Best Digital Cameras With Film Simulations - My Picks
- Sep 8
- 27 min read
Updated: Sep 11
Ever since Fuji came out with their film simulation cameras - the most recent being the Fujifilm GFX 100 RF - I’ve seen so many people looking to switch to Fuji. But I’ve also seen a growing interest in digital cameras with film simulations.
So I started getting curious… What other cameras out there can give you that film-like look without having to shoot actual film? Because let’s be real, film is amazing, but it’s not exactly the most convenient. Pricey rolls, lab wait times, scanning struggles… sometimes you just want to shoot and get that look now.
That’s actually why I started creating film simulations for Sony users, because not everyone wants to switch cameras just for a different color science. And while Sony doesn’t have built-in film simulation like Fuji, you can get your JPEGs to look more like film with the right settings.
So, I went down the rabbit hole. Turns out, a bunch of cameras, both old and new, have some kind of in-camera profiles that you can use for recipes.
Maybe you’ll see your camera on the list, or maybe you’ll discover one you didn’t know could make your photos feel like film. Either way, I wanted to break down the options, from older models with hidden in-camera profiles to modern cameras with LUT support.
Table of Contents
Fujifilm Cameras
Ofc, I couldn't get write this article without including Fujifilm cameras - the one and only brand that created all this buzz around film-like colors straight out of camera.
Fuji GFX 100 RF - Newest Release From Fuji
If you're into medium format cameras or a Fuji fan, you've probably heard of the Fujifilm GFX100 RF : a compact medium-format camera. And by "compact," I mean, relative to other medium-format cameras. It’s still chunky, but way smaller than the older GFX bodies. And hey, it has a 102MP sensor, 20 film simulations built-in, and it’s being pitched as more of an everyday, walkaround medium format camera.
But is it worth the price?
Pros
The Sensor - this is where the magic happens. The 43.8mm×32.9mm GFX 102MP CMOS II sensor with primary color filter delivers a wide dynamic range, sharp details, and low noise.
The Image Processor - Fuji’s X-Processor 5 teams up with the sensor to deliver an excellent image quality. Not only that, but it’s fast and reliable.
20 Film Simulations - you get all 20 base film simulations, including favorites like Classic Chrome, Provia, Reala Ace, Acros, and Nostalgic Neg. This is a big pro, as not all Fuji cameras come with all the base film simulations. Besides this camera, the X100 VI is the only one with all the simulations baked-in.
Auto-Focus - The Image processor support an AI-driven subject detection which helps focus accuracy for faces, eyes, animals, and more.
Cons
The Fixed f/4 Lens - Alright. Let’s talk about this lens. 55mm f/4 on a medium format sensor? That’s roughly 44mm f/3.2 in full-frame terms, which is fine. Not super fast, not super slow. Would it take amazing images? Of course. But on a medium sensor, why lock it to f/4? An f/2.8 would have made this an absolute killer for low light and subject isolation. It just feels a bit limited. And if I’m buying a fixed-lens camera, I want it to feel complete, not like I’m making compromises out of the box.
No In-Body Stabilization (IBIS) - This might be the biggest head-scratcher. Every other modern GFX body has IBIS. So why remove it here? You’re telling me this is meant to be a more handheld-friendly, portable medium-format camera… but I need a tripod for low light? It’s confusing because Fuji seems to be marketing this as a street-friendly alternative to their bulkier GFX cameras. But with no IBIS, it feels contradictory. I know that the leaf shutter improvements help reduce shutter shake, but still, it doesn't compensate for IBIS, especially when shooting at lower speeds.
Verdict? It’s a cool concept, basically an X100VI in medium format clothing. But without IBIS and with that f/4 lens, it feels like it’s missing something.
Fujifilm X100 VI
Next up on the list is Fuji’s latest X100, which you’ve probably seen this one all over. And yes, it lives up to the hype.
You get the new 40MP sensor, built-in IBIS, and of course, all the film simulations Fuji is known for. It looks great, feels great, and delivers straight-out-of-camera colors. It's still got the fixed 23mm f/2 lens (35mm full-frame equivalent), and looks like a film camera.
Pros
The Sensor - 40 megapixels is a big jump from the X100V. Tons of detail, more room to crop, and just overall cleaner files.
IBIS is finally here - You can now shoot handheld in lower light without worrying about blur. Also helps for video. This is the first X100 with stabilization built-in.
20 Film simulations - All the base film simulations are baked-in, and they look even better with this sensor.
Built-in ND filter - Still has that handy 4-stop ND filter, which means you can shoot wide open in bright light without blowing your highlights. Also nice for long exposures.
Viewfinder options - The hybrid viewfinder gives you both an optical and electronic viewfinder, which is rare and pretty fun to use once you get the hang of it.
Video got a boost - You probably won’t buy this camera for video, but it now shoots up to 6.2K, with decent AF and tracking. Totally usable if you need it.
