Film Simulation Review: Waiting With Fujicolor 100 Industrial

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Waiting Outside – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

My Fujicolor 100 Industrial film simulation recipe is very underrated. I don’t hear many people talk about it. This recipe doesn’t get nearly as many views as some of my other ones, perhaps because the film that it mimics isn’t especially well known. Make no mistake, this recipe is one of the best! If you’ve never tried it, I invite you to do so.

This particular film simulation recipe pairs well with urban scenes. It’s good for more than just that, but a downtown environment seems to be where this recipe does its best work. These photographs aren’t urban, but my Fujicolor 100 Industrial recipe was a good choice for this series.

Anytime can be a good time for photography. Take a camera with you wherever you go, and you’ll be surprised at the photographic opportunities that present themselves. This series of pictures was captured while waiting in line to get inside of Costco, and I was able to do this because I had my Fujifilm X-T30 with me, which had a Fujinon 35mm f/2 lens attached to it. With what’s going on in the world, there’s a line to even get inside of the store to shop. I used the wait as an opportunity to create some pictures. This is no special event. The lighting wasn’t extraordinary. It was unremarkable. Despite that, there were pictures worth capturing, images worth creating, even in an ordinary moment. Use the ordinary moments in life as photographic opportunities.

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Architecture of Costco – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Green Tree & Roof – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Removing Gloves – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Pushing Baskets – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Distancing – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Guy in a Red Shirt – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Cart Man – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Red & Silver Carts – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

See also: Film Simulation Reviews

My Fujifilm X-T30 Kodacolor II 126 Film Simulation Recipe

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Blooming Pink – Farmington, UT – Fujifilm X-T30 “Kodacolor II 126”

A Fuji X Weekly reader asked me to recreate the look of some old family prints from the 1970’s that he found. After some investigating, it was determined that the pictures were captured on an Instamatic camera using 126 film (also called Kodapak). 126 film was basically 35mm film, except with a paper back and no sprockets (like 120 film), and in a cartridge that didn’t need to be rewound (similar to 110 film). It was intended for low-budget point-and-shoot cameras, and the cartridge made loading and unloading film easier. Basically, Instamatic was Kodak’s attempt to open up photography to the masses, as it required little to no skill or photographic background. It was very popular in the 1960’s and ’70’s, and became less popular in the 1980’s. A quirk of Instamatic cameras and 126 film is that it captured square pictures.

It’s unknown what film was used on the pictures in question, but most likely it was Kodacolor II, which was by far the most popular color 126 film during the time that these pictures were captured. Kodacolor is a name that Kodak gave to a number of different color negative films going back to the 1940’s. Kodacolor II was the very first C-41 process film. It was introduced in 1972 and discontinued in 1981, replaced by Kodacolor VR, which is the film that my Kodacolor film simulation recipe resembles. The prints likely have some fading and color shifts due to age, but they appeared to be in good condition overall.

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Instamatic – Farmington, UT – Fujifilm X-T30 “Kodacolor II 126”

This film simulation recipe, which I’ve called Kodacolor II 126, is a bit unusual in that it is supposed to mimic a look that came from cheap cameras. It calls for Image Quality to be set to Normal instead of Fine (I normally use Fine). The only other recipe that I’ve done this with is my Kodak Elite Chrome 200 Color Fade. I keep the ISO high on this recipe to make it look more grainy. While I’ve done that with several black-and-white recipes, this is the first time I’ve done it with color. This is also the only recipe that calls for the 1:1 aspect ratio, although feel free to use 3:2 or 16:9 if you’d like. These settings pair well with vintage lenses, and if you “miss” focus a little sometimes, well, that just makes it resemble Instamatic even more.

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: +3
Color: -4
Noise Reduction: -4
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
Image Quality: Normal
Aspect Ratio: 1:1
White Balance: 6300K, +6 Red & +3 Blue
ISO: 3200 – 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodacolor II 126” film simulation recipe on my Fujifilm X-T30:

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Polaroid Girl – Farmington, UT – Fujifilm X-T30

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Lizard, Boy & Wall – Farmington, UT – Fujifilm X-T30

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Boy in the Alley – Farmington, UT – Fujifilm X-T30

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Two Cans – Farmington, UT – Fujifilm X-T30

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Suburban House & Tree – Farmington, UT – Fujifilm X-T30

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Suburban Trees & Distant Mountain – Farmington, UT – Fujifilm X-T30

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Tree Top & Mountain Top – Farmington, UT – Fujifilm X-T30

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Suburban April  – Farmington, UT – Fujifilm X-T30

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Robot in the Window – Farmington, UT – Fujifilm X-T30

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Heart & Soul – Farmington, UT – Fujifilm X-T30

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Wreath & Flowers – Farmington, UT – Fujifilm X-T30

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White Paper – Farmington, UT – Fujifilm X-T30

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Bowl on a Trike – Farmington, UT – Fujifilm X-T30

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Hose & Elephant – Farmington, UT – Fujifilm X-T30

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Concrete Path – Farmington, UT – Fujifilm X-T30

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Little Colorful Chair – Farmington, UT – Fujifilm X-T30

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Summer Chair – Farmington, UT – Fujifilm X-T30

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Day Dreaming – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

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All About Aspect Ratios

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Your Fujifilm X camera has three aspect ratio options: 3:2, 16:9 and 1:1. You can see an example of each of those above. Have you ever wondered which one to use? Why these three? Why not others? Should you crop to a different aspect ratio? What do the numbers mean? I hope to answer these questions and more in this article!

