Color Editor, and make these adjustments:
Cyan Hue -30 Lightness -20
Blue Hue -20 Saturation +50
Those are the adjustments that I made to the picture above plus the five images below. You might have to stray from the above settings and modify the exact parameters, just depending on the photographs, but for these six, I followed them precisely and made no other changes. With this edit, the pictures are pretty convincing, and there’s no doubt that we’re mimicking Wes Anderson’s Asteroid City. Even though this will get you closer to the movie aesthetic, I personally prefer the unedited versions.
There was a moment while creating the above Recipes that I became particularly frustrated with the process, so I took a break, and instead worked on a different Wes Anderson look. I was inspired by the indoor scenes inside the newspaper office in the movie The French Dispatch, so I began working on a Film Simulation Recipe to mimic that aesthetic. The look is warm when shot in warm light, with somewhat muted colors and low contrast. This is a much different aesthetic than Asteroid City, but it is another Wes Anderson film that’s popular right now.
While the movie takes place in a fictional French town, it was filmed in the real town of Angouleme, which apparently (and appropriately) is known as the City of the Image. While these Recipes look quite interesting in outdoor daylight situations, they are intended for artificial and mixed indoor lighting, which is where they really shine. That’s why I’ve named the two Film Simulation Recipes below Indoor Angouleme. Although none of the movie was filmed in the 16:9 aspect ratio, I used it for these Recipes, but feel free to use whichever aspect ratio you prefer.
Indoor Angouleme (X-Trans V)
Red Chair – Buckeye, AZ – Fujifilm X-T5 – Indoor Angouleme Recipe
This version of the Indoor Angouleme Film Simulation Recipe uses the new Nostalgic Neg. film simulation. It also utilizes the Auto Ambience Priority White Balance, which I’ve only used once before (on the Ektachrome 320T Recipe). Indoor Angouleme is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2s. Those with newer GFX cameras can use it, too; however, it will likely render slightly differently.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto Ambience Priority, -2 Red & -6 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Indoor Angouleme Film Simulation Recipe on my Fujifilm X-T5:
Dessert – Buckeye, AZ – Fujifilm X-T5
Nutmeg – Buckeye, AZ – Fujifilm X-T5
Iced or Hot? – Buckeye, AZ – Fujifilm X-T5
Pumps – Buckeye, AZ – Fujifilm X-T5
Mmmm – Buckeye, AZ – Fujifilm X-T5
Tea Cup – Buckeye, AZ – Fujifilm X-T5
Artist at Work – Buckeye, AZ – Fujifilm X-T5
Making Salad – Buckeye, AZ – Fujifilm X-T5
Joshua in Front of a Curtain – Buckeye, AZ – Fujifilm X-T5
Spectacular Suburban Sunset – Surprise, AZ – Fujifilm X-T5
Pergola Corner – Buckeye, AZ – Fujifilm X-T5
Roof Ridge – Buckeye, AZ – Fujifilm X-T5
Sun Peeking Behind Wall – Buckeye, AZ – Fujifilm X-T5
Big Bloom – Buckeye, AZ – Fujifilm X-T5
A Pink Rose – Buckeye, AZ – Fujifilm X-T5
Indoor Angouleme (X-Trans IV)
Water, Fish, and View – Avondale, AZ – Fujifilm X-E4 – Indoor Angouleme Recipe
The Nostalgic Neg. film sim is somewhat similar to Eterna, and can sometimes be closely mimicked with it. Since X-Trans IV models don’t have Nostalgic Neg., I used Eterna instead. While this version isn’t 100% identical to the X-Trans V Recipe, it is pretty close overall, and retains the same feel.
This version of Indoor Angouleme is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. To use it on the X-T3 and X-T30, ignore Color Chrome FX Blue and Grain size (since your camera doesn’t have those options), select regular AWB (since your camera doesn’t have the Ambience option), and use a 1/4 Black Pro Mist or 10% CineBloom diffusion filter in lieu of Clarity; however, it will look slightly different.