Design - Small, solid, and beautiful. The kind of camera you actually want to carry around. Perfect for travel and street shooting.
Cons
A fixed lens - You’re locked into that 23mm f/2. It’s sharp, but can feel limiting. You can add conversion lenses or crop in-camera, but it’s not the same as changing lenses.
AF is better, but not perfect - Definitely improved over the X100V, but still not great for fast action or tracking. Fine for everyday use though.
Not fully weather-sealed out of the box - You’ll need to buy an adapter ring and filter to make it weather resistant. Without those, it’s not sealed.
Battery life is just okay - Expect to bring a spare, especially if you’re using IBIS or doing video.
Verdict? If you’re into Fuji and want a do-it-all travel/street camera, this is it. Pricey, yes, but it’s probably the best “walkaround” camera Fuji has ever made.
Fuji X-T5
The X-T5 is Fuji’s classic all-rounder: beautiful retro dials, a strong stills camera, and packed with Fuji’s film simulations. Think of it as the workhorse in the lineup — smaller than the X-T4, but still serious.
Pros
40MP sensor - Super sharp, detailed files. Great for cropping or printing big. Also handles high ISO better than you’d expect.
Film simulations - You get 19 built-in looks, from Classic Chrome to Nostalgic Neg.
IBIS (up to 7 stops) - Lets you shoot handheld in low light without pushing ISO too far. Also helps with video.
Old-school controls - Dedicated dials for ISO, shutter speed, and exposure comp. Tactile, fast, and just more fun to use.
Solid build - Magnesium alloy body with weather sealing. Stands up to cold, dust, or rain.
Tilt screen - Three-way tilt LCD. Nice for low and high angles. Keeps the back clean, unlike the fully-articulated vlog-style screens.
Good autofocus for general use - Fast startup, quick to focus, and subject tracking works well for people, animals, and most everyday scenes.
Compact but solid - Smaller than the X-T4, but still feels like a serious camera. Great size for travel or long days.
Cons
AF isn’t made for sports - It’s fine for most things, but if you’re tracking fast subjects, you’ll hit its limits. Some firmware updates even made it worse for fast action.
Menu is deep - Fuji’s menus are packed, and not always intuitive — especially when setting up video or custom buttons.
Large file sizes - RAW files can hit 80–100MB uncompressed. You’ll want fast cards and big drives if you shoot a lot.
Rolling shutter in electronic modes - Not ideal for fast-moving subjects when using the electronic shutter or filming.
Video is good, but not pro level - if video is your main focus, the X-H2S, Sony FX3, or the Sony a7 IV (if you're looking for something more affordable) are a better fit.
Tilt screen isn’t for vloggers - No fully articulating screen, which might matter if you shoot a lot of self-facing video.
Subject tracking still hit or miss - Works most of the time, but can be inconsistent — especially after firmware updates.
Verdict? The X-T5 is perfect if you want Fuji’s full retro shooting experience and amazing stills quality. It’s not made for sports or video-first shooters, but for photography, it’s one of the best Fuji bodies right now in my opinion.
Sony Cameras - In-Camera Control with Picture Profile Settings
If you’ve ever wondered whether you can get film-like colors straight out of a Sony, the answer is: absolutely. Sony’s cameras don’t come with “film simulations” the way Fuji does, but they do have powerful in-camera tools that let you create your own film recipes.
Two main systems let you shape color and tone directly in-camera:
Picture Profiles (PP) – These are Sony’s most powerful in-camera color controls, originally designed for video but equally useful for stills. With Picture Profiles, you can create custom film-like looks by adjusting gamma curves, color modes, and other parameters.
Creative Look settings – These are simpler, more ready-to-go color presets (similar to Olympus’s Art Modes or Nikon’s Creative Picture Controls). They’re easy to apply but don’t allow nearly the same level of fine-tuning.
For creating film simulations, I mainly rely on Picture Profiles combined with White Balance adjustments. This is because PP gives much deeper control over the tonal and color response than Creative Looks alone. By tweaking gamma curves, color phase, black level, saturation, and WB, you can mimic everything from Kodachrome to Fuji Classic Chrome straight in-camera.
You can try a couple of them here:
👉 Deep-dive into a comparation between Creative Looks and Picture Profiles.
What you can edit in-camera with Sony Picture Profiles and WB
With Picture Profiles, you can adjust:
Gamma / Cine Gamma Curves → control contrast, highlight roll-off, and midtones
Color Mode / S-Cinetone → choose the base color rendering (BT.709, S-Cinetone, Cine4, Cine2, ITU709, Pro, etc.).
Black Level → raise or lower shadows for mood or filmic feel.
Color Depth → tweak individual colors (R, G, B, C, M, Y) for precise looks.
Color Phase / Color Tint → shift overall color hue, fine-tune skin tones or overall vibe.
