X-Trans V | FUJI X WEEKLY

Which Film Simulation Recipe, When? Part 5 — Fujifilm X-Trans V (X-T5, X-H2, X-H2s)

*Way Over That Way* – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome Recipe

Part 1 — Part 2 — Part 3 — Part 4

I get asked all of the time when to use which Film Simulation Recipe. With nearly 300 on the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen. Besides, you only have C1-C7 Custom Presets on your Fujifilm camera (most of you, anyway). Which seven Recipes should you have programed? When should you select them?

To understand the idea behind this post, it’s important to go back to Part 1, which explains it all. Definitely review the earlier articles in this series if you never saw them or if it’s been awhile. When I started, the Fujifilm X-T5 wasn’t even announced yet, and I had zero X-Trans V Film Simulation Recipes. By the time I published Part 4, I had a couple of Recipes for the X-T5, but only a couple. This followup had to wait awhile.

I still don’t have a ton of X-Trans V Recipes, but I do have just enough that I could complete this Part 5. I do want this to be an ongoing series, but new posts will likely be few and far between, so don’t expect a Part 6 anytime soon.

Below I will suggest to you seven Film Simulation Recipes (one for each C1-C7 Custom Preset) for you to program into your Fujifilm X-Trans V camera, and state when to use each. If you have a Fujifilm X-T5, X-H2, or X-H2S (or any other X-Trans V camera that is released after this is published), I invite you to try these Recipes for the situations that I recommend.

C1 — Kodak Portra 400 v2 — Golden Hour

*Flock of Cranes* – Gilbert, AZ – Fujifilm X-T5 – Kodak Portra 400 v2 Recipe

Kodak Portra 400 v2 is a Recipe that does well at anytime during daylight hours, and as the name suggests it is a good option for portrait photography, but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. 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, make sure that this is the one you’re shooting with. I personally use this Recipe frequently.

Alternatives for “golden hour” photography:

Nostalgia Negative
Kodak Negative

C2 — 1970’s Summer — Midday

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

You might be surprised that Kodachrome 64 didn’t make it to the top-spot on this category. I love that Recipe and think it’s a wonderful choice—don’t be afraid to choose it over this… or even over Kodak Portra 400 v2 for “golden hour” photography. Yet, for midday—which I’m defining as daylight that’s in-between the “golden hour” light of sunrise and sunset—I think 1970’s Summer is tough to beat. It’s not the most versatile Recipe, but if the sun is out, it’s an excellent option.

Alternatives for “midday” photography:

Kodachrome 64
Kodachrome 25

C3 — Kodak Ultramax 400 — Overcast

*Rainy Day Window* – Buckeye, AZ – Fujifilm X-T5 – Kodak Ultramax 400 Recipe

For dreary overcast, Kodak Ultramax 400 is my favorite option. It is a versatile Recipe, so it’s not just good for rainy days, but many other situations, too, including golden hour, midday, shade, indoor, nighttime and more. This could be your go-to Film Simulation Recipe. Emulsion ’86 and Thommy’s Ektachrome are very good runners up, and could also be alternatives for C2.

Alternatives for “overcast” photography:

Emulsion ’86
Thommy’s Ektachrome

C4 — Timeless Negative — Indoor

*Dark Coffee* – Buckeye, AZ – Fujifilm X-T5 – Timeless Negative Recipe

For natural light indoor photography, my top choice is the Timeless Negative Recipe (although any of the Recipes listed above this could work well, too). Timeless Negative is an all-rounder that could be used in most situations and produce excellent results, but specifically I’m recommending it for natural light indoor pictures. For artificial-light indoor images, use the recipes for nighttime photography below.

Alternative for “indoor” photography:

Standard Provia
Nostalgic Print

C5 — Superia Xtra 400 — Nighttime

*Night Blossoms* – Buckeye, AZ – Fujifilm X-T5 – Superia Xtra 400 Recipe

I don’t yet have a “Tungsten” Film Simulation Recipe for X-Trans V, but that doesn’t mean you are out of luck. I’ve gotten good results at night with both Kodak Ultramax 400 and Timeless Negative, but Superia Xtra 400 is my favorite for after-dark photography. Superia Xtra 400 is also good for any of the C1-C4 situations mentioned above, as it’s a versatile Recipe—it’s another that could be your go-to for any situation. The two alternatives mentioned below are great options for golden hour or midday photography—I prefer both for that, and Pacific Blues is one of my absolute favorites—but I have also had decent results with those two Recipes at night, so they are worth your consideration (either in C5, or in C1 or C2).

Alternatives for “nighttime” photography:

Pacific Blues
CineStill 400D v2

C6 — Vintage Bronze — Wildcard

*Paperflowers* – Buckeye, AZ – Fujifilm X-T5 – Vintage Bronze Recipe

In Parts 1-3, this category was called Alternative Process; however, for Part 4 and Part 5, since there is no Film Simulation Recipe that fits that category, it was renamed Wildcard. My top-option for it is Vintage Bronze, which produces vintage analog-like results in a variety of situations, including daylight and indoors. Alternatively, you could fill C6 with a favorite color Recipe that didn’t make it to C1-C5 above (such as Kodachrome 64 or Pacific Blues). Otherwise, the two options below are also great choices to program here.

Alternative “wildcard” Recipes:

Summer of 1960
CineStill 400D v1

C7 — Kodak Portra 400 v2 — B&W

*Window Shade Pull* – Buckeye, AZ – Fujifilm X-T5 – Ilford FP4 Plus 125 Recipe

Technically speaking, Ilford FP4 Plus 125 is the only black-and-white Film Simulation Recipe made specifically for X-Trans V cameras—and it’s a very good Recipe! But, X-Trans IV B&W Recipes are also compatible with X-Trans V cameras, and of those Kodak Tri-X 400 is my all-time favorite. I definitely recommend that one, but Ilford FP4 Plus 125 is excellent, too.