Film Simulation: Eterna Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto Ambience Priority, -1 Red & -6 Blue Dynamic Range: DR200 Highlight: -1 Shadow: -1 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Indoor Angouleme Film Simulation Recipe on my Fujifilm X-E4:
Tabletop Succulent – Litchfield Park, AZ – Fujifilm X-E4
Bookshelf Plant – Buckeye, AZ – Fujifilm X-E4
Sugar & Creamer – Litchfield Park, AZ – Fujifilm X-E4
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Neutral Density filters, more commonly called ND filters, are very useful. It’s worthwhile to have at least one ND filter available for your photography. Maybe you don’t know which one (or ones) to own and why you’d use it. I recently got some ND filters, and perhaps my story will be helpful to you.
In my How to get Filmic Photographs from your iPhone article I explained that my wife has a Sandmarc case for her iPhone 13 Pro. I thought she’d also appreciate some ND filters for her phone, since she uses it regularly for videography, so I got her three Sandmarc ND filters that can attach to her iPhone case. You see, ND filters are common in cinematography because you want a shutter speed close to the frames-per-second you’re recording in order to avoid jutter (a.k.a. stutter or choppy) when panning or whenever there is movement. Getting a slow enough shutter speed in bright conditions can be difficult without an ND filter. Unfortunately, the ND filters didn’t really work out with her iPhone workflow, so they initially went unused. Not wanting to let the filters go to waste, I reimagined how they could be utilized, and I figured out how to make them work for me. Now I see them as an essential tool for my photography!
Before I get to the filters, I want to briefly talk about one other Sandmarc item I have: iPhone Tripod, Compact Edition. This was also for my wife, but she doesn’t use it often—only occasionally—so I borrow it regularly, except that I use it with my Fujifilm cameras and not my phone. I need a small tripod for my desk when I do the SOOC Live broadcasts, but the one I’ve owned for years kind of sucks and just barely works; however, with Season 3, I began using the Sandmarc tripod, and it is so much better—perfect for the job! I also discovered that it’s great for travel because it folds up very small and doesn’t take up much space (about 8.5 inches). The tripod only expands to a little taller than two feet, but it is sturdy enough to hold my X-T5 with a lens as large as the Fujinon 90mm, so for occasional casual use—which is all I ever use tripods for in my photography—it is just fine. Since getting it, the Sandmarc tripod has become my most-used. I don’t think that it’s intended for “real” cameras like the Fujifilm X-T5, but that’s what I use it for, and it works great. I bring this up because tripods are closely associate with ND filters.
Neutral Density filters block the amount of light entering the lens, which allows for slower shutter speeds. Why would you want to do this? I already mentioned that in cinematography, slowing the shutter can reduce juttering. In still photography, slowing down the shutter allows you to show motion by way of blurring moving things, and it allows for high-ISO photography in bright conditions.
Sandmarc’s iPhone ND filters come in a pack of three: ND16, ND32, and ND64. The ND16 reduces light by four stops, the ND32 reduces by five stops, and the ND64 reduces by six stops. I most commonly use the ND16, but for longer exposures, the other two certainly come in handy. Did I mention that Sandmarc’s ND filters are also polarized? They are! Polarizers reduce glare and haze, which can be particularly useful when photographing water. Pretty cool, eh?
So if these ND filters are made for iPhones, how am I using them on my Fujifilm cameras? Technically, I’m not using them on my camera, I’m attaching them to my Fujinon 27mm f/2.8 lens. The ND filters have 40.5mm threads, and the 27mm lens accepts 39mm threads, so I purchased a cheap Rise 39mm-40.5mm step-up ring, which allows me to use the Sandmarc ND filters on my Fujinon lens. It works like a charm!
There are three ways in which I’ve integrated ND filters into my photography: slow shutter with a tripod, slow shutter without a tripod, and high-ISO in daylight. I’ll briefly explain each below.
The classic way ND filters are used for still photography is with a tripod. By utilizing a slow shutter speed, things within the frame that are moving will become a blur. Waterfalls are probably the most common subject for this technique, where water appears to be a streak of blur or even a mist if the exposure is long enough. Typically, a maximum shutter speed of 1/15 is required for blurring the subject, but there are a few factors—lens focal length, speed and distance of the subject, desired blur—that could affect the necessary shutter speed, either faster or slower. The longer the shutter is open, the more blur you will get. Because you want everything that’s not moving to be sharp, a tripod is required for this technique.
Who says that pictures have to be sharp? Maybe you want everything in the frame to be blurry! For this, you simply remove the tripod and use a slow shutter while the camera is handheld. Panning is one example of this. Using a slow shutter speed without a tripod is probably the most difficult ND filter technique, but there is a lot of opportunity for creativity, which means there is potential for dramatic or interesting photographs. The longer the exposure the more difficult this technique is—unless you’re really going for abstract art—so be careful not to set the shutter too slow.