Detail / Sharpness
With White Balance, you can adjust temperature to warm or cool the image and shift tint for green/magenta balance. Together, these settings provide us with granular control over how our final image is going to look. Here are some examples of film recipes I've created with the Picture Profile menu:
👉 Deep-dive into the Picture Profile menu & learn how to use it to create film simulations!
Sony a6700
The a6700 is a compact APS-C mirrorless that punches above its weight. Its sensor has the new color science leans slightly toward green-yellow, with colors that are well-balanced and less saturated than the RX100. That makes for versatile, film-like JPEGs straight out of camera. Fast autofocus, solid video options, and portability make it a great all-rounder.
Pros
Compact, yet powerful - The body is small and lightweight, making it easy to carry around for travel or street. Despite its size, the a6700 is powerful.
S-Cinetone - You get that warm, filmic look straight out of camera for video and JPEGs, which is great for hybrid shooters.
It borrows its sensor from the FX30 cinema line - This means sharp, detailed files with solid dynamic range. Great for everyday shooting, portraits, and landscapes, with enough resolution to crop when needed.
4K 120fps with only a slight crop - clean, detailed, and the high frame rates give you buttery smooth slow-motion for creative video work.
1080p 240fps, and 10-bit 4:2:2 recording at high bitrates (with a V90 card).
Top-notch Autofocus - Sony is famous for it. The a6700 locks on and sticks to your subject, whether it’s people, animals, or even birds, with eye-detection that’s reliable and fast.
Flip screen + good ergonomics - The fully articulating screen is great for vlogging or awkward angles, and while the body is compact, the grip feels secure for long shooting sessions.
IBIS (in-body stabilization) - It’s not gimbal-level, but it makes a difference when shooting in low light or filming on the go.
Cons
Low-light performance is weaker than its predecessor, the a6600.
When shooting bursts at 10fps, you’ll experience viewfinder blackout.
The EVF is tiny (the same one as the a7C II).
The compact body means fewer buttons and less direct control.
Verdict? The a6700 is a sweet spot for anyone who wants Sony’s top-notch autofocus and video power in a compact APS-C body. The Picture Profiles and Creative Looks give you plenty of room to play with film-inspired looks. If you shoot travel, street, or hybrid photo/video and don’t need full-frame, this one’s hard to beat.
Sony RX100 VI
The RX100 VI is a pocketable powerhouse. Its colors are cooler, leaning toward cyan-teal, and a bit less saturated than both the a6700. With its built-in Zeiss lens and compact size, it’s perfect for travel, street, or anytime you want a film-like look without lugging a bigger setup.
Pros
Pocketable design - It literally fits in your pocket, making it one of the easiest cameras to carry around. Perfect for travel, everyday carry, or shooting without drawing attention.
1-inch sensor - Delivers sharp, clean images with nice dynamic range for such a small camera. Bigger than most compact sensors, so you get more detail and better low-light performance.
24–200mm Zeiss zoom lens - Super versatile. Wide enough for landscapes or street, long enough for portraits or wildlife. And it’s sharp across the range.
Fast autofocus - Sony’s AF magic at work again. Locks onto subjects quickly and tracks them reliably — not bad at all for a compact.
4K video - Clean, oversampled 4K with good detail. Add the flip-up screen, and it’s great for casual vlogging or travel clips.
Cons
Low-light performance — The 1-inch sensor is good for its size, but it can’t match APS-C or full-frame. You’ll either need great lighting or heavy denoising in post.
No weather sealing.
A tiny pop-up EVF with low resolution - not super comfortable for long use.
Weak battery life - you'll need spares for certain.
Lack of 10-bit LOG, or HD 50fps 10bit options.
Verdict? It's a solid camera, for sure. Great for travel, concerts, and street photography. But if Sony made the RX100 just slightly bigger—with a built-in EVF, stronger grip, bigger battery, and proper sealing—it would be close to perfect. They should also create 2 versions, one with a bright lens with shorter zoom for nighTtime use, and one with longer but slower lens for daytime users.
Sony a7 IV
The a7 IV is a full-frame mirrorless workhorse, known for clean, neutral files and excellent dynamic range. Its sensor tends toward magenta and is less saturated than the a6700 or RX100, which gives it a more subdued look. Full-frame depth, versatility with lenses, and solid low-light performance.
Pros
Full-frame sensor - 24MP gives clean, detailed files with excellent dynamic range, perfect for portraits, landscapes, and low-light shooting.
Fast autofocus - Sony is famous for it, and the a7 IV locks on and tracks subjects reliably, including people and animals.
Great low-light performance - Full-frame sensor plus strong ISO handling means less noise in dim conditions.
4K video - Oversampled, clean, and detailed; perfect if you want high-quality video alongside stills.
IBIS (in-body stabilization) - Helps smooth handheld shots, whether for photos or video.