Alternatives for “B&W” photography:

Kodak Tri-X 400
Ilford HP5 Plus 400

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

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Summer of 1960 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on 6 Days Ago by Ritchie Roesch

*Ranch House* – Tucson, AZ – Fujifilm X-T5 – Summer of 1960 Recipe

I love Arizona Highways magazine! When I was a kid, my grandparents, who lived in Arizona, would give me their old copies of the publication. The pictures were always amazing. I didn’t know it at the time, but that simple act had a profound impact on my life. Eventually I would become a photographer, and I would be significantly influenced by the pictures from that magazine.

For those who don’t know, Arizona Highways is a magazine with an important history. It began in 1925, and in 1946 published the world’s first all-color publication. From the beginning, Arizona Highways has been dedicated to the art of photography. Ansel Adams was a regular contributor. Barry Goldwater, Ray Manley, Chuck Abbott, David and Josef Muench, Ed Ellinger, Esther Henderson, and many other talented photographers were often featured. The publication is full of wonderful images even to this day. While it is not purely a photography magazine, Arizona Highways is a publication that photographers love due to their passion for the medium.

I recently found the December 1960 issue of Arizona Highways in a used bookstore. It has page after page of amazing photography! I really love the look of the pictures in this particular issue—while not every image looks alike, there is definitely a commonality to the photo aesthetic. I suppose that some of it is due to the printing process, which the magazine proudly claims is “Micro-Color Lithography” printed on “Glossette Offset Enamel 70-pound base” paper. I believe that the age of the magazine—now over 62-yeas-old!—has something to do with it, as color photographs and pages have a tendency to fade and discolor over time. What about the film? Well, there’s that, too.

*Agaves in 1960* – Buckeye, AZ – Fujifilm X-T5 – Summer of 1960 Recipe
Photo of a page in the December 1960 issue of *Arizona Highways* magazine.

In the back of the magazine is a page that provides detailed notes on all of the photographs. For example, the picture shown in the magazine above—entitled The Blossoming Agaves—was photographed by Chuck Abbott in July 1960 during midday using a 5×7 Deardorff View camera set to f/18 and 1/10 shutter on Kodachrome, which had an ISO of 10. You might note that this is the “Sunny 16 Rule” except underexposed by 1/3 stop (presumably to protect the highlights). The detailed notes that were provided are a real treasure trove!

The vast majority of the pictures in the December 1960 issue were captured on Ektachrome. Now Ektachrome prior to 1955 used the E1 development process and was ISO 10, from 1955 to 1958 used the E2 development process and was ISO 32, and from 1959 to 1965 used E3 and was ISO 50—this particular issue had a mix of all three of those Ektachromes. A few Ascochrome images were also published, and those have a look that’s noticeably different than the Ektachrome and Kodachrome pictures. One image was captured on Ektacolor negative film, and that’s the only picture in the issue that wasn’t shot on slide film. Many of the photographs printed in the December 1960 issue of Arizona Highways were captured during the spring, summer, or fall of 1960.

Inspired by the aesthetic of the pictures found in the magazine, I set out to mimic the look with my Fujifilm X-T5. After a little fiddling and trial-and-error, I was able to get surprisingly close—almost an exact match to some of the pictures! There are certainly some similarities to both the Ektachrome and Kodachrome photographs published in the December 1960 issue of Arizona Highways, some of which were captured in the summer of 1960, hence the name of this Film Simulation Recipe.

*Saguaro Spines* – Tucson, AZ – Fujifilm X-T5 – Summer of 1960 Recipe

Because this Summer of 1960 Film Simulation Recipe uses the new Nostalgic Neg. film simulation, it is only compatible with the Fujifilm X-T5, X-H2, and X-H2S (as well as any other X-Trans V camera released after this article is published). Those with newer GFX cameras can likely use it, too, although it will probably render slightly different (but try it anyway!). This Recipe seems especially well suited for sunny daylight photography, and does alright in overcast, shade, and natural-light indoors, too.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: 5250K, -3 Red & -5 Blue
Dynamic Range: DR400
Highlight: +4
Shadow: +2
Color: +3
Sharpness: -4
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Summer of 1960 Film Simulation Recipe on my Fujifilm X-T5:

*Green Growth Under Dormant Trees* – Tucson, AZ – Fujifilm X-T5

*Falling Rain on Bougainvillea* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea on a Sunny Day* – Buckeye, AZ – Fujifilm X-T5

*Oleander and Palm Tree* – Tucson, AZ – Fujifilm X-T5

*March Palms* – Tucson, AZ – Fujifilm X-T5

*Agua Caliente Pond* – Tucson, AZ – Fujifilm X-T5

*Palm and Pond* – Tucson, AZ – Fujifilm X-T5

*Manmade Pond* – Tucson, AZ – Fujifilm X-T5

*Ham & Cheddar* – Tucson, AZ – Fujifilm X-T5

*Jon by a Pond* – Tucson, AZ – Fujifilm X-T5

*Ranch House & Palm* – Tucson, AZ – Fujifilm X-T5

*Yellow Blossom by Blue Window* – Tucson, AZ – Fujifilm X-T5

*Door Lamp* – Tucson, AZ – Fujifilm X-T5

*Sunlight Pines* – Summerhaven, AZ – Fujifilm X-T5

*Light Pouring Downhill* – Summerhaven, AZ – Fujifilm X-T5

*Leftover Forest Snow* – Summerhaven, AZ – Fujifilm X-T5

*Small Waterfall* – Summerhaven, AZ – Fujifilm X-T5

*Evergreen Forest* – Summerhaven, AZ – Fujifilm X-T5

*Icy Mountain Road* – Summerhaven, AZ – Fujifilm X-T5

*Blue Sky & Green Pines* – Summerhaven, AZ – Fujifilm X-T5

*Evening at an American Mountain* – Tucson, AZ – Fujifilm X-T5

*Eastern Mountains at Sunset* – Tucson, AZ – Fujifilm X-T5

*Rincon Peak at Sunset* – Tucson, AZ – Fujifilm X-T5

*Small Water Fountain at Sunset* – Tucson, AZ – Fujifilm X-T5

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Ilford FP4 Plus 125 — Fujifilm X-T5 (X-Trans V + X-Trans IV) Film Simulation Recipe