Before moving on, I want to quickly discuss the aspect ratio numbers and what they mean. For instance, what does 3:2 stand for? It’s math, and it means that one side of the picture is 3 parts long (whatever the measure), and the other is two. It’s the shape of the image, and the shape matters when you print. A 3:2 image can be printed 4″ x 6″ without cropping, as well as 8″ x 12″, 12″ x 18″, 16″ x 24″ and 20″ x 30″. If you want to print at those sizes and don’t want to crop, the 3:2 aspect ratio is the right shape for you. The shape also matters for composition. What might look great with one aspect ratio might not with another. You will likely compose your pictures differently depending on the shape.

Let’s take a look at each of the three aspect ratios that Fujifilm gives you, plus some other common aspect ratios not found on your camera.

3:2

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The 3:2 aspect ratio is the native ratio on your Fujifilm X camera, and that’s because it’s the shape of the sensor. It’s the common aspect ratio of full-frame and APS-C sensor cameras, and it’s also the aspect ratio of 35mm film. The 3:2 aspect ratio is one of the most used, if not the most used, aspect ratios in digital photography. It’s a very familiar shape that most of us use every day, and it conveniently matches a number of different print sizes.

While the 3:2 aspect ratio is a very common shape, for some it’s too wide, and for others not wide enough. There are other shapes that might suite your photography better.

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16:9

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The 16:9 aspect ratio might seem cinematic, and that’s because it’s the shape of wide-screen televisions. When you watch your favorite TV show or movie at home, you likely view it in this aspect ratio. This is a common shape for video.

While mainly intended for video, the 16:9 aspect ratio can be used for still photography. The long, thin proportions are almost panoramic, and can be especially great for landscape photography. In order to create this shape, your camera crops a little off the top and bottom of the image and doesn’t use the whole sensor.

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1:1

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The 1:1 aspect ratio is square, but that doesn’t mean it’s lame. In fact, it’s the original shape of Instagram. The square picture has been around nearly as long as photography itself. There have been numerous cameras over the years that capture square images, including many 120 and 126 film cameras.

Magazine and newspaper editors used to prefer square pictures because they could crop them tall or wide, whatever would best fit the available space. On your Fujifilm X camera, some of the picture is cropped off the ends to make it square, so it doesn’t use the whole sensor.

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5:4

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The 5:4 aspect ratio is not found on your Fujifilm X camera. In fact, none of the rest are, only the first three. In order to get this shape, which is almost square, you’ll need to crop your picture using software.

This aspect ratio is from large format film, which commonly come in 4″ x 5″ or 8″ x 10″ sheets. You might note that this is the shape of 8″ x 10″ and 16″ x 20″ prints, which are common sizes. While it’s not unusual to print in this aspect ratio, it is a bit unusual to find a camera that captures it.

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4:3

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The 4:3 aspect ratio, which has its origins in medium format film, is very common. Most digital cameras with sensors larger than full frame or smaller than APS-C use this aspect ratio, including Fujifilm GFX. It’s not as wide as 3:2, but wider than 5:4. I wish that Fujifilm offered this as an option on their X-Trans models. Since they don’t, if you want to use the 4:3 aspect ratio you’ll have to crop using software. If you print poster-sized, you might make a 30″ x 40″ print; otherwise, the 4:3 aspect ratio will require some cropping to print common sizes.

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7:5

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The 7:5 aspect ratio is very uncommon. It’s a not-especially-popular large format film size. You can make 5″ x 7″ prints, too. Outside of that, this is a pretty much forgotten aspect ratio. With that said, it’s a nice in-between to the 3:2 and 4:3 ratios, which might make it a good option if you’re looking for something different.

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Your Fujifilm X camera has 3:2 as its standard aspect ratio, which is good because it won’t require cropping for many common print sizes. You also have the option of 16:9 if you want a wide picture, or 1:1 if you want a square picture, although the camera won’t use the whole sensor. Any other aspect ratio will require you to crop using software. You can make a picture any shape you want, but the more uncommon the aspect ratio, the more difficult it might be to print. Still, that shouldn’t stop you if that’s what you want to do. It can be tricky to discover what aspect ratio works best for your photography, so if you aren’t sure, I invite you to try different shapes until you find what you like best. You might find that you appreciate different shapes for different subjects or situations. There’s no one-size-fits-all aspect ratio, but the 3:2 aspect ratio is one-size-fits-most, which makes it ideal to have as the shape of your sensor.

Film Simulation Review: Light & Shadow with Ilford Delta Push-Process

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Chair & Pillow – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Photography is about light. Without light there are no photographs. Great photographs require great light. What “great light” is depends on the picture and circumstance, and what’s great for one image might not be for another. Great light can be found anytime of the day or night if one looks hard enough for it.

This series of pictures demonstrate the play of light and shadow in an image. It features instances of bright highlights and deep shadows together. It’s the contrast between illumination and the absence of it. I needed a dramatic film simulation recipe to capture these pictures. I knew that it would need to be black-and-white because these pictures aren’t about color, but light and shadow. Color would only be a distraction to the point. But which black-and-white film simulation recipe should I choose?