Lens compatibility - The a7 IV works with any Sony E-mount lens, giving you a huge range of options from fast primes to versatile zooms. Full-frame depth means you get that creamy background blur and more control over perspective than APS-C cameras. Pair it with a fast 50mm or 85mm prime, and portraits pop; use a wide-angle zoom for landscapes or street, and the sensor handles it beautifully. Even adapted lenses from older Sony or third-party brands (with the right adapter) produce beautiful results.
Battery life - Surprisingly long for a mirrorless camera, letting you shoot all day without worry.
Cons
Body and handling - The a7 IV is compact for a full-frame, which helps with portability, but it also means fewer buttons and a small, low-res EVF. You can fix it with an extra grip, but honestly, I prefer a bigger body with a larger EVF and more direct controls — especially when you’re paying full-frame prices.
Video quirks - 4K at 50fps is limited to APS-C crop mode, so you lose some of that full-frame field of view if you want high-frame-rate video.
Olympus Cameras
Olympus was one of the first brands to really lean into the idea that digital cameras could have “built-in looks.” They introduced Art Modes in 2008, four years after Fuji launched their film simulation modes on the S3 Pro DSLR. But they really changed the game with the Creative Dial.
What are Art Modes?
On Olympus cameras (like the PEN-F or PEN E-P7), Art Modes (sometimes called *Art Filters*) are basically built-in creative filters. Think of them as ready-to-go looks that mimic film, or vintage looks, but baked right into your JPEGs.
They’re not as tweakable as Fuji film simulations or Sony Picture Profiles, but they’re quick and fun.
You can shoot straight JPEGs with these, or even apply them in video. They’re a great shortcut if you want quick results without editing.
The real game-changers, though, are Monochrome Profile Control and Color Profile Control.
Monochrome Profile Control
Monochrome Profile Control lets you create custom black & white looks in-camera. You can adjust:
Color filter effects – red, yellow, orange, green; mimic how B&W film reacts to filters. Red darkens skies and smooths skin, green brightens foliage.
Tone curve control – tweak shadows and highlights separately.
Film grain – add different strengths of simulated grain.
Shading (vignetting)
Color Picture Control
This is where Olympus really shines, in my opinion. Why? Because they’ve been giving us an in-camera HSL tool.
Color Profile Control (CPC) is the “color” twin to Monochrome Profile Control, except you get:
Per-color saturation adjustment → you can tweak individual colors (red, orange, yellow, green, aqua, blue, purple, magenta). It’s basically an **in-camera HSL panel**, but only for saturation.
Overall hue shift → you can rotate all colors around the wheel a bit, warmer/cooler.
Tone curve control → adjust shadows/highlights separately, similar to MPC.
Artistic filters on top (optional) → you can still apply vignetting, shading, or color “moods” if you want.
So while it’s not quite as powerful as Lightroom (no individual hue/luminance sliders), it’s way deeper than what most brands give you in-camera.
Olympus Color Creator
Color Creator shifts hue and saturation across the entire image, like spinning a color wheel, similar to Sony’s _ add here feature from Picture Profile settings and explain shortly.
So, unlike the Color Profile Control, which lets you tweak individual colors, Color Creator applies a color wash to the whole frame.
Which Olympus Cameras Have All The Features?
It’s surprising that only three Olympus models let you adjust 12ndividual color profiles directly in the body. These are the Olympus PEN-F, OM System PEN E-P7, OM System OM-3.
These are the only models with full in-body Color Profile Control accessible through a dedicated dial or menu system. The PEN-F and E-P7 are most noted for having a front creative dial to quickly access this feature, while the OM-3 also supports it with firmware and software integration.
Olympus PEN-F & PEN E-P7
Olympus’s PEN series made in-camera creativity the highlight. The PEN-F is a cult favorite thanks to its Creative Dial, which lets you tweak colors, contrast, shadows, highlights, grain, and individual colors—and even save your own film-like looks. The PEN E-P7 brings most of that creative power into a smaller, more affordable, travel-friendly body, with Art Filters for instant film-inspired effects.
Pros
Creative control - Customize colors, tones, and grain straight in-camera.
Film-inspired JPEGs - Get stylized looks without editing.
Design & usability - PEN-F is tactile and analog-feeling; E-P7 is compact and pocketable.
5-axis stabilization & fast AF - Both handle handheld shooting and stills well.
Lens options - Works great with Olympus’s primes.
Cons
PEN-F: No 4K video, AF isn’t the fastest, discontinued so prices are high, small grip, and no weather sealing.
PEN E-P7: No viewfinder, AF is still contrast-detect, the kit lens is just okay, no weather sealing, and video is decent but nothing special.
Verdict?
Both are great if you want creative JPEGs straight out of camera for street, travel, or everyday shooting. Go for the PEN-F if you like dials, tactile controls, and deeper color tweaks. Pick the E-P7 if you want something smaller, simpler, and easier on the budget.
Ricoh GR Series
If you’re into film simulations - you’ve probably heard of the Ricoh GR series - especially the GR III, GR IIIx. Ricoh started manufacturing film cameras in 1936, so they have some experience under their belt with film photography. (and they also bought Pentax in 2011).