Posted on December 28 by Ritchie Roesch

*Gift Giving* – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”

Anders Lindborg is, in my opinion, the guru on Fujifilm black-and-white Film Simulation Recipes. After all, he invented the Kodak Tri-X 400, Ilford HP5 Plus 400, and Ilford Pan F Plus 50 recipes, and co-created the Kodak T-Max 400 recipe. These are some of my favorite monochrome options, and Kodak Tri-X 400 is my all-time favorite recipe, period. Anders also created the Kodak Gold v2 recipe, seven Fujicolor Pro 160NS recipes, seven Fujicolor Pro 400H recipes, and made an important D-Range Priority discovery. This Ilford FP4 Plus 125 recipe was invented by Anders Lindborg, too, so I know that you will love it! It’s a real honor to publish it on Fuji X Weekly, and I appreciate his willingness to share it with all of you.

The story doesn’t end there. Recently, Fuji X Weekly reader Dan Allen wanted to help create an Ilford FP4 Plus 125 recipe, and he purchased some rolls of the film to shoot side-by-side with his Fujifilm camera. When he told me this, I sent him Anders’ recipe to try. After he did his experiment, Dan shared with me the results, which were quite fascinating. It turns out that Dan’s Ilford frames and his Fujifilm digital pictures (using Anders’ recipe) looked similar, but the Ilford frames had less contrast, with softer highlights and shadows, so I made a few small modifications to Anders’ recipe to better match Dan’s pictures. Of course, one film can have many different looks, depending on how it was shot, developed, printed, and/or scanned. “This particular film stock,” Anders told me, “is highly tunable, ranging from super clean to ultra gritty.” No single recipe will ever recreate every possible aesthetic from the film.

“Just like the real thing,” Anders explained to me, “a slight underexposure protects the highlights and improves contrast. Centered around the upper half of the grayscale, this recipe ranges from soft and dreamy to sharp and almost graphic with pencil-like lines. It will almost never go entirely black and is great for shadow details.” Ilford originally introduced FP4 Plus 125 way back in 1968, and in 2014 they improved the emulsion, which is what’s currently available.

*Bougainvillea Grey* – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”

If you want to use Anders Lindborg’s recipe as he created it, set Dynamic Range to DR100, Highlight to 0, and Shadow to -1. He says that you can “really go crazy” with Clarity and Grain—try Clarity anywhere from -2 to +4, with Grain Weak/Small when using less Clarity (for a cleaner look) and Grain Strong/Large when using more Clarity (for a grittier look). Also, feel free to use the different faux filter options (+Ye, +R, +G) with this recipe.

The Ilford FP4 Plus 125 Film Simulation Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2S, and newer X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II. If you have an X100V or X-Pro3, you can use Anders’ unmodified version (explained above); for the X-T3, X-T30, plus X-Trans III, additionally ignore Clarity and Grain size. This recipe is especially well suited for mid-to-high contrast scenes, paying careful attention to the highlights so as to not clip them.

Film Simulation: Monochrome
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Daylight, +6 Red & -8 Blue
Dynamic Range: DR200
Highlight: -0.5
Shadow: -1.5
Monochromatic Color: 0 WC & 0 MG
Sharpness: 0
High ISO NR: -4
Clarity: +2
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -1/3 (typically)

Example photographs, all camera-made JPEGs using this “Ilford FP4 Plus 125” Film Simulation Recipe on my Fujifilm X-T5:

*Projector Light* – Surprise, AZ – Fujifilm X-T5

*Fog Lights* – Surprise, AZ – Fujifilm X-T5

*Disco Ball* – Surprise, AZ – Fujifilm X-T5

*Christmas Concert* – Surprise, AZ – Fujifilm X-T5

*Light Lines* – Surprise, AZ – Fujifilm X-T5

*Window Shade Pull* – Buckeye, AZ – Fujifilm X-T5

*Window Light on a Small Rug* – Buckeye, AZ – Fujifilm X-T5

*Call it a Fuji X Weekly Holiday* – Buckeye, AZ – Fujifilm X-T5

*Christmas Gift* – Buckeye, AZ – Fujifilm X-T5

*Legos for Christmas* – Buckeye, AZ – Fujifilm X-T5

*Was a Rose* – Buckeye, AZ – Fujifilm X-T5

*Backlit Petunia* – Goodyear, AZ – Fujifilm X-T5

*Dark Bougainvillea* – Buckeye, AZ – Fujifilm X-T5

*Lizard on a Wall* – Buckeye, AZ – Fujifilm X-T5

*Block Wall* – Buckeye, AZ – Fujifilm X-T5

*Waiting by the Pool* – Goodyear, AZ – Fujifilm X-T5

*Butcher* – Avondale, AZ – Fujifilm X-T5

*Tamale TV* – Avondale, AZ – Fujifilm X-T5

*Reading the Morning Paper* – Goodyear, AZ – Fujifilm X-T5

*Coffee Sugar* – Goodyear, AZ – Fujifilm X-T5

*Hydrant Top* – Buckeye, AZ – Fujifilm X-T5

*Geometric* – Buckeye, AZ – Fujifilm X-T5

*Suburban Rooftop* – Buckeye, AZ – Fujifilm X-T5

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

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Kodak Negative — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on December 22 by Ritchie Roesch

*Desert Fence* – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”

This recipe began as an attempt to mimic my “Nostalgic Negative” Film Simulation Recipe for X-Trans IV cameras using the new Nostalgic Neg. film simulation instead of Classic Chrome. I made that recipe before any camera with Nostalgic Neg. had even been released, when there weren’t very many samples available, and little information had been given about it. I observed “something along the lines of Eterna gradation, [with] the Classic Chrome color palette (however, with a warm shift)….” I also stated that it would “likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation….” Turns out that I was right about both.