ISO 25600, f/2.8, 1/350 — Ilford HP5 Plus 400 Push ProcessRecipe
You might think that purposefully setting a high-ISO in bright daylight is a weird thing to do. The general advice given since the beginning of photography is to use the lowest ISO that you can get away with. If you can use ISO 200, use ISO 200. If you need to bump it up to ISO 400 because the light is dimmer, use ISO 400. Only use ISO 800 if you have to. And ISO 1600 should be used with extreme caution. ISOs higher than that are for emergency purposes only. But is that still good advice? In my opinion, Fujifilm cameras are excellent at high-ISO because—thanks to the X-Trans sensor and processor—they better control the aesthetic of digital noise, rendering it more like film grain. In other words, purposefully using high-ISOs can produce a more analog-like result. Some of my Film Simulation Recipes actually require ultra-high ISOs, and using them in bright daylight can be difficult; however, ND filters make it much more practical. My X100V has a built-in ND filter, but my other Fujifilm cameras do not; ND filters have opened up the opportunity to use these high-ISO Recipes in situations that would be much more difficult otherwise—this is how I’m most often using my Sandmarc ND filters.
Note: the top four pictures were captured with a Fujifilm X-E4 & Fujinon 35mm f/2; images 1, 2 & 4 are Pacific Blues and image 3 is Kodak Portra 400 v2. The other pictures were captured using my Fujifilm X-T5 & Fujinon 27mm f/2.8 with a Sandmarc ND filter attached.
Vibrant Flowerbed – Salt Lake City, UT – Fujifilm X-T30 – Velvia Recipe
April showers bring May flowers, as the saying goes. Yes, it’s wildflower season already, and if you are not sure which Film Simulation Recipe to program into your Fujifilm camera to capture the colorful spectacle, this article should help with that. No matter which Fujifilm X-Trans camera you have, there’s a Recipe for you to try today!
This is far from a comprehensive list of Film Simulation Recipes that will work well for photographing spring blossoms. There are nearly 300 Recipes, and most of them could be a good choice, depending on the exact subject, lighting, and your style. This list is simply a selection of the ones that I personally like and can recommend to you. Feel free to try other Recipes not included in the list below. If I didn’t include your favorite Recipes for photographing spring flowers, let me know in the comments because I’d love to hear which ones you use. If you are not sure which Film Simulation Recipe to try, these recommendations should get you started.
“Fujichrome Fortia 50” frame 18 of 36 — Fujifilm X100V
I shot a 36-exposure roll of Fujichrome Fortia 50 on my Fujifilm X100V.
Right now you are thinking one of a few things. What is Fujichrome Fortia 50?Fortia was discontinued a long time ago, and is well expired now and difficult to find.Anyway, you can’t shoot film in a Fujifilm X100V!There’s not a Fujichrome Fortia 50 Film Simulation Recipe, is there? All of that and more will be explained in this article!
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Underwood Typewriter – Vulture City, AZ – Fujifilm X-T5 – AgfaChrome RS 100 Recipe
All photographs tell stories—a picture is worth a thousand words, after all—but storytelling photography is perhaps a step further than just ordinary picture-taking. How exactly do you effectively tell stories through photos? What gear do you need? Which techniques should you consider? Which Film Simulation Recipes are best?
All of those questions and more are discussed at length by myself and Fujifilm X-Photographer Nathalie Boucry in the video below, which was last week’s SOOC Live broadcast. If you haven’t yet watched it, I invite you to do so now. If you want to try this type of photography or simply challenge yourself to become better at telling stories through your pictures, this episode is a must-watch. Also, so you don’t miss any future broadcasts, be sure to follow the SOOC Live YouTube channel—Episode 1 and Episode 2 of Season 3, plus all of the first two seasons, can be found there, too.
Most simply, storytelling photography is a type of documentary photography. It is chronicling the important or everyday events that you’ll want to remember for many years to come, such as holidays or precious family moments. It is capturing the human experience—how people adapt to or effect the environment around them. It is eliciting a response from the viewer, weather prompting questions or evoking emotions. Perhaps most importantly, you should “f8 and be there” because storytelling pictures become more meaningful over time, so it is critical to be in the moment and capture the picture.