There are several options for dramatic black-and-white that I could have chosen, including Dramatic Monochrome, Monochrome Kodachrome, Agfa Scala, Ilford HP5 Plus, Ilford HP5 Push-Process, X100F Acros, X-T30 Acros, Acros Push-Process, and Tri-X Push-Process. Any of those recipes would have worked, but each would have produced a different result. Some have more contrast, some less. Some have a greater dynamic range and others a more narrow. Some are brighter, some darker. Some have more grain and other less. I could have picked any of them and gotten interesting results, but I went with Ilford Delta Push-Process instead, partially because I had been using it for other pictures during this time. It turns out it was a good choice, because it seems to have the right contrast, tones and grain for this series. Sometimes luck plays a role. What I know now is that the Ilford Delta Push-Process recipe is a great option for dramatic light situations like these, and I will choose it again for similar situations in the future. I captured these pictures on a Fujifilm X-T30 with a Fujinon 35mm f/2 lens attached to it.

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Suburban Shadows – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Seat Back Shadow – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Chair Details – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Girl Ghost – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Sunlight on the Kitchen Floor – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Don’t Step Into Darkness – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

See also: Film Simulation Reviews

Film Simulation Review: Planting Flowers with “Kodak Gold 200”

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White Tulip Bloom – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Believe it or not, there are over 70 different film simulation recipes on Fuji X Weekly! That’s amazing! There are lots more than I would have guessed before I counted them. And I’m working on even more!

Something I’ve realized is that I haven’t spent all that much time on the practical use of these different recipes. You might not know which ones to choose, or when to use them, or maybe even how to use them. Perhaps you are overwhelmed by all of the options. Maybe you are not sure which ones can be used on which cameras. I haven’t done a great job with this side of it, the practical side. Moving forward I hope to make things easier for you by showing you the “what, where and why” of the different film simulation recipes.

This post is the very tiny tip of what I hope is a great big iceberg of information. I plan to publish many articles that I hope are helpful to you, that answer some of the questions you might have about these recipes. This article is a very simple one: an example of when to use my Kodak Gold 200 film simulation recipe. I get asked often, “What’s the best recipe for this situation?” Whatever that situation might be. I thought it would be helpful to showcase different recipes being used in various situations. I hope to do a whole bunch of these types of articles, and I’m calling them Film Simulation ReviewsYou’ll be able to see a certain recipes used in a certain situation, and you’ll be able to judge for yourself if you like it or not. If you appreciate how a certain recipe looks in a certain case, for example Kodak Gold 200 with flowers and shaded light, which is what you see here, then you can use it yourself when in a similar situation.

My wife, Amanda, was going to plant some flowers in a pot on our porch, and I wanted to capture it. I grabbed my Fujifilm X-T30 and attached a Fujinon 35mm f/2 lens to it. Why this combo? I like that camera and lens; I don’t have a profound answer. Initially I planned to use my Portra 160 recipe, but after judging the light, which was shady and flat, I decided to go with the Gold recipe instead because it has more contrast. I think it was a good choice for this scene. Actual Kodak Gold film was considered a good all-around choice for many situations, so it shouldn’t surprise anyone that the film simulation that mimics it is also good for many different situations.

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Pot & Soil – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Digging Dirt – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Planting Tulips – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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White Tulip Blossom – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Adding Yellow – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Adding Soil – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Potted Blooms – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Just Add Water – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Wet Potted Blossoms – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Wet Tulip – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Porch Blossoms – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Potted Blossoms – Farmington, UT – Fujifilm X-T30 & Fujinon 35mm f/2

[Not] My Fujifilm X-T30 Ilford Delta Push-Process Film Simulation Recipe

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Boy in a Chair with a Phone – Farmington, UT – Fujifilm X-T30 “Ilford Delta Push-Process”

When I shot film, Ilford Delta was my go-to for black-and-white photography. Sure, I used other films, but Ilford Delta was what I most often loaded into my camera. For fine-grain, I used Delta 100. For situations other than bright daylight, or if I wanted more contrast and grittiness, I would choose Delta 400. For dim light, I would on a rare occasion use Delta 3200. Sometimes I would push-process the Delta 100 and Delta 400 a stop or two. I actually still have a couple rolls of Delta film sitting around, although I haven’t shot much film in the last few years. The last roll of Ilford Delta that I shot was Delta 3200.

Something that people might not be aware of is that Delta 3200 is actually not an ISO 3200 film, it’s actually rated at ISO 1000, but has “built-in” push-processing to ISO 3200 (labs know to increase the development time unless you specify otherwise). Ilford Delta films have a lot of latitude and flexibility. There’s a lot that one can do in the lab with any of the Ilford Delta films to customize the contrast and grain.

Fuji X Weekly reader K. Adam Christensen shared with me his film simulation recipe for Ilford Delta 3200, and I really like the way that his recipe looks. It’s a great black-and-white recipe! I made a couple of small tweaks to it, nothing big. Adam uses this recipe on his X100V, and he sets Grain to Large, which is an option on that camera, as well as the X-Pro3 and X-T4, but not on my X-T30. If I could set Grain to Large I would, as that would better mimic Delta 3200. Without it, perhaps these settings more resemble Delta 3200 shot and developed at ISO 1600. It reminds me of Delta 400 pushed one stop or maybe a stop and a half.