I set out to see how close I could get to that X-Trans IV Nostalgic Negative recipe using Nostalgic Neg, on my X-T5. I was hoping that I could get a close match, but unfortunately I was only able to get it to be about 90% similar. Even though it wasn’t an exact match, I still liked the aesthetic. From there I gave it a couple of small tweaks to make it look better (but less like the X-Trans IV recipe), and that’s how this Kodak Negative recipe came to be.

To my eyes, without digging too deeply into samples (just “memory color”), this recipe is reminiscent of Kodak Ektar 100. Maybe +4 Color isn’t quite high enough to mimic Ektar film, but there are definitely some similarities between this recipe and the film. I didn’t set out to recreate Ektar, so I’m not worried that it’s not an exact match. There’s certainly a vibrant Kodak color negative film vibe to this recipe; if not Ektar, then maybe Royal Gold 100 or Gold 100 or something along those lines.

*Looking Through the Stone* – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”

This Kodak Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This Kodak Negative recipe is especially well-suited for golden hour photography, but can also be used during most other light situations.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, +1 Red & -4 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +2.5
Color: +4
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 Negative” Film Simulation Recipe on my Fujifilm X-T5:

*Church Dome* – Litchfield Park, AZ – Fujifilm X-T5

*Empty Cage* – Buckeye, AZ – Fujifilm X-T5

*Water & Reflection* – Litchfield Park, AZ – Fujifilm X-T5

*Lake Lamp* – Litchfield Park, AZ – Fujifilm X-T5

*Pond at Last Light* – Buckeye, AZ – Fujifilm X-T5

*Disappearing Desert Light* – Buckeye, AZ – Fujifilm X-T5

*Approaching Dusk at Pond* – Buckeye, AZ – Fujifilm X-T5

*Pond Water* – Buckeye, AZ – Fujifilm X-T5

*Palm Tree Moon* – Litchfield Park, AZ – Fujifilm X-T5

*Media Center* – Buckeye, AZ – Fujifilm X-T5

*Golden Triangle* – Buckeye, AZ – Fujifilm X-T5

*Golden Leaves* – Litchfield Park, AZ – Fujifilm X-T5

*Tree Top Clouds* – Buckeye, AZ – Fujifilm X-T5

*Lakeside Townhomes* – Litchfield Park, AZ – Fujifilm X-T5

*Soft Shrub* – Buckeye, AZ – Fujifilm X-T5

*Three Oranges* – Litchfield Park, AZ – Fujifilm X-T5

*Me Photographing Me* – Litchfield Park, AZ – Fujifilm X-T5

*Observing the Lake for Fish* – Litchfield Park, AZ – Fujifilm X-T5

*Worn Wood* – Litchfield Park, AZ – Fujifilm X-T5

*Pier Leg* – Litchfield Park, AZ – Fujifilm X-T5

*Lantana* – Litchfield Park, AZ – Fujifilm X-T5

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Five Fujifilm X-T5 AI AWB Workarounds

Posted on December 22 by Ritchie Roesch

Yesterday I stated that I don’t like the inconsistent results from the new AI Auto White Balance found on the Fujifilm X-T5 and the other X-Trans V cameras. This isn’t a problem for most people, I don’t think; however, if you are a wedding or event photographer (or someone who needs consistent rendering over a series of pictures), if you use Film Simulation Recipes and rely on the out-of-camera JPEGs, and if you commonly use Auto White Balance, this is an issue you are likely to encounter, and you will surely be frustrated by it.

For those who are looking for a workaround to this problem, I want to offer you five potential solutions that might be helpful. None are perfect, so I hope that Fujifilm addresses this with a firmware update in the near future, but in the meantime perhaps one of these will be at least ok for you.

1. Use a Film Simulation Recipe that doesn’t use AWB yet matches the lighting conditions. For example, if you will be photographing indoors under artificial light, instead of using AWB, try Serr’s 500T (which uses a specific Kelvin temperature) or CineStill 800T (which uses Fluorescent 3). While AWB recipes are easy to like because of their versatility (Jack-of-all-trades), Auto White Balance won’t always deliver the best results. You’ll have to figure which recipe might be most appropriate for whatever it is that you are photographing, and there could only be one or two that will really work well; however, if you can match the recipe with the scene and situation, that’s when you’ll get the best outcome.

2. Use Custom White Balance. Instead of using Auto White Balance, take a custom white balance measurement in each lighting condition that you encounter. Your camera has three Custom White Balance banks, so you can take a measurement in up to three different situations at the beginning, and just switch between the three banks as you move throughout the event. For example, Custom 1 could be for outdoors, Custom 2 could be for the reception, and Custom 3 could be for the dressing room. If the light changes significantly due to (for example) the sun’s position in the sky or cloud coverage, you might have to remeasure at various times. You’ll have to remember to switch to the appropriate Custom White Balance bank as the light situation changes.

3. Use Auto White Balance Lock (AWB-L). This feature allows you to lock onto a specific white balance for as long as you keep it locked. To do this, first, while in the Shooting Mode (not Playback), press and hold the Disp/Back button until the Bluetooth & Function (Fn) Setting Menu appears. Pick an Fn button (whichever one you like, as long as it isn’t a touchscreen gesture) to customize, and set it to AWB-L. Next, open the Wrench Menu subset, click Button/Dial Setting, select AWB-Lock Mode, and set it to AWB On/Off Switch. Now, when you think AWB is producing a good white balance for the situation, simply press the Fn button you chose to enable AWB-L, and the camera will keep that white balance until you press the button again to disable it. Don’t forget to disable AWB-L when you encounter different lighting.

4. Program the same Film Simulation Recipe into several C1-C7 Custom Presets, but (for example) set the white balance to Daylight (for outdoors) on one, maybe Fluorescent 3 (for indoors) on another, and some other white balance (for another light you expect to encounter) on another. Definitely check the results at the very beginning to make sure it all looks good (and adjust if necessary) before photographing the whole event this way. You’ll have to remember to change to the correct C1-C7 preset as the light situation changes.