The four Film Simulation Recipes that Nathalie and I challenge you to use for storytelling photography are:
This is a versatile Film Simulation Recipe that produces classic Kodak negative film colors. This could easily be your go-to Recipe for almost any situation, as Reggie Ballesteros, the creator of this Recipe, will gladly attest. It is intended for “newer” X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, I recommend setting Color Chrome FX Blue to Off, and for the X-T3 and X-T30, simply ignore Color Chrome FX Blue and Grain strength, since your camera doesn’t have those options.
Cute Alien – Rock Springs, AZ – Fujifilm X-T5 – Reggie’s Portra Recipe
We Are Open – Park City, UT – Fujifilm X-E4 – AgfaChrome RS 100 Recipe
I love the retro rendering of this Recipe! It’s not quite as versatile as Reggie’s Portra, but, because it has a cooler cast, it does still do well in a variety of light situations. If you want to emphasize blues and reds, this is the one to use. It is intended for “newer” X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, I recommend setting Color Chrome FX Blue to Weak.
Bikes & Brunch – Cave Creek, AZ – Fujifilm X-T5 – AgfaChrome RS 100 Recipe
Here Ducky, Ducky, Ducky – Tucson, AZ – Fujifilm X100V – AgfaChrome RS 100 Recipe
Pan for Gold – Tucson, AZ – Fujifilm X100V – Classic Slide Recipe
This Film Simulation Recipe reminds me of a reversal film aesthetic similar to Elite Chrome or Provia 100F, although it’s not modeled after those emulsions specifically. It has a lot of contrast, and (like slide film) you have to be careful to get the exposure right. Because of the cool cast, it can be used in some artificial light situations and produce good results. This Recipe is compatible with all X-Trans III cameras, plus the X-T3 and X-T30; to use it on newer models, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Small.
Saguaro Wearing a Hat – Cave Creek, AZ – Fujifilm X-T5 – Classic Slide Recipe
Bear in a Shop – Rock Springs, AZ – Fujifilm X-T5 – Classic Slide Recipe
Dirty Feet – Farmington, UT – Fujifilm X-T30 – Ilford Delta Push Process Recipe
This is a great black-and-white Recipe; I think B&W lends itself well to this genre in general, so definitely give it a try! It does require an ultra-high ISO, which is challenging for bright daylight photography—enable the electronic shutter for faster shutter speeds and stop down, or use an ND filter. It is compatible with all X-Trans III cameras, plus the X-T3 and X-T30; to use it on newer models, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Large.
March Horses – Buckeye, AZ – Fujifilm X-T5 – Ilford Delta Push Process Recipe
Fetching Bowls – Buckeye, AZ – Fujifilm X-T5 – Ilford Delta Push Process Recipe
Rodeo Cold – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Is there a better way to get a retro film look? In my opinion, the answer is yes!
Notice that I didn’t say the best way, only a better way. The best way to get a retro film look is to shoot actual analog film on a retro film camera; however, film is expensive and the process inconvenient. Digital is much more convenient, but digital images inherently don’t resemble film—one must manipulate them. There are numerous programs, plugins, and presets that will provide you with a film look without a lot of fuss, but it does require some level of post-processing; editing pictures is a good way to get a retro film look, but a couple downsides are 1) you must have access to (and pay for) the software and know how to use it and 2) it takes time to edit all of your pictures. There is another way, which I believe is a better way.
It’s very simple: shoot JPEGs on Fujifilm cameras programmed with analog-likeFilm Simulation Recipes and use vintage lenses. I say that this is a better way because you can achieve a retro film look without the hassle of picture manipulation. Better, of course, is subjective, but this is an increasingly popular method, largely because more and more photographers are deciding that it is indeed a better way for them.
Fujifilm cameras are an important ingredient to this because, when programming their digital output, Fujifilm utilized their film department to assist with the image rendering. In other words, using their vast film experience, they set out to infuse an analog aesthetic into their digital photographs. Film Simulation Recipes take it a step further by fine-tuning the camera settings to better replicate specific film stocks and/or processes or mimicking certain looks. There are nearly 300 Recipes on the Fuji X Weekly App (available for Android and Apple), so be sure to download it if it’s not already on your phone. You can do pretty much the same thing as Recipes with software, but it will not 100% match the straight-out-of-camera images and you will have to work for it (at least a little), while camera-made JPEGs are good-to-go without editing (the work is already done for you). This is a paradigm shift that can dramatically transform your workflow by drastically simplifying it, which saves you a lot of time, hassle, and potentially money, while simultaneously making photography more fun. Like I said: better.