And one of the standout features of this camera is precisely its ability to mimic that analog look through their effects settings.
Does Ricoh have film simulations?
Yep. On Ricoh cameras, they’re called Image Controls. Think of them like base looks( kind of like Sony’s Creative Looks or Picture Profiles). From there, you can tweak things like saturation, hue, contrast (with separate controls for shadows and highlights), sharpness, and clarity.
You also get access to settings like dynamic range compensation, noise reduction, and of course, white balance, so there’s plenty of room to dial in your own custom film-style look.
This is kind of similar to what you can achieve on Sony cameras, except I find the picture profile menu much more precise and granular.
Sony gives you a deeper level of control over color science, gamma curves, and noise handling that really lets you shape your image exactly the way you want.
👉 If you want to get the most out of Sony’s powerful picture profile system, check out my full guide where I break down each menu option and how to use them to create your own film simulations.
Pros
Image quality - the Ricoh GR III is a 24mp camera with a APS-C sensor, a boost from the 15mp the GR II had. The image quality is really really good for this small compact camera.
Size - this camera fits in your pocket, so it’s super easy to carry everywhere. Plus, if you’re into street photography, it’s subtler than a DSLR, meaning you can take candid shots with more ease.
Great JPEGs straight out of camera - The GR series comes with a couple of film-like looks (less than Fuji offers), but you can tweak them further to achieve a custom look. Luke Taylor makes Ricoh GR III film recipes and they look really cool.
Snap focus - awesome feature for street photography where 1 sec of the autofocus adjusting can make or break the shot.
Incorporated highlight diffusion filter - this is only available on the Ricoh GR III HDF, but it’s pretty cool if you want to add that bloom effect that you sometimes get accidentally with certain film stocks.
Cons
Autofocus performance in low-light situations - the autofocus can struggle in dim lighting, which can be a dealbreaker for night street photography. A more advanced autofocus system would help capture those fleeting moments.
No built-in flash - While many compact cameras come with a built-in flash for emergency lighting, the GR III lacks this feature. This means you'll need to rely on external solutions, which can be inconvenient when you want to travel light.
Battery life is subpar - but you can easily fix that by carrying some extra ones with you.
Video quality is rated as poor - The video capabilities are limited and fall short of even some smartphones.
Verdict? I’d say this is a suitable camera for street photographers, travelers, or just shooters who want a straightforward shooting experience with minimal distractions. This is certainly one I’d give a try.
Leica Digital Cameras
Leica has always had a reputation for delivering images that feel a little different: smooth, organic, with that film-like quality. And that’s no accident. Leica started as an analog-first brand: the legendary M-series rangefinders defined street and documentary photography for decades. That heritage still shapes how their digital cameras render color and tone today.
The combination of their color science and world-class lenses does a lot of heavy lifting. Straight-out-of-camera JPEGs often have that classic Leica look: rich, natural tones, smooth roll-off, and a depth that doesn’t feel overly digital. Leica lenses, Summilux, Summicron, Noctilux, and the rest, play a huge role here, giving images their signature sharpness, creamy bokeh, and subtle micro-contrast that makes photos feel almost analog.
Leica also offers a set of in-camera presets, called “Leica Looks”. The brand also started collaborating with famous photographers, like Greg Williams, to deliver looks inspired by their work. So far, I find these a bit bland.
Let’s go over a couple of the models on the market today.
Leica SL-3
Leica’s SL line is their pro-level full-frame mirrorless system. The SL-3 is built like a tank, packs a 60MP sensor, and gives you Leica’s signature clean, beautiful colors straight out of camera.
Pros
The build is solid, this camera could probably survive pretty much anyything.
Large, sharp EVF with accurate live exposure.
Image quality is top-notch straight out of camera: 60MP sensor, sharp, clean, neutral tones, gorgeous colors straight out of the camera.
Works well with Leica M lenses via adapter, with manual focus aids and lens corrections.
High ISO usable up to 50,000, good in low light, especially together with AI noise reduction software.
Cons
It’s heavy, thus not ideal for long handheld shoots or travel.
Expensive native SL lenses
Autofocus isn’t the fastest – better than older SLs, but low light or fast subjects can still be tricky.
Leica Q Series
The Leica Q line is probably the most popular among digital Leica shooters. The Q2 and Q3 are full-frame compacts with a fixed 28mm f/1.7 lens. Sharp as hell, gorgeous rendering, and you can crop in-camera to 35mm, 50mm, or even 75mm if you want. The JPEG engine produces natural, film-like colors without much tweaking.
Pros
Beautiful colors straight out of camera — no need to over-edit.
Fixed 28mm f/1.7 lens that’s extremely sharp & versatile - it’s wide enough for landscapes or street photography, yet bright enough for low light.
Full-frame sensor with excellent dynamic range.
Simple design and intuitive controls.
Cons
Expensive.