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White House Beyond the Thistle – Farmington, UT – Fujifilm X-T30 “Ilford Delta Push-Process”

I have the ISO on this recipe set at 12800, which makes it difficult (but not impossible) to use in daylight situations. It’s a little easier on X100 cameras that have a built-in neutral density filter. If you need to drop the ISO, you can go as low as ISO 3200 and still get good results, but for best results keep the ISO at 12800 as much as possible. All of the pictures in this article were shot at ISO 12800.

Monochrome (+Y, +R, +G)
Dynamic Range: DR400
Highlight: 0
Shadow: +3
Grain: Strong
Color Chrome Effect: Off
Toning: 0
Sharpening: -3
Noise Reduction: -4
Exposure Compensation: +1/3 to +2/3 (typically)
ISO 12800

Example photographs, all camera-made JPEGs using this Ilford Delta Push-Process film simulation recipe on my Fujifilm X-T30:

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FED 5C & Industar 69 – Farmington, UT – Fujifilm X-T30

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Phone Numbers – Farmington, UT – Fujifilm X-T30

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Girl, Smile – Farmington, UT – Fujifilm X-T30

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Broccoli – Farmington, UT – Fujifilm X-T30

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Faux Leaves – Farmington, UT – Fujifilm X-T30

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Glass Bottles with Stems – Farmington, UT – Fujifilm X-T30

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Flowers Waiting to Pot – Farmington, UT – Fujifilm X-T30

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Potted Tulip – Farmington, UT – Fujifilm X-T30

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White Tulips at Night – Farmington, UT – Fujifilm X-T30

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Outdoor Shelf – Farmington, UT – Fujifilm X-T30

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Dirty Feet – Farmington, UT – Fujifilm X-T30

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Roller Skating – Farmington, UT – Fujifilm X-T30

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Skates – Farmington, UT – Fujifilm X-T30

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Girl Outdoor – Farmington, UT – Fujifilm X-T30

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Two Feet – Farmington, UT – Fujifilm X-T30

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Chair Shadow – Farmington, UT – Fujifilm X-T30

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Blackberry Vine on Concrete – Farmington, UT – Fujifilm X-T30

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Watering Plant – Farmington, UT – Fujifilm X-T30

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Wet Handlebar – Farmington, UT – Fujifilm X-T30

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Raindrops on a Window – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

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

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Video: Monument Valley with Fuji X Weekly (500th Post!)

Follow along with me as I photograph Monument Valley! The video above, Monument Valley with Fuji X Weekly, is a behind-the-scenes look at my photographic adventure to the incredible desert formations of southern Utah and northern Arizona on the Navajo Nation. It was a thrill to experience Monument Valley. It really is an amazing place!

This was my last trip before the worldwide pandemic shut down all of my travel plans. So far I’ve had to cancel two trips, and there’s likely one or two more that won’t happen. I hope that this video will bring you some joy. I hope that it reminds you of some recent travels that you’ve done. I hope that it inspires you to dream of where you’ll go and what you’ll photograph when you can once again go places.

My wife, Amanda, and I created this video. Actually, she did the majority of the work. Amanda recorded the clips. She did all of the editing. She coached me through the narration. I have a face for radio and a voice for print, yet somehow she made the video look great! Her vision, her storytelling, and her talents are what made this happen. Thank you, Amanda!

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Evening at Monument Valley – Monument Valley, AZ – Fujifilm X-T30 & Rokinon 12mm

The photographs in the video were captured using a Fujifilm X-T30 and X-T1. I used four different lenses: a Fujinon 100-400mm, Fujinon 90mm f/2, Fujinon 35mm f/2 and Rokinon 12mm f/2. Amanda recorded the video using a Fujifilm X-T20 with a 16-50mm lens and a GoPro Hero 8 Black. The film simulation recipes used on the X-T30 were Velvia, Kodachrome 64, Analog Color, Dramatic Monochrome and Agfa Scala, and Velvia and Monochrome were used on the X-T1. Amanda used PRO Neg. Hi on the X-T20.

This article marks a significant milestone that I wanted to point out to you. This is the 500th post on Fuji X Weekly! Many blogs never make it to 500 posts, either because they publish too infrequently or they simply give up before it’s reached. What it means for you is that there’s a lot of content on this blog! If you haven’t been following Fuji X Weekly since the beginning, there are a ton of articles that you might have missed. There are perhaps many posts that could be helpful to you and your photography that you’ve never seen. I invite you to explore the older articles. The best way to do this is click the four lines on the top-right of this page, and either search a topic or browse the archive. Anyway, thank you for being a part of Fuji X Weekly! Without you, the 500 Posts milestone would not have been reached. You are appreciated!

Be sure to follow Fuji X Weekly, so that you don’t miss anything! I invite you to follow the Fuji X Weekly YouTube channel, as well. If you liked the Monument Valley video, I invite you to give it a thumbs-up, comment and share!