The final ingredient is the glass. Modern lenses are often precision engineered, making them nearly flawless. That’s great if you want a digital look, but if you want a retro film look you should employ the same lenses that were used to shoot film, which often have flaws that give them character—an important aspect of the analog aesthetic. Find some old glass and shoot through it! You’ll need an adapter—the exact one depends on the mount of the lens—and set the camera to “Shoot Without Lens” in the Menu settings. These lenses are manual focus, which can be tricky at first, but thankfully Fujifilm provides you with some excellent tools to assist with it, making manual focus much easier and more enjoyable. Alternatively, you could use inexpensive third-party lenses, which often have similar characteristics to vintage lenses, and you won’t need a special adapter.
For the pictures in this article, I used a Fujifilm X-T5 programed with my AgfaChrome RS 100 Film Simulation Recipe shot through various tiny Pentax-110 lenses. The straight-out-of-camera results are very analog-like, and could probably pass as actual film photographs if I didn’t provide any background information. You’re not likely to think that these are out-of-camera pictures from a modern camera. If you weren’t convinced that they’re film, you’d likely assume some post-processing was done to make them appear film-like, yet they’re unedited. In any event, if you want a better way to get a retro film look, use Fujifilm cameras programmed with Film Simulation Recipes and shoot through vintage lenses. Simple. Easy. Convincing. Fun.
Colorful Wheel – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Turn Signal – Cave Creek, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Rockshop – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Out the Upstairs Window – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Pie – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Kokopelli – Rock Springs, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
Fuzzy – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Yellow – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Desert Spring – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Two Cholla – New River, AZ – Fujifilm X-T5 & Pentax-110 70mm – AgfaChrome RS 100
Spring Lupine – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Purple Lupine – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Yellow Spring – New River, AZ – Fujifilm X-T5 & Pentax-110 50mm – AgfaChrome RS 100
Blossoms Among Ocotillos – Vulture City, AZ – Fujifilm X-T5 & Pentax-110 24mm – AgfaChrome RS 100
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Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe Captured on a 26-megapixel X-Trans IV sensor
According to Fujirumors, who is almost always right, the upcoming X-S20 camera, which will likely be announced in May, will have a 26-megapixel X-Trans IV sensor, the same sensor as the X-S10 and all other X-Trans IV cameras, and not the new 40-megapixel or 26-megapixel-stacked X-Trans V sensor.
Wait, what?!? Why would Fujifilm do this?
This doesn’t make any sense because Fujifilm has historically used the same sensor in all models of a certain generation, with few exceptions. What are the exceptions? The X-M1 had an X-Trans I sensor paired with an X-Trans II processor (yet with options more like a Bayer model). The X20, X30, XQ1, and XQ2 were X-Trans II cameras with small sensors and not APS-C. Otherwise, all of the X-Trans cameras in a generation shared the same sensor. All of the X-Trans III cameras had the 24-megapixel X-Trans III sensor. All of the X-Trans IV cameras had the 26-megapixel X-Trans IV sensor. But X-Trans V is definitely different.
First we have the 26-megapixel-stacked X-Trans V sensor in the X-H2S, which presumably will be found only in that one model and no others. Then there is the 40-megapixel X-Trans V sensor found in the X-H2 and X-T5, which presumably will also be found in the next X-Pro and X-100 models. Now we’ll have the 26-megapixel X-Trans IV sensor (presumably paired with the X-Trans V processor) in the X-S20. Weird.
The advantage of having just one sensor for each Fujifilm era is that no matter your camera within a certain generation, you know you will get identical images out of each body. So you could have an X-T2 as your main camera, an X-T20 as a second body, and an X-E3 as a travel option, and the images will look the same, because they all share the same sensor and processor. Consistency. Or you might have an X-Pro3 and X100V, and—no matter which you used—the picture quality will be identical. Now with X-Trans V there’s a lot less consistency across the range, which in my opinion is a disadvantage.