Fixed lens can feel limiting if 28mm isn’t your thing.
Verdict?
Yes, the image quality is beautiful, the design is stunning, and the JPEGs can look incredible straight out of camera. But personally? I don’t feel like they’re worth it. For the price of one Leica, you could grab a full kit from Fuji or Sony and still have money left over for a trip to actually shoot with it. Leica has its charm, no doubt (their lenses are top class). But for me, it’s not enough to justify the cost.
Epson R-D1
If you’ve shot film, you’ve probably run into Epson. Yep, the company that manufacturers printers & photo scanners. But back in 2004, they did something unexpected: they made a digital rangefinder camera. The R-D1 looked and handled like a classic film camera, right down to the dials and analog-style gauges, but shot digital files. It even came with film-like color modes built in, way ahead of its time.
Pros
True rangefinder experience – This is one of the few digital cameras that actually feels like shooting film. Manual focus, optical viewfinder, analog-style dials... it’s a dream for rangefinder lovers.
The design - With a Voigtländer-inspired build by Cosina, the camera includes tactile analog dials, a retro needle gauge, and a shutter cocking lever that feels just like advancing film.
Film-like look– It’s got a 6MP APS-C CCD sensor and a simple JPEG engine that gives you film-like images: soft color shifts, nice contrast, and an overall look that feels more organic than overly sharp or digital.
Uses M-mount lenses – So if you’ve got Leica or Voigtländer glass lying around, this is a great digital body to use them with.
Decent image quality for its time – Even with a 6MP APS-C sensor, it holds up surprisingly well if you shoot with intention.
Cons
Outdated tech – No live view, no video, no high ISO performance. It’s very much stuck in 2004.
Clunky RAW workflow – The R-D1 shoots in a unique ERF RAW format that most modern software can’t preview. No RAW+JPEG option either, so you’ll need to batch convert files just to review them—which slows things down unless you’ve built a whole workflow around it.
Small screen and clunky menu – The LCD is tiny, and navigating settings isn’t exactly smooth sailing.
Manual everything – Great if you love slowing down, but maybe not ideal if you're in a rush or need autofocus.
Battery life isn’t great
Does it have in-camera editing tools?
Yes, you can edit a few parameters in-camera, such as sharpness, tint, saturation, and contrast.
Sadly though, it’s been discontinued. These are collector items now, which means they’re hard to find, and usually expensive when you do. But I though I’d include here, since I found it interesting. You might be able to grab one second hand.
Canon Cameras - Picture Styles
There are many areas where Canon performs well. Color science, sensor, auto-focus, and lens selection.
But few people know that Canon also shines in another area. You can actually create film recipes for your Canon cameras, if you know where to dig.
Canon Picture Styles Explained
If you own a Canon camera, chances are you have the Picture Styles option. What are Picture Styles?
They are color presets that affect how your JPEGs look straight out of camera. So — even though they are not marketed as film simulations, you can certainly use them to get closer to a film-like look. Canon cameras come with a few basic Picture Styles, like Standard, Portrait, Landscape, and Neutral. But the real magic happens when you customize them.
What you can adjust in-camera
If you want to edit the Styles in-camera, you can only tweak a few parameters: sharpness, contrast, saturation, and color tone (which shifts skin tones towards yellow or red)
If you want to edit more parameters, you’ll have to install the Picture Style editor software on your PC.
However, this is where it gets cool. This software has a HSL tool that allows you to finely tweak colors. Now this is something that neither Fuji, nor Sony offers us. It’s exactly what I’ve been rambling on and on about Sony cameras, except it's not in camera.
The only downside? You have to load custom styles via Canon’s EOS Utility software, and you can only keep three custom styles on the camera at a time. But once set up, you can build your own film-style looks and bake them into your JPEGs.
So, which Canon bodies are worth looking at if you want to dive into Picture Styles?
Canon EOS R5 Mark II - Canon’s most advanced hybrid
Canon’s most advanced hybrid camera right now, the R5 Mark II, is a powerhouse for both stills and video.
Pros
The 45 MP CMOS sensor - Sharp, detailed files with blackout-free shooting up to 30fps. Great for action or wildlife.
Better heat management - Compared to the original R5, it won’t shut down as quickly when filming high-res video.
Excellent colors and dynamic range, straight out of camera. Canon is especially renowned for its skin tone rendition.
Autofocus system - Eye-controlled AF plus specialized subject modes makes focusing fast and intuitive.
Picture Styles
Cons
Low-light performance can disappoint - if you shoot at concerts or are into night sky photography, this will be a bummer.
A lot of upgrades from the original R5 are aimed at video, not stills. If you only shoot photos, you might not feel the benefit. This has been a recurrent problem with Canon cameras, if you ask me.
Overwhelming menus - Tons of video settings you might never touch if you’re just a photographer.