See also: Monument Valley – A Monumental Landscape

Help Fuji X Weekly

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

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My Fujifilm X-T30 Kodak Gold 200 Film Simulation Recipe

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Crown Burger – Layton, UT – Fujifilm X-T30 “Kodak Gold 200”

I’ve been asked countless times to create a Kodak Gold film simulation recipe. I’ve tried several times to make one, but I couldn’t get it quite right. Last week I was scrolling through Instagram and I saw a picture that I thought at first glance was captured using my Portra 160 recipe. It’s not unusual to see pictures that were captured using my different recipes, as some of them have become quite popular. It was an interesting picture, so I took my time looking at it, and as I did I thought that there was just too much saturation, contrast and grain for it to be my Portra recipe, yet it was still very similar. When I read the description I realized that the picture was captured with actual Kodak Gold 200 film! At that moment I knew that I could create a Gold recipe simply by modifying the Portra recipe.

Kodak Gold, which was introduced in the late-1980’s and is still around today, is a general purpose color negative film. It was originally called Kodacolor VR-G, then Kodacolor Gold, and finally Gold. It replaced Kodacolor VR. While the film has been improved a few times over the years, it still looks pretty much the same today as it did in the 1980’s. The film is prone to color shifts, and results can vary significantly depending on how the picture was shot, developed and printed or scanned.

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Flowing Farmington Creek – Farmington, UT – Fujifilm X-T30 “Kodak Gold 200”

Even though this Kodak Gold film simulation recipe is very similar to my Portra recipe, it took many experiments to get it right. I tried different combinations of Highlight, Shadow and Color before settling on these settings. I adjusted the white balance shift several times before returning to the same shift as Portra 160. I feel that this recipe is a good facsimile to actual Gold film, although, like all recipes, it will never be exact, as it cannot account for all the variables. It’s pretty close, though, in my opinion. I want to give a special thank-you to Fuji X Weekly reader Piotr Skrzypek for creating the original Portra 160 recipe for X-Trans II, which allowed me to make one for X-Trans III & IV cameras, which in turn made this Kodak Gold 200 recipe possible. This recipe is compatible with X-Trans III & IV cameras.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: -2
Shadow: +1
Color: +3
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Off
White Balance: Daylight, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Gold 200 film simulation recipe on my Fujifilm X-T30:

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Space Communication – Farmington, UT – Fujifilm X-T30

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Sky Traffic – Farmington, UT – Fujifilm X-T30

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Little Grass Runner – Farmington, UT – Fujifilm X-T30

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Pear Tree Top – Farmington, UT – Fujifilm X-T30

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Spring Tree – Farmington, UT – Fujifilm X-T30

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Tree Blossom – Farmington, UT – Fujifilm X-T30

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Backlit Pear Blossoms – Farmington, UT – Fujifilm X-T30

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Pear Blossom Day – Farmington, UT – Fujifilm X-T30

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Boy in Spring – Farmington, UT – Fujifilm X-T30

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Branch & Sky – Farmington, UT – Fujifilm X-T30

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Pear Blossom Reflection – Farmington, UT – Fujifilm X-T30

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Phragmites – Farmington, UT – Fujifilm X-T30

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Easy Feelin’ – Farmington, UT – Fujifilm X-T30

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Girl in the Backyard – Farmington, UT – Fujifilm X-T30

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Stages of Tulip Blooms – Farmington, UT – Fujifilm X-T30

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Crescent Tulips – Farmington, UT – Fujifilm X-T30

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Floral Decor – Farmington, UT – Fujifilm X-T30

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Cheese – Farmington, UT – Fujifilm X-T30

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Grill & Chill – Centerville, UT – Fujifilm X-T30

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No Door Dash in the Drive Thru – Centerville, UT – Fujifilm X-T30

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Corner – Centerville, UT – Fujifilm X-T30

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KFC – Layton, UT – Fujifilm X-T30

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Everette Brown – Layton, UT – Fujifilm X-T30

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Outside 7-Eleven – Layton, UT – Fujifilm X-T30

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Sunlight Through The Trees – Farmington, UT – Fujifilm X-T30

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Tree Trunk Above the Pond – Farmington, UT – Fujifilm X-T30

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Boulder Above the Pond – Farmington, UT – Fujifilm X-T30

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Father & Son Fishing in Farmington Pond – Farmington, UT – Fujifilm X-T30

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Fishing in Farmington Pond – Farmington, UT – Fujifilm X-T30

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Staircase Down to the Water – Farmington, UT – Fujifilm X-T30

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Flowing Creek – Farmington, UT – Fujifilm X-T30

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Creek in the Woods – Farmington, UT – Fujifilm X-T30

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Rocky Farmington Creek – Farmington, UT – Fujifilm X-T30

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Winter is Nearly Over – Farmington, UT – Fujifilm X-T30

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Red Car in Green Grass – Farmington, UT – Fujifilm X-T30

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Bug in the Dirt – Farmington, UT – Fujifilm X-T30

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Sunset on Burger Customer Parking  – Layton, UT – Fujifilm X-T30

See also: Film Simulation Recipe

Help Fuji X Weekly

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

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My Fujifilm X-T30 Cyanotype Film Simulation Recipe

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Ball Flowers – Farmington, UT – Fujifilm X-T30 “Cyanotype”

Cyanotype is an early photographic process that produces blue prints. It was invented in 1842 by Sir John Herschel, and was popular in Victorian England. The chemicals needed are simple: ferric ammonium citrate and potassium ferricyanid. It’s a contact process, so positives have to be placed right over the paper. Sunlight or UV light is required for the exposure. Cyanotypes are pretty simple, and anyone can do them at home.