Using the X-Trans IV sensor in the X-S20 does make sense because the sensor, while a few years old, is still excellent, and pairing it with the new processor will (potentially) get the most out of it. I have both X-Trans IV and X-Trans V cameras; while they’re all great, I actually prefer X-Trans IV. I don’t need 40-megapixels. Some people do—yes—but the vast majority don’t, and it’s overkill that for most people only exacerbates storage issues. So I would rather Fujifilm work to squeeze more—increased dynamic range, improved high-ISO, speed, etc.—out of the 26-megapixel sensor than to push more resolution. I feel like 26MP is a really good spot for APS-C, and Fujifilm shouldn’t be in a hurry to move past it. I’ve made many very nice 2′ x 3′ prints from X-Trans IV JPEGs, and the majority of people don’t print that large, let alone bigger.
One question that this raises is what will be different about the X-S20 compared to its predecessor, since they’ll share the same sensor? Apparently the X-S20 will have the new NP-W235 battery, which is certainly nice. I would be surprised if a slight design change isn’t necessary to accommodate the bigger battery, but I don’t expect any drastic changes to the design overall. I expect some improvements to autofocus, maybe image stabilization, and perhaps some small video spec upgrades (such as better time limits) will be included, but certainly nothing major. Most likely more will be alike than dissimilar; however, the upgraded battery and processor will make the X-S20 better than the X-S10, at least by a little, but probably not much more than a little.
I do think this gives some credibility to my theory that another PASM model is in the works—I don’t have any inside information, this is just my personal thoughts. I think a number of X-S10 users would like to upgrade to a higher-end body, but the X-H2/X-H2S is too big and expensive for them. I also believe that a number of X-H2/X-H2S owners would like a more compact and cheaper second body, but the X-S10 is a little too much of a downgrade for them. These folks aren’t interested in the X-T4 or X-T5 because of the traditional dials. Fujifilm has created a need for an in-between mid-tier PASM model. Don’t be surprised if an X-S2 (or whatever they will call it) is being designed right now, which will be a little larger than the X-S20 (but not as large as the X-H2/X-H2S), have weather-sealing, two SD-Card slots, seven Custom Presets, but no external fan accessory and slightly more limited video specs compared to the X-H2 (more similar to the X-T5), with an MSRP around $1,500-ish. Look for it in 2024. Like I said, this is all just a guess.
Another question that is raised is whether the X-T40 (or maybe they’ll call in X-T50) will have the X-Trans IV sensor like the X-S20, and I think the answer is yes. Fujifilm will use the “old” sensor to differentiate low-end models from mid and high-end bodies. If there is an X-E5, which is far from guaranteed, it would also have the 26-megapixel X-Trans IV sensor. I don’t personally believe that both the X-T00 and X-E lines will continue, and most likely the one to get axed is the X-E series, which is unfortunate because I really like the X-E line. If there eventually is an X-E5, look for it in 2025 near the very end of X-Trans V. Fujifilm should 100% be making an X80—the long awaited successor to the X70—and if they do it will certainly also have the 26-megapixel X-Trans IV sensor, but I don’t think that such a camera is in the works. I really hope I’m wrong.
I don’t know if the X-S20 (and future X-T40) will have an output more similar to X-Trans IV or X-Trans V or something unique. My guess is that the processor will be programmed to produce results more like the X-T5, which renders blue a little deeper on some film simulations and does some odd things with AWB (otherwise the differences between X-Trans IV and V are pretty small overall). We’ll have to wait until the camera comes out to find out.
Personally, I feel as though camera makers release new models much too quickly. There’s still quite some demand for X-Trans IV models. The X-E4 and especially the X100V have long backorder lists. A camera store told me that if they received zero new orders for the X100V and they continued to received new bodies at the same rate that Fujifilm has been delivering them, that it would take them six months to fulfill all of the current X100V orders; yet, they continue to receive new orders at a higher rate than bodies are being shipped to them by Fujifilm, so the backorder list is constantly growing. Fujifilm should concentrate their efforts on fulfilling current demand for X-Trans IV before pressing forward with X-Trans V. Unfortunately, camera makers will constantly push slightly improved new models because there is so much GAS and FOMO out there that people will buy them up.
There’s a cycle, which I’ve certainly been caught up in, and it’s not healthy: buy a new camera every year. People often have two camera bodies (sometimes someone has only one, and sometimes someone—like me—has a bunch)—and one of the two is replaced every odd year and the other is replaced every even year. Perhaps in 2021 you replaced your X-T2 with an X-T3 and in 2022 you replaced your X100F with an X100V; maybe in 2023 you will replace your X-T3 with an X-T5, and in 2024 you’ll look to replace your X100V with an X100Z (or whatever they’ll call the next X100). The cycle goes on and on.