5. Take your chances with AWB. If you shoot RAW+JPEG, even if you have no intentions of editing the RAW files, you can reprocess the pictures in-camera or with X RAW Studio if, by chance, a crucial exposure has a weird color cast. You can simply adjust the white balance to be closer to the others, or apply a B&W recipe (such as Kodak Tri-X 400) and call it being creative.

Kodak Portra 400 v2 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on December 16 by Ritchie Roesch

*Swath of Red* – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This is a simple update to the Kodak Portra 400 v2 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Chrome. For this recipe, simply setting Color Chrome FX Blue from Weak to Off makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Kodak Portra 400 is a popular professional-grade color negative film introduced in 1998. There’s been a number of revisions and improvements to the emulsion over the years, so the Portra that’s available today is slightly different than the original Portra from roughly 25 years ago. As the name suggests, it’s intended for portraitures, but is also a popular option for many other genres of photography. One film can have several different aesthetics depending on many factors, and this particular Film Simulation Recipe is modeled after the Kodak Portra 400 pictures from a specific photographer. It’s one of my absolute favorite recipes for daylight and especially golden hour photography, and it does pretty well in several other light conditions; however, it’s probably not the best option for indoor artificial light, unless you want especially warm pictures.

Succulent Stories – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This Kodak Portra 400 v2 Film Simulation Recipe is intended for Fujifilm X-Trans V models. It’s compatible with newer GFX cameras too, but will likely render slightly different. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodak Portra 400 v2 recipe for those models (click here). If you have an X-T3 or X-T30, try the version for those cameras (click here).

Film Simulation: Classic Chrome
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5200K, +1 Red & -6 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” Film Simulation Recipe on my Fujifilm X-T5:

*Christmas Angel* – Buckeye, AZ – Fujifilm X-T5

*Nativity* – Buckeye, AZ – Fujifilm X-T5

*Happy Holidays* – Buckeye, AZ – Fujifilm X-T5

*Changing Seasons* – Buckeye, AZ – Fujifilm X-T5

*Leaves on the Concrete* – Buckeye, AZ – Fujifilm X-T5

*Lighted Cupola* – Williams, AZ – Fujifilm X-T5

*Sisters* – Williams, AZ – Fujifilm X-T5

*Brothers* – Buckeye, AZ – Fujifilm X-T5

*December Fog* – Buckeye, AZ – Fujifilm X-T5

*Multi-Arm Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Saguaro Mist* – Buckeye, AZ – Fujifilm X-T5

*Wall Cage* – Buckeye, AZ – Fujifilm X-T5

*Super Star* – Glendale. AZ – Fujifilm X-T5

*I Believe* – Avondale, AZ – Fujifilm X-T5

*Standing in the Sun* – Avondale, AZ – Fujifilm X-T5

*Untidy Palm* – Palo Verde, AZ – Fujifilm X-T5

*Misty Desert Hills* – Buckeye, AZ – Fujifilm X-T5

*It Was All Yellow* – Buckeye, AZ – Fujifilm X-T5

*Small Pop of Color* – Buckeye, AZ – Fujifilm X-T5

*Clouds & Brown Trees* – Buckeye, AZ – Fujifilm X-T5

*Golden Neighborhood* – Buckeye, AZ – Fujifilm X-T5

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

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Superia Xtra 400 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on December 9 by Ritchie Roesch

*Red & Green Bush* – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

This is a simple update to the Superia Xtra 400 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Negative. For this recipe, simply setting Color Chrome FX Blue from Strong to Weak makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Thomas Schwab created the Superia Xtra 400 recipe by capturing a roll of actual Superia Xtra 400 film while also capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, he worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating it! He shared with me some of his side-by-side pictures—comparing the film with his recipe—and it was tough to figure out which was which—they looked so close! Also, just recently another photographer shot a roll of Superia Xtra 400 film and used the Superia Xtra 400 recipe on his Fujifilm camera, and he shared with me the similar results he got between the two. Amazing! Of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic of one emulsion can vary significantly.

*Lemon Bowl* – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years. This recipe is for Fujifilm X-Trans V cameras. Those with newer GFX models can use it, too, although it will likely render slightly differently.

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

Example photographs, all camera-made JPEGs using this “Superia Xtra 400” Film Simulation Recipe on my Fujifilm X-T5:

*Forwards or Backwards* – Buckeye, AZ – Fujifilm X-T5

*Standing Tall* – Buckeye, AZ – Fujifilm X-T5

*Hiding Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Don’t Touch* – Buckeye, AZ – Fujifilm X-T5

*Neighborhood Fog* – Buckeye, AZ – Fujifilm X-T5

*Dark Desert* – Buckeye, AZ – Fujifilm X-T5

*Misty Desert* – Buckeye, AZ – Fujifilm X-T5

*Clearing Clouds & Desert Mountain* – Buckeye, AZ – Fujifilm X-T5

*Ground Fall* – Buckeye, AZ – Fujifilm X-T5

*Wet Blossom* – Buckeye, AZ – Fujifilm X-T5

*Wet Rosebud* – Buckeye, AZ – Fujifilm X-T5

*Early Morning Lamp* – Buckeye, AZ – Fujifilm X-T5

*Night Blossoms* – Buckeye, AZ – Fujifilm X-T5

*Western Boots* – Buckeye, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H
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Making the Fujifilm X-T5 Make a Lot of Noise — Testing High-ISO on X-Trans V

Posted on November 28 by Ritchie Roesch

*Lights from a Frosted Window* – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400

A lot of people have asked me if the Fujifilm X-T5, with the new 40-megapixel X-Trans V sensor and processor, is better or worse than the 26-megapixel X-Trans IV cameras when it comes to high-ISO noise. Conventional wisdom would suggest that the lower-resolution sensor would be superior. Is it? Or did Fujifilm pull a rabbit out of a magic hat and somehow make X-Trans V better at high-ISO despite more megapixels?