If you use older batteries on this camera, you’ll run into some limitations - Older batteries restrict video recording to lower quality (4K30 with heavier compression), disable some advanced features (such as the pre-shot photo buffer), and limit the functionality of accessories like the Ethernet port and cooling fan grip.
The price tag - $4,299 (body only), the R5 Mark II is more expensive than some direct competitors, such as the Sony (fill in the blank) Nikon Z8, which offers similar or even superior autofocus and video features at a lower price.
Verdict? The R5 Mark II is a monster hybrid camera. If you’re a video-first creator who also shoots stills, it’s hard to beat. But if you’re only into photography, I don’t think you’d need this many video specs.
Canon G7 X Mark III
This is Canon’s pocketable compact that vloggers and street shooters love. Think of it as Canon’s equivalent to Sony’s RX100 series.
Pros
1-inch sensor in a body that fits in your jeans - the Canon G7 X Mark III delivers an excellent image quality. And it’s perfect for street photography & travel.
Fast-burst shooting - great for candid street photography.
A versatile zoom lens 24-100mm.
Travel-friendly - Small, light, with a touchscreen, grip, Wi-Fi, and Bluetooth.
Decent video - 4K with clean HDMI output makes it handy for vlogging.
Build-in ND filter that ensures that you’ll get vibrant colors even when the lighting conditions are super bright.
Cons
No viewfinder - you’re stuck with the rear LCD.
Short battery life
Touchscreen is not the most comfortable — especially if you have large fingers.
Verdict? The G7 X Mark III is a fun, compact camera that works great for travel, street, or casual video. But if you want a more premium compact, the Sony RX100 VI or VII gives you more flexibility, even if they cost more.
Nikon Cameras
Nikon isn’t usually the first brand people think of when it comes to “film simulations,” but they do offer some powerful in-camera color tools. Nikon calls these Picture Controls, and they let you adjust the look of your JPEGs right in-camera—contrast, saturation, hue, sharpness, clarity, brightness, tone curve, and effect level.
You can start with presets like Standard, Vivid, Neutral, or Portrait, but Nikon also lets you customize each control, save your own profiles, and apply them to both stills and video.
NX Studio and Custom Picture Controls
But Nikon’s NX Studio software takes this a step further. It allows you to create Custom Picture Controls on your computer and then upload them to your camera via a memory card.
With NX Studio’s Flexible Color tools, you can:
Adjust hue, chroma, and brightness for up to eight individual colors using the Color Blender interface.
Apply color grading to highlights, midtones, and shadows for precise control over your image.
Save your adjustments as a Custom Color Picture Control and transfer it to a compatible Nikon camera.
This makes it possible to craft film-like looks or consistent color profiles across different shoots, straight in-camera, without post-processing. This is really cool, and it's what I wish Sony would add to their cameras.
I also created 10 of the most beloved film stock and film simulations as Nikon picture Control Film presets
Cameras Supporting NX Studio Flexible Color Picture Controls
These Nikon cameras are compatible with it: Nikon Z6 III, Nikon Z5 II, Nikon Z50 II, Nikon Zf.
Nikon Z6 III
Full-frame mirrorless with advanced Picture Controls and NX Studio support. Great if you want film-inspired looks baked into your JPEGs, plus solid video options.
Pros
Full-frame sensor with strong low-light performance
Save and switch between multiple custom color profiles
5-axis IBIS and fast autofocus
Reliable 4K video
Cons
On the heavier (and pricier) side
Menus can feel overwhelming if you’re new to Nikon
Best for: Hybrid shooters and pros who want full control and film-like looks straight out of camera.
Nikon Z50 II
Compact APS-C mirrorless that’s easy to carry and still gives you custom Picture Controls via NX Studio. A nice travel-friendly option if you want quick, creative looks without much editing.
Pros
Lightweight and portable
Custom Picture Controls
Snappy autofocus and decent burst speed
Cons
APS-C sensor means weaker low-light performance
Video features not as advanced as the Z6 III
Best for: Street, travel, and everyday shooters who want flexible, film-inspired JPEGs without hauling a big camera around.
Note: You can also look at Nikon DSLRs. From the D3000 and up, you can load custom Picture Controls just like on the mirrorless models - the only difference is you won’t be using NX Studio for it. Instead, you’ll need to create or download a Picture Control file and load it via the Picture Control Utility 2 software (or drop it onto an SD card and import it in-camera).
The upside? These DSLRs are often much more affordable on the used market, making them a budget-friendly way to get film-inspired looks without jumping into mirrorless.
Panasonic Lumix S9
Panasonic’s first compact full-frame mirrorless, the S9 is small, colorful (literally, it comes in different colors), and aimed at creators who want great images without hauling around a huge body. What surprised me most are their in-camera LUTs that give you ready to go video footage and JPEGs. It's actually the first mirrorless camera with a dedicated LUT button. For a first-gen attempt, that’s impressive.
Pros
Add up to 39 custom LUTs via the Lumix App.