My most recent camera purchase was an X-T5, but I did so in order to try the new film sim and make Film Simulation Recipes for X-Trans V; otherwise I didn’t need it—yes, the X-T5 is very nice to have and I’m not complaining whatsoever, but I’d be just as happy without it. I purchased my X-E4 two years ago, and I have no desire to replace it anytime soon—it was my most-used camera in 2022. My X100V was a birthday gift from my wife nearly three years ago, and I’m sure I’ll skip the next X100 series model, unless there’s something really radical about it. A year before that I bought an X-T30, which is a good camera that would still seem fresh if Fujifilm had shown it more Kaizen love, instead of releasing the firmware as a new model. Of those four, the X100V and X-E4 are my two favorites, and I hope to be still using them in 2025 and perhaps well beyond that. If Fujifilm made an X80, monochrome-only X100 or X-Pro, or an IR model, I’d be in line to buy those, but otherwise I’m not personally interested in anything new. I have what I need, but more than that I need to break the cycle of buying a new camera every year.
The fact is that even the older Fujifilm models are good. Yes, the newer models are better in many ways, but that doesn’t mean that their predecessors weren’t good. I used my Fujifilm X-T1 exclusively for a couple of weeks last November, and, not surprising to me but perhaps a surprise to some of you, the X-T1 did exceptionally well in most situations, including sports—the biggest shortcoming was autofocus in dim-light. If your camera still works for you, there’s not likely a good reason to upgrade.
Of course, the X-S20 isn’t intended as an “upgrade” model. Its purpose is to convince those unhappy with their Canikony cameras to consider Fujifilm instead. The X-S line’s main goal is to attract those from other brands who aren’t interested in (or are intimidated by) Fujifilm’s traditional tactile controls, but want Fujifilm’s colors and such. The X-S20 is an entry-level model, so Fujifilm is hoping that those with a Nikon D3500 or Sony A6300 or Canon T7 (or another model along those lines) will take a long look at the X-S20. I’m sure it will sell well, bringing people into the Fujifilm fold who otherwise wouldn’t be.
Night Statue – Jackson Hole, WY – Fujifilm X100V – Serr’s 500T Recipe
Which Film Simulation Recipes are good for nighttime photography? With nearly 300 to choose from, it can be difficult to know when to use which Recipe. Almost all film emulsions are either Daylight-balanced or Tungsten-balanced; similarly, most Recipes are intended for daytime photography, and some are intended for nighttime photography. There are also some that, even though made for sunny conditions, still do well after the sun goes down. So let me suggest to you 10 Film Simulation Recipes that do well at night!
Depending on the exact light situation, some Film Simulation Recipes that are intended for daytime use will still look good at night, and other times they will produce a strong warm cast that you might not like. While adjusting the White Balance to better suite the situation is always an acceptable option (“season to taste” the Recipe), picking a Recipe that is intended for the light situation you are in is my preferred method. Like film, it’s better to pick the “right” one that matches the conditions you’ll be shooting in, but there’s no right or wrong way to do photography, so you’ll have to decode what works for you.
Of course, everyone has different tastes. There are some Recipes that you might love, and some that you might not. Your favorite after-dark Recipe might not be in this list, as it’s not comprehensive. There are certainly other Recipes that I have personally used and liked for nighttime photography; however, these are ones that I think are especially well-suited. A couple were tough cuts, and would certainly have been included if it was 15 Recipes and not 10.
If you are not sure which Film Simulation Recipe to use at night, try one of these!
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iPhone 13 Pro + RitchieCam + Sandmarc Case + 20% CineBloom filter
There’s an easy way to get a filmic look from your iPhone!
I set out to help my wife, Amanda, get a filmic look from her cellphone images. Her “main” camera is a Fujifilm X-T4, but she also shoots quite a bit on her iPhone 13 Pro; her interest in photography and videography began with the iPhone. The filmic aesthetic is highly sought after, but not always easy to achieve; however, I found a good way to get it on the iPhone, so read on to find out how you can do it, too!