I’ve spent some time pixel-peeping, comparing X-Trans V to X-Trans IV. Right off the bat I can tell you that both are pretty similar to each other. You’ll have a very hard time noticing the differences without pixel-peeping, and with pixel-peeping, they’re still quite similar. Below I’ve included a massive crop from an X-Trans V camera and an X-Trans IV camera. If these crops were sections of the whole pictures printed, I don’t know how large the prints would be, but they would be very large, so keep that in mind. The picture on the left (revealed by moving the bar to the right) is X-Trans IV, and the picture on the right (revealed by moving the bar to the left) is X-Trans V. Take a look at these two images.

You likely notice that the X-Trans V image is a little more detailed with noticeably finer digital noise, while the X-Trans IV picture is a tad fuzzier with chunkier digital noise. This is a result of the higher resolution sensor of the 40mp X-Trans V camera. What might be less obvious is that there seems to be just a bit more color blotchiness in the X-Trans V image. Perhaps even less obvious, I believe the X-Trans V camera is applying a slightly heavier-handed noise reduction to the picture than X-Trans IV, despite both set to -4 High ISO NR. However, please take all of this with a grain of salt, because we’re seriously pixel-peeping here. In real world photography, both cameras are pretty darn good at high-ISO, and neither are significantly better or worse than the other, and there’s no practical variance between the two. Unless you print posters or crop deeply, you’re not going to even notice a difference—even if you did print large or crop massively, the differences are pretty minor, but I guess you can feel confident that ultra-high ISO pictures will look slightly better (for the most part) on X-Trans V than X-Trans IV. That’s the takeaway, I think: high-ISO on X-Trans V cameras are just a hair better than X-Trans IV, but not enough to make a practical difference for most people. What I will add, though, is that it’s pretty amazing that they could do this while also increasing the resolution. I do wonder, though, if Fujifilm could make—say—a 20mp X-Trans camera with significantly increased dynamic range and high-ISO performance—that’s something I would be highly interested in.

Below are a few more high-ISO examples from my Fujifilm X-T5 camera.

*Polar* – Williams, AZ – Fujifilm X-T5 – “GAF 500” – ISO 12800

*Train Wheels* – Williams, AZ – Fujifilm X-T5 – “GAF 500” – ISO 12800

*Tracks* – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400

*Polar Express Passengers* – Williams, AZ – Fujifilm X-T5 – “Kodak Tri-X 400” – ISO 12800

*Tree Lights* – Williams, AZ – Fujifilm X-T5 – “Kodachrome 64” – ISO 6400

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

Fujifilm X-T5 in black: Amazon B&H
Fujifilm X-T5 in silver: Amazon B&H

1970’s Summer — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on November 27 by Ritchie Roesch

*Short Train* – Buckeye, AZ – Fujifilm X-T5 – “1970’s Summer”

This Film Simulation Recipe is the aesthetic that I hoped to achieve with the new Nostalgic Neg. film simulation. What does it resemble? It very much has a nostalgic Kodak “memory color” (as Fujifilm likes to say) that is reminiscent of old color photographs from the 1970’s. You might notice some similarities to William Eggleston’s Election Eve and 2 1/4 series and some of his other work from the late-1960’s through the mid-1970’s—not every picture, but certainly several. You might spot some similarities between this look and some of Stephen Shore’s photographs from the early-to-mid 1970’s. I think there are some similarities to a few of Joel Sternfeld’s American Prospects pictures. There’s a noticeable likeness to several of Richard Misrach’s desert photographs. In other words, this recipe produces a distinct 1970’s American New Color aesthetic.

It shouldn’t surprise you that the Nostalgic Neg. film simulation produces this look because Fujifilm stated that the American New Color movement was the inspiration. Specifically, they looked at the photographs of Eggleston, Shore, Sternfeld, and Misrach, but out-of-the-box default Nostalgic Neg. doesn’t seem to resemble their work all that closely. After examining many of their photographs, and identifying a few from each with a similar aesthetic, I set out to create a Film Simulation Recipe that better mimics some of their pictures. I feel like a got pretty close, and this recipe produces a distinct 1970’s vibe—especially the warmth of summertime—and so I named it 1970’s Summer. This recipe works best in sunny daylight, and is excellent for midday photography.

*Going Out of Business* – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer”

This 1970’s Summer Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, if you are looking for something somewhat similar, try my Vintage Color recipe, or even Kodak Portra 400 Warm.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 6500K, -1 Red & -4 Blue
Dynamic Range: DR400
Highlight: -2
Shadow: -0.5
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “1970’s Summer” Film Simulation Recipe on my Fujifilm X-T5:

*Red & Gold* – Prescott, AZ – Fujifilm X-T5

*Adventure’s First Stop* – Prescott Valley, AZ – Fujifilm X-T5

*Hyundai* – Prescott, AZ – Fujifilm X-T5

*Cat Clock* – Prescott, AZ – Fujifilm X-T5

*Propane* – Hassayampa, AZ – Fujifilm X-T5

*Security Light* – Palo Verde, AZ – Fujifilm X-T5

*Hay, Detour* – – Arlington, AZ – Fujifilm X-T5

*Gila River Bridge* – Arlington, AZ – Fujifilm X-T5

*13 FT 6 IN* – Arlington, AZ – Fujifilm X-T5

*Around the Bend* – Arlington, AZ – Fujifilm X-T5

*Gillespie Dam Bridge* – Arlington, AZ – Fujifilm X-T5

*Desert Dam* – Arlington, AZ – Fujifilm X-T5

*Julio Suarez* – Arlington, AZ – Fujifilm X-T5

*Dam Reflection* – Arlington, AZ – Fujifilm X-T5

*Broken Dam* – Arlington, AZ – Fujifilm X-T5

*Lakeview* – Lynx Lake, AZ – Fujifilm X-T5

*Attention Anglers* – Lynx Lake, AZ – Fujifilm X-T5

*Can’t See the Forest* – Lynx Lake, AZ – Fujifilm X-T5

*Rural Tree* – Arlington, AZ – Fujifilm X-T5

*Green Field* – Buckeye, AZ – Fujifilm X-T5

*Abandoned Rural Home* – Palo Verde, AZ – Fujifilm X-T5

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5

*Hole in the Wall* – Arlington, AZ – Fujifilm X-T5

*Abandoned & Leaning* – Arlington, AZ – Fujifilm X-T5

*Desert Basketball* – Arlington, AZ – Fujifilm X-T5

*Double Cross* – Arlington, AZ – Fujifilm X-T5

*Palm Trunk & Blocks* – Arlington, AZ – Fujifilm X-T5

*Fake Fall Flowers* – Arlington, AZ – Fujifilm X-T5

*Arlington Baptist Church* – Arlington, AZ – Fujifilm X-T5

*Gate 8* – Arlington, AZ – Fujifilm X-T5

*Flowing Water & Broken Footbridge* – Arlington, AZ – Fujifilm X-T5

*Irrigation Mist* – Buckeye, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H
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I’ve Got the Fujifilm X-Trans V Blues….