I thought it would be fun to make a film simulation recipe to mimic cyanotype prints. Fujifilm X-Trans IV cameras have the ability to tone black-and-white pictures, either warm or cool. By toning the pictures blue, I was able to get in the neighborhood of cyanotype photography. Unfortunately, going all the way cool, which is -9 on toning, is only marginally blue enough to pass for cyanotype. Still, this was a fun experiment. If you are bored, why not give it a try yourself?

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Blue Blossom – Farmington, UT – Fujifilm X-T30 “Cyanotype”

Acros
Dynamic Range: DR400
Highlight: +3
Shadow: +3
Noise Reduction: -4
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
Toning: -9
White Balance: Auto
ISO: Auto, up to ISO 12800
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Cyanotype” film simulation recipe on my Fujifilm X-T30:

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Orbit – Farmington, UT – Fujifilm X-T30

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Caged Bloom – Farmington, UT – Fujifilm X-T30

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Blue Bloom – Farmington, UT – Fujifilm X-T30

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Succulent Blue – Farmington, UT – Fujifilm X-T30

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Light Bulb Blues – Farmington, UT – Fujifilm X-T30

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Stems – Farmington, UT – Fujifilm X-T30

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Welcome – Farmington, UT – Fujifilm X-T30

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Daffodil Blue – Farmington, UT – Fujifilm X-T30

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Falling Water – Farmington, UT – Fujifilm X-T30

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Post & Wire – Farmington, UT – Fujifilm X-T30

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Threatening – Farmington, UT – Fujifilm X-T30

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Growth in the Rocky Place – Farmington, UT – Fujifilm X-T30

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Studying Blues – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

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

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My Fujifilm X-T30 Polaroid II Film Simulation Recipe

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Pear Blossom – Farmington, UT – Fujifilm X-T30 “Polaroid II”

I was recently viewing vintage Polaroid pictures online while conducting research for my “original” Polaroid film simulation recipe, and I stumbled across one picture in particular that caught my attention. It was dark, contrasty, with low saturation and a blue-purple color cast. I really liked the way that this picture looked. After digging a little deeper I discovered that this wasn’t a real Polaroid, but a digital image given a Polaroid aesthetic using a VSCO preset (I’m not sure which one). I set out to recreate that look in-camera, and that’s how this “Polaroid II” recipe came to be.

This isn’t a recipe that I would use all of the time, but it’s interesting sometimes. It’s actually somewhat similar to my Expired Eterna recipe. It’s not terribly far off from my Bleach Bypass recipe, either. If you like those two, you might also appreciate this one. In the right situations, this recipe will give you a vintage analogue look with just the right range of expression. This recipe is compatible with all X-Trans IV cameras.

Eterna
Dynamic Range: DR100
Highlight: +4
Shadow: +4
Color: -3
Noise Reduction: -4
Sharpness: -4
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Shade, +4 Red & +6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to -1 (typically)

Example photographs, all camera-made JPEGs using this “Polaroid II” recipe on my Fujifilm X-T30:

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Buildings in Park City – Park City, UT – Fujifilm X-T30

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Directv – Farmington, UT – Fujifilm X-T30

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Roofs in a Row – Farmington, UT – Fujifilm X-T30

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Slope – Farmington, UT – Fujifilm X-T30

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Pine Tree & Cloud – Park City, UT – Fujifilm X-T30

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White Tree – Farmington, UT – Fujifilm X-T30

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Pear Bloom – Farmington, UT – Fujifilm X-T30

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Veiled Peak – Farmington, UT  – Fujifilm X-T30

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You – Farmington, UT – Fujifilm X-T30

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You II – Farmington, UT – Fujifilm X-T30

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Kitchen Succulent – Farmington, UT – Fujifilm X-T30

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Map & Leaves – Farmington, UT – Fujifilm X-T30

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Young Barista – Farmington, UT – Fujifilm X-T30

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The Joy of Writing – Farmington, UT – Fujifilm X-T30

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Girl with Blue Bow – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

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

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My Fujifilm X-T30 Polaroid Film Simulation Recipe

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Red Benches & Post Office – Park City, UT – Fujifilm X-T30 “Polaroid”

I get asked frequently to create film simulation recipes for all sorts of different looks. Sometimes I’m successful, oftentimes I’m not. I received one such request recently that was a little unusual: the stills from the television series True Detective. The set photographer for this show is Michele K. Short. The show itself was shot using Kodak Vision3 50D and 500T film. Michele likely photographed the stills with her Leica M10-P, and edited them to look like analog pictures. Honestly, I have no idea what specific film they’re supposed to resemble, but I was able to pretty quickly create something that is in the ballpark of those stills.

I looked and looked at different films to figure out what this aesthetic might be close to. I didn’t find anything that I was satisfied with. There were a couple of films that I thought, “Well, you can make an argument, but it’s a stretch.” I decided that it most reminds me of Polaroid peal-apart film, perhaps 669. It’s not intended to resemble Polaroid, and perhaps it doesn’t do so very well, but I needed a name, and I wasn’t going to call this recipe “True Detective” so I went with “Polaroid” instead. Whether this does or doesn’t resemble Polaroid, I think you’ll find it produces interesting results. Some of you are going to really appreciate this film simulation recipe!