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
What exactly is a filmic look? I would describe it as a cinematic film aesthetic. Think stills from a motion picture, or photographs captured with cinema film that has had the Remjet layer removed. This wasn’t an attempt to mimic any specific movie or emulsion, but just achieve a general filmic look through cellphone photography—make it seem less digital and more analog-like, except without all of the editing that is traditionally required. As a mother of four and behind-the-scenes Fuji X Weekly cohort, Amanda is quite busy, and doesn’t have time for extensive editing, so post-processing pictures could not be a prerequisite for achieving a filmic aesthetic.
I started with a Sandmarc case for her iPhone 13 Pro because Sandmarc has an adapter, which they call Step Up Ring Filter Mount, that allows you to use filters on your cellphone camera. This adapter has 40.5mm threads, and, using a 40.5mm-49mm step up ring that I already owned, I was able to mount my 20% CineBloom diffusion filter to Amanda’s iPhone. I felt that this filter would be a key component to achieving a filmic look, and the Sandmarc case with the Step Up Ring Filter Mount plus the 40.5mm-49mm step up ring was the easiest way to get that CineBloom filter onto her iPhone.
I’m sure the Sandmarc case isn’t the only one that allows you to use filters, but it is the one we got, and so far it seems to be a quality product. It works well and is reasonably inexpensive, so it’s easy to recommend. It did take a fall; while the case kept the phone safe and undamaged (which is great!), it did leave a noticeable mark on the case itself. Another note: Sandmarc has their own line of filters—including a diffusion filter—but we used the 20% CineBloom because I already own it for my Fujifilm X100V. I personally really like CineBlooms, but the brand of diffusion filter doesn’t really matter all that much, I don’t think.
On the iPhone 13 Pro, you can attach the filter over the main 26mm camera or over the telephoto 77mm camera, but not over the ultra-wide 13mm camera. You can only use it on one camera at a time, so it does take some of the convenience out of using the iPhone for photography—not only do you have to carry the filter, but also screw it over the correct lens. Not a dealbreaker for this method, but certainly a limitation that one should be aware of.
The camera app that Amanda uses is RitchieCam, which has filters inspired by film, crafted to have an analog essence. Designed with a one-step philosophy, RitchieCam produces photos that are ready to be shared or printed the instant that they’re captured. RitchieCam was recently enthusiastically endorsed by Leigh & Raymond Photography as their favorite iPhone camera app—it was one of their five suggested ways for achieving a film look on a digital camera. RitchieCam is my very own camera app; download it for free today from the Apple App Store!
I said that the 20% CineBloom was key to getting a filmic look because diffusion filters take the digital edge off of digital pictures. It blooms the highlights and softens the shadows more like negative film. Also, diffusion filters have been a cinematographic tool long before they were popular for still photography, so the aesthetic produced by these filters is inherently filmic. Below is an example of what a diffusion filter does to an image. I chose this particular set because the difference is obvious; oftentimes the effect is a little less apparent, especially if there is not a bright light source (such as the sun) in or near the frame. The strongest CineBloom is 20%, so if you find it to be too strong, consider the 10% or 5% options instead—sometimes subtlety is preferable.
With CineBloom filter
Without CineBloom filter
Below are some of Amanda’s pictures captured with her iPhone 13 Pro using RitchieCam and the 20% CineBloom filter, made possible by the Sandmarc case and filter adapter. Combining RitchieCam with a diffusion filter produces images with a filmic quality, and, because editing isn’t required, this process works well for those who don’t have time to post-process their pictures, or who only want to do quick adjustments.
RitchieCam App — Analog Gold filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Sunny Day filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Vintage Kodak filter — iPhone 13 Pro — Photo by Amanda Roesch
RitchieCam App — Instant Color 2 filter — iPhone 13 Pro — Photo by Amanda Roesch
Have you ever wondered about the story behind Fuji X Weekly? How did it all began? What’s behind the curtain? The April issue of FXW Zine is for you!
This never-before-told journey is something that I’ve been wanting to share with you for awhile now. I had to be a little vulnerable, because some of the details are personal. I hope that you find it inspirational to you and your personal journey, whatever that is. Ultimately, this journey isn’t so much about me as it is about you.
If you are a Creative Collective subscriber, the latest issue of FXW Zine is available for you to download now! If you are not a subscriber, consider joining the Fuji X Weekly Creative Collective to gain access to all of the issues plus other bonus articles.
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