Posted on November 25 by Ritchie Roesch

I’ve been busy the last few days trying to see what is similar and what’s different about the JPEG output from my new Fujifilm X-T5 camera. How does X-Trans V compare with X-Trans IV? Are my X-Trans IV Film Simulation Recipes really compatible with the new Fujifilm cameras? Technically they are because the options are the same (except that X-Trans V has the new Nostalgic Neg. film simulation), but do they render the same, or at least similar enough?

I was surprised by something that I discovered. While many of the colors are extremely close in rendering, blues are not. Take a look at the comparison below. Both images were captured with identical settings and even the same lens—one with an X-Trans IV camera, and the other on X-Trans V—but the blue sky is not the same. If you study close enough you might notice some other extremely subtle differences, but the rendering of blue is a clearly not the same between the two sensor generations.

I looked very closely at all of the different film simulations, and I noticed that this difference in blue is film simulation dependent. Not all film sims render blue differently, and some vary more than others. Here are my discoveries:

Eterna Bleach Bypass on X-Trans V renders blue a little darker than on X-Trans IV with Color Chrome FX Blue set to Weak.
Classic Negative on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Weak.
Classic Chrome and Eterna on X-Trans V renders blue just barely lighter than on X-Trans IV with Color Chrome FX Blue set to Weak.
Velvia, PRO Neg. Hi, and PRO Neg. Std on X-Trans V renders blue halfway in-between Color Chrome FX Blue set to Weak and Off on X-Trans IV.
Provia and Astia on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Off.

In other words, with the exception of Provia and Astia, blue is different on X-Trans V than X-Trans IV. With Classic Negative, if an X-Trans IV Film Simulation Recipe calls for Color Chrome FX Blue set to Weak, if you set it to Off instead, it will render the same; if it call for Color Chrome FX Blue set to Strong, if you set it to Weak instead, it will render the same. You can also do that with Eterna Bleach Bypass, Eterna, and Classic Chrome, and it will be pretty close, but it won’t be identical. With Velvia, PRO Neg. Hi, and PRO Neg. Std, you can go either way (adjusting Color Chrome FX Blue or not), and it really doesn’t matter because it will be wrong by about the same amount, either too light or too dark.

Does it matter? it’s not a huge difference, but it is a difference. You might prefer the rendering of X-Trans IV or you might prefer the rendering of X-Trans V. I think, personally, I’m leaning towards preferring the X-Trans V rendering—many of my recipes use Color Chrome FX Blue set to Weak or sometimes Strong, and with X-Trans V that’s already built-in now on some of the film simulations. But it also means that many X-Trans IV recipes will render differently, and, while technically compatible, aren’t truly compatible with X-Trans V cameras.

*I captured with picture on my Fujifilm X-T5 using the new Nostalgic Neg. film simulation.*

Why did Fujifilm do this? I don’t think this is anything new. For example, Fujifilm has tweaked Velvia film, because the original Velvia emulsion was a “mistake” (although many photographers didn’t think so—if it was an accident, it was a very happy one). I remember reading once that Fujifilm, with each sensor generation, reevaluates each film simulation to see if it’s possible to get them closer to the intended aesthetic. Fujifilm likely decided that the blue of previous generations wasn’t quite “right” for many of the film simulations and so they fixed it. You might not thought that it was “broke” so you’re wondering why they felt the need to “fix” it; however, the folks at Fujifilm must have thought something wasn’t quite right, so they adjusted it.

What else is different? I’m still looking closely, so I don’t have all the answers yet. I think the rendering of cool colors is slightly different, but blue is by far the biggest change—even with a close side-by-side comparison it’s difficult to spot the differences of the greens and purples, but blue is obvious. Shadows and luminance in general seem to be just a hair dissimilar, but it’s close. Warm colors seem to be pretty much identical; if they’re different it’s tough to spot—maybe yellow is the most dissimilar of the warm colors, but it is still very similar, and I think it might have more to do with general luminance than a color difference. Really, blue rendering is the only significant difference I’ve found so far between X-Trans IV and X-Trans V.

With the Fuji X Weekly App, I don’t have X-Trans IV recipes currently listed as compatible with X-Trans V cameras. There are some—those that use Provia or Astia—that could be listed as compatible because they’ll render the same. For others, a Color Chrome FX Blue adjustment will make them compatible. For others, they won’t ever look the same but will still look pretty similar. I’m still deciding how I’ll handle this. The easy route would be to just say they’re all compatible—that they’re close enough—but I don’t think that’s the right path. I ask for patience as I wade through these waters—the rendering of that blue water on X-Trans V—and how to best present it to you in the form of Film Simulation Recipes.

Nostalgia Negative — My First Fujifilm X-T5 (X-Trans V) Film Simulation Recipe!!

Posted on November 22 by Ritchie Roesch

*Lynx Lake Overlook* – Lynx Lake, AZ – Fujifilm X-T5 – “Nostalgia Negative”

I spent $1,700 to get the Nostalgic Neg. film simulation. When I tried out-of-the-box default Nostalgic Neg., I was initially disappointed. It didn’t seem like anything special, or even particularly nostalgic. After a closer look, I saw the potential. The Nostalgic Neg. film simulation is like a cross between Eterna and Classic Chrome. It has soft tonalities in the shadows like Eterna, and warm colors are similar to Eterna, but with contrast and an overall palette more similar to Classic Chrome. There are some aspects that aren’t necessarily like either Eterna or Classic Chrome, but, for the most part, if Eterna and Classic Chrome had a baby, it would be Nostalgic Neg.