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Abstract Architecture – Park City, UT – Fujifilm X-T30 “Polaroid”

You can get good results with this recipe when you over, under or correctly expose, but some of my favorite pictures were overexposed. There’s a lot of latitude with this recipe. It’s fun to play around with. It seems especially well suited for high contrast scenes, although it can still be used in mid and low contrast scenes. It’s compatible with all X-Trans IV cameras and the Fujifilm X-H1.

Eterna
Dynamic Range: DR400
Highlight: +4
Shadow: -2
Color: -2
Noise Reduction: -4
Sharpness: -1
Grain Effect: Strong
Color Chrome Effect: Off
White Balance: Auto, +5 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Polaroid” recipe on my Fujifilm X-T30:

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Red, White & View – Farmington, UT – Fujifilm X-T30

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Storm Behind Rural Neighborhood – Farmington, UT – Fujifilm X-T30

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Thistle Evening – Farmington, UT – Fujifilm X-T30

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Girl Unsure on Path – Farmington, UT – Fujifilm X-T30

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Dormant Branches & Half Moon – Farmington, UT – Fujifilm X-T30

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Reeds & Mountain – Farmington, UT – Fujifilm X-T30

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Evening Light at Francis Peak – Farmington, UT – Fujifilm X-T30

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House Roof – Farmington, UT – Fujifilm X-T30

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House – Farmington, UT – Fujifilm X-T30

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Garage Rooftops – Farmington, UT – Fujifilm X-T30

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Bicycle Boy – Farmington, UT – Fujifilm X-T30

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Hooded Boy – Farmington, UT – Fujifilm X-T30

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Joyful Girl – Farmington, UT – Fujifilm X-T30

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Smile – Farmington, UT – Fujifilm X-T30

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Girl with Curls – Farmington, UT – Fujifilm X-T30

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Happily Running – Farmington, UT – Fujifilm X-T30

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Paw Patrol – Farmington, UT – Fujifilm X-T30

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Shoe on a Red Tricycle – Farmington, UT – Fujifilm X-T30

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Wilting Flower – Farmington, UT – Fujifilm X-T30

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Lots of Luck – Farmington, UT – Fujifilm X-T30

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Lamp – Farmington, UT – Fujifilm X-T30

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Leafy Indoor Decor – Farmington, UT – Fujifilm X-T30

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Lamp in Daylight – Farmington, UT – Fujifilm X-T30

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Empty Ski Lift – Park City, UT – Fujifilm X-T30

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Trees & Lift – Park City, UT – Fujifilm X-T30

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Pine Tree & Clouds – Farmington, UT – Fujifilm X-T30

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Snow At The Fuel Stop – Farmington, UT – Fujifilm X-T30

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Unused Snow Bridge – Park City, UT – Fujifilm X-T30

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Park City’s Empty Street – Park City, UT – Fujifilm X-T30

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Downtown Park City, April 2020 – Park City, UT – Fujifilm X-T30

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Park City Buildings – Park City, UT – Fujifilm X-T30

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Flag U – Park City, UT – Fujifilm X-T30

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Center Street Lamp – Salt Lake City, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

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

$2.00

Classic Chrome for Those Who Don’t Have It (X-Trans I)

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One of these two pictures is Classic Chrome and one is PRO Neg. Std. Can you guess which is which?

Classic Chrome is probably the most popular film simulation created by Fujifilm. It is the most common starting point for my film simulation recipes. It was introduced by Fujifilm beginning with the X-Trans II sensor, so those who have X-Trans I cameras or older Bayer sensor cameras don’t have it as an option. The X100, X100S, X-E1 and X-Pro1 all lack Classic Chrome.

I’ve been asked many times how to replicate Classic Chrome for cameras that don’t have it. I figured it out! And it’s not what you might expect. It’s not the advice that I have been giving out over the years, which was based on Astia. I figured that Astia with the contrast turned up and color turned down would be close, but I was wrong. It’s difficult to get the contrast correct when using Astia, and with Color set to -2 it’s still much too vibrant. Turns out PRO Neg. Std is the film simulation required to mimic Classic Chrome. Shocked? I was. It was literally the last color film simulation that I tried.

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One of these two pictures is Classic Chrome and one is PRO Neg. Std. Can you guess which is which?

My experiments were conducted on my Fujifilm X-T1. Using Classic Chrome, I set Color, Highlight, Shadow and Sharpness at 0, Dynamic Range to DR100, Noise Reduction to -2, and White Balance to Auto with Red and Blue both set to 0. Then I tried to replicate that look using one of the other film simulations. I figured out how to get pretty darn close using the PRO Neg. Std film simulation.

There are some differences between actual Classic Chrome and these settings. This faux Classic Chrome is actually slightly more yellow. If there was a way to shift the white balance by fractions this could be made more accurate, as the actual shift should be closer to +0.3 Red and -0.6 Blue, but that’s not possible. You could set the white balance shift to 0 Red and 0 Blue if you prefer less yellow, and I think that’s a legitimate option, as I debated between that and this, but ultimately I went with the warmer white balance shift. There’s also slightly deeper shadows and more saturation with these settings than real Classic Chrome. I think +0.7 Shadow and Color would be more accurate, but +1 is as close as I could get. I found that setting Shadow and Color to 0 produced results that were further away from Classic Chrome, but that’s something you could consider. These settings are not perfect, but for those who don’t have Classic Chrome as an option, in my opinion this is as close as you’re going to get, which is actually pretty close. 