Dedicated LUT button & Lumix Lab app — Applying and switching LUTs is ridiculously easy, and the app lets you transfer files, tweak colors, or grab LUTs from other creators.
Small, lightweight, and easy to carry anywhere.
IBIS — Smooths handheld photos and video, even when shooting without a tripod or gimbal.
Price point — At around $1,500, it’s a full-frame camera with solid features, which is affordable given what you get.
Versatile vari-angle touchscreen
Cons
No EVF - Using the LCD in bright daylight is tricky. It really limits photography in strong light or when you need precise framing.
Short recording limits - Panasonic is conservative with video time, so it can become frustrating if you're not just shooting shorter clips. You can’t just roll until overheating like on Sony.
Battery life - Shorter than you’d like, especially if you leave it on between takes. USB-C charging helps, but it’s still something to plan around.
Limited controls - The tiny body has fewer buttons, and some handling quirks (like the small lens options) make it less intuitive for fast-paced shooting.
Autofocus quirks - Works well in most conditions, but can struggle with fast-moving subjects or in low light, especially with third-party lenses.
No dedicated grip - The small body is easy to carry, but it can feel unstable in hand, especially for longer shoots or heavier lenses.
Verdict?
The Panasonic S9 is a camera full of promise. If Panasonic releases a “version 2” with a few tweaks, longer recording times, a viewfinder, and more lens choices — this could easily become a full-frame everyday carry dream. For now, it’s worth it if you prioritize portability and color straight out of camera, but plan for short video sessions and be ready to deal with its quirks.
Yashica Y35
Last camera on the list is the Yashica Y35 - such an interesting premise for this one, and that why I included it here.
Here's the gist - the Yashica Y35 aims to look like a film camera and feel like a film camera. Even though it's a digital camera - it has no LCD screen, so you don't get to see your shots until later on when you upload them to your computer. Also, to add the film simulations you have to add these “digiFILMS” inside the camera. The idea is to make the whole experience feel like it would on a film camera.
Although the idea is super interesting, the execution falls short, from what I read and the photos I've seen.
Why?
No controls - other than exposure, so you don’t know at what shutter speed it shoots.
Small sensor – which means less dynamic range, more noise, and just… less image quality in general.
Low light performance
You’re limited to just a couple of looks.
You have to physically remove the digiFILM and reinsert another one to change looks – which might sound cool at first, but gets old fast.
The build. It’s mostly plastic, and from what I’ve seen, the buttons and switches feel pretty flimsy.
Here a few samples for you to check out, image quality is sub par for sure:
Verdict?
So - while it may be super fun to use because it does feel a little bit like a film camera, you'd be better off buying a film camera or go for another option from the ones I listed above.
Takeaway
Fujifilm: Fast, reliable — great if you like ready-to-go simulations, but you are limited to the base film simulations. You can tweak a few parameters, but it's nowhere near what you can do with Nikon, Panasonic, Olympus and Sony.
Nikon: Full DIY control with NX Studio — perfect if you want to build and save multiple custom recipes.
Panasonic: LUTs + Photo Styles give hybrid shooters insane flexibility in-camera.
Sony: Strong for hybrid shooters, you have many in-camera editing options for JPEGs and video footage and these give you good control. I have been able to replicate Fuji film simulations and to create beautiful film recipes. But no in-camera HSL/LUT support yet — that’s the missing piece that makes Nikon and Panasonic shine.
Olympus: Best for granular, in-camera color tweaking on JPEGs — especially with HSL tool.
Canon: Solid default colors; app helps for HSL tweaks, but workflow isn’t ideal.
So, What's The Best Digital Camera With Film-like JPEGs?
Right now, Nikon clearly leads the pack. Their in-camera Picture Control system, combined with NX Studio software, gives you incredible control to craft highly customizable and accurate film-like looks. It’s the kind of flexibility I’ve been hoping to see from Sony or Fujifilm—but Nikon took the lead, and they deserve recognition for it.
If you’re exploring alternatives, the Panasonic S9 is worth considering. Despite its flaws, it’s surprisingly close to Nikon in creating film-like JPEGs, and I expect this line to evolve quickly since this was only the first of its kind.
Nikon is an excellent choice whether you’re buying your first camera or adding a second one for fun and creative exploration. But if you already own a Canon, Leica, Olympus, or Sony that lacks native “film simulations” and don’t want to invest in another camera, there are still ways to achieve film-like effects using tools and techniques you might not have realized were available.
Fujifilm and Ricoh shine when it comes to intuitive in-camera film simulations—straight out of the box they look fantastic. However, they’re relatively limited when it comes to fine-tuning, color shifts, or achieving highly accurate film emulations.
If you want deeper control, consider Sony or Olympus instead. Both offer more advanced tools that let you build complex, fully custom looks—going well beyond Fujifilm’s simpler, intuitive approach.
I hope this article helps you make the best choice for your needs—or simply discover things you didn’t know your camera could do.