For this first Fujifilm X-Trans V Film Simulation Recipe, I wasn’t trying to emulate any specific film or process. I just wanted something that looked good. I simply attempted to create a better Nostalgic Neg., something that I would like shooting with. I hoped that perhaps it would even evoke feelings of nostalgia—that’s why I call this recipe Nostalgia Negative—and it would produce a vintage analog-like aesthetic. I think it does.

I really like this recipe for daylight situations. It does quite well in both midday and golden hour light. It’s pretty decent in shade, too. It’s not particularly well suited for indoor artificial light or nighttime photography, so I would avoid it for that. Otherwise, use it for landscapes, portraits, urban—it will look good for pretty much any genre of photography. I think this will be an instant favorite recipe for those with the latest cameras. Because this recipe uses Clarity, you cannot use the HEIF format, because HEIF disables Clarity. Also, for those who aren’t aware, Clarity causes the camera to pause briefly after each shot, similar to the amount of time it takes to advance to the next frame of film on an analog camera. I have Smooth Skin Effect Off, but I’m sure it’s fine if you enable it, either Weak or Strong, if you prefer.

*Two Ducks* – Lynx Lake, AZ – Fujifilm X-T5 – “Nostalgia Negative”

This Nostalgia Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras this film simulation, which I highly doubt that they will, this recipe is only for X-Trans V, and maybe the latest GFX, too; however, my Nostalgic Negative recipe for X-Trans IV cameras is actually not too far off from the Nostalgic Neg. film simulation, so you might appreciate using that recipe while you wait to get a camera with the new film simulation.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: Daylight, +3 Red & -3 Blue
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: +4
Sharpness: -1
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 new “Nostalgia Negative” Film Simulation Recipe on my Fujifilm X-T5:

*Blue Tree* – Lynx Lake, AZ – Fujifilm X-T5

*Lake Log* – Lynx Lake, AZ – Fujifilm X-T5

*Caution: Nature* – Lynx Lake, AZ – Fujifilm X-T5

*Believer* – Lynx Lake, AZ – Fujifilm X-T5

*CVS Obscured* – Buckeye, AZ – Fujifilm X-T5

*Golden Tower* – Buckeye, AZ – Fujifilm X-T5

*The Burmister* – Prescott, AZ – Fujifilm X-T5

*Dusk Blazer* – Buckeye, AZ – Fujifilm X-T5

*Spiderweb Rocks* – Buckeye, AZ – Fujifilm X-T5

*Don’t Shoot* – Buckeye, AZ – Fujifilm X-T5

*Golden Light Chair* – Buckeye, AZ – Fujifilm X-T5

*Lake Rocks* – Lynx Lake, AZ – Fujifilm X-T5

*Log on the Lake* – Lynx Lake, AZ – Fujifilm X-T5

*Brush Above the Water* – Lynx Lake, AZ – Fujifilm X-T5

*Private Dock* – Lynx Lake, AZ – Fujifilm X-T5

*PFG Boy* – Lynx Lake, AZ – Fujifilm X-T5

*Amanda* – Lynx Lake, AZ – Fujifilm X-T5

*Forest Abstract* – Lynx Lake, AZ – Fujifilm X-T5

*Last Light on the Desert Mountain Ridge* – Buckeye, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H
Fujifilm X-T5 in silver: Amazon B&H

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

The New Resolution Revolution

Posted on May 27 by Ritchie Roesch

*Historic 25th Street Dragon* – Ogden, UT – Fujifilm X-E1 – 16-megapixel

I think there’s a new resolution revolution about to be unleashed on the photography world.

Fujirumors is reporting that the X-H2S will have a 26-megapixel X-Trans V stacked sensor, which will be much like the X-Trans IV sensor but faster; however, the X-H2 will have a 40-megapixel X-Trans V sensor that’s not stacked, and the X-H2 will be less expensive than the X-H2S. My interpretation of this is that “regular” X-Trans V cameras will be 40mp. Wait, what? The upcoming Fujifilm cameras will be 40-megapixels?!

I saw today that Canon Rumors is reporting that an over-100-megapixel full-frame camera is in the works to be released next year—I also saw that Sony “may have” a 102mp camera coming later this year. Yesterday I saw that, according to 9to5Google, Motorola will release a cellphone with a 200-megapixel camera.

*Morning Drive* – Fort Stevens SP, OR – iPhone 11 – RitchieCam app – 12-megapixel

While many people will get very excited over this, and I do find it a bit fascinating, I’m not all thrilled about it. Why? I would prefer to see advancements in dynamic range (particularly highlights) and high-ISO performance over resolution. I haven’t encountered many situations where I found my cameras lacking the resolution required for what I needed. Honestly, 16-megapixels are more than enough for the average person, and 26-megapixels are more than enough for 99% of people. Very few people (although there are some) actually need 40mp, and even fewer (although there are some) actually need 100mp. Yeah, it’s fun to pixel-peep a 100mp picture, or even a 50mp picture, but in a practical sense, it’s not “better” than 26mp or even 16mp. And, of course, the bigger the file, the more storage is required, and the longer it takes to upload/download.

Instead of extra resolution, I’d actually prefer a new film simulation or two, and a couple new JPEG options, that allow me to achieve in-camera some things that I currently cannot. I’d get really excited for that! I bet a number of you would, too. I think there are a lot of improvements and advancements that could happen that don’t require any increase in resolution, but megapixels are easy to market—it’s the tried and true method to gain sales—so that’s what we get.

Ready or not, the next resolution revolution is here. I certainly won’t complain as I pixel-peep, but I might have to replace my SD cards, buy a larger external hard drive, and get more memory on my next iPhone….