PRO Neg. Std
Dynamic Range: DR200
Highlight: +1
Shadow: +1
Color: +1
Sharpness: 0
Noise Reduction: -2
White Balance: Auto, 0 Red & -1 Blue

What about the pictures above? The top one is the faux Classic Chrome using PRO Neg. Std and the bottom one is actual Classic Chrome. Did you guess correctly?

Below are example photographs, all straight-out-of-camera JPEGs from my Fujifilm X-T1, that compare faux Classic Chrome using PRO Neg. Std with Classic Chrome.

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Faux Classic Chrome using PRO Neg. Std

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Classic Chrome

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Faux Classic Chrome using PRO Neg. Std

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Classic Chrome

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Faux Classic Chrome using PRO Neg. Std

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Classic Chrome

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Faux Classic Chrome using PRO Neg. Std

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Classic Chrome

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Faux Classic Chrome using PRO Neg. Std

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Classic Chrome

Digital Holga – Turning My Fujifilm X-T30 Into a Toy Camera, Part 2

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Part 1

“…the Fujifilm X-T30 isn’t an especially good or practical way of achieving an out-of-camera Holga look. Can you? Sure, to an extent. The use of a couple of apps improves the results. Even so, there are only a few of these pictures that I really like. I think next time I’ll just load a roll of film into my Holga 120N.”

That statement above is how I concluded Part 1. Put more simply, the Fujifilm X-T30 isn’t a good option for digitally recreating an in-camera Holga aesthetic. Or is it? I’m not one to easily give up. Many of my different film simulation recipes took much trial-and-error to achieve. I failed over and over, but I didn’t give up. I kept trying! Yes, the Toy Camera effect isn’t a good option, but there has to be another way. And there is!

What I ended up doing was punching a hole in some black cardstock, and taping it to the front of the Industar 69 lens. This provided the vignetting that Holga cameras are known for. I added some tape to the edges of the hole to increase the blur at the frame edges. The aperture of the lens had to be preset (I chose f/4) because the cardstock and tape blocked it. I set the aspect ratio on the X-T30 to 1:1 for a square picture.

With this setup I could use any film simulation recipe that I wanted, and I could even do in-camera double exposures. This was a much better way to get an in-camera Holga look! This is a significantly better option than using the Toy Camera effect. It didn’t take very much work to add cardstock with a hole to the front of the lens. While better, this still isn’t the same as shooting film in an actual Holga camera, but it isn’t a bad facsimile, either. This was an interesting experiment that was worth doing, but I probably won’t be doing it again anytime soon.

These are straight-out-of-camera JPEGs using this faux Holga technique:

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Digital Holga – Turning My Fujifilm X-T30 Into A Toy Camera

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The Holga is a line of cheap Chinese “toy” cameras that (mostly) use medium-format film. Introduced in 1982, this inexpensive camera was designed to be the everyday tool to capture family moments, although poor quality made it only somewhat successful commercially. It’s known for heavy vignetting, soft focus, blur, and light leaks. While the Holga is not generally considered a good option for serious photographers, it has been used as such, and some famous pictures have been captured with this humble camera. The flaws are what make the Holga special.

I own a Holga 120N, which is perhaps the most common Holga model. I don’t use it often, but I do dust it off every once in awhile, load it with 120 film, and capture 12 square frames. Holga cameras can capture square or rectangular frames, or, if you are feeling really frisky, you can load it with 35mm film. Here are a few photographs that I’ve captured with my Holga camera:

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Like most of you, I’m staying home as much as possible right now due to the worldwide pandemic. For the most part, going places is out of the question, and I wouldn’t really want to even if I could. To foster my creative mind and prevent boredom, I decided to “convert” my Fujifilm X-T30 into a digital Holga camera. I set out to capture Holga-like images out-of-camera. Yes, I could do this by shooting RAW and using software, such as Exposure X5, but I didn’t want to. For me, that would be much less fun.

In “Advanced Filters” Fujifilm has included a “Toy Camera” effect. It’s designed to produce something similar to what you might get out of a Holga camera. Advanced Filters is misnamed, as it’s not well-designed for advanced users. It’s gimmicky. You can’t really change much with it, so what you see is what you get, for better or worse. I set my X-T30 to the Toy Camera effect, set the aspect ratio to 1:1 (square), and Dynamic Range (the only thing you can control) to DR400. To further the Holga effect, I attached my “worst” lens to the camera, an Industar 69, which has flaws not too dissimilar to the lens on my Holga camera. For some pictures, I used page markers to simulate light leaks.

Here are some straight-out-of-camera “Holga” pictures from my X-T30:

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Next, I opened up a rarely-used app on my phone called RNI Films to apply a film preset to the pictures. I used an Agfa Scala option for black-and-white and a Kodak Portra 160 for color. Below you’ll find some pictures where I used the RNI Films app.

B&W

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Color

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Of course, a Holga experience wouldn’t be complete without double exposures. With a Holga camera, if you don’t advance the film (or you forget to), you can capture multiple exposures by simply opening the shutter again. Unfortunately, you cannot make double exposures on the X-T30 using the Toy Camera effect, so I used the Snapseed app on my phone to combine two exposures. Here are a few examples of using Snapseed to combine two Toy Camera images into one double exposure picture:

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While this was a fun experiment, and I’m glad that I did this, the Fujifilm X-T30 isn’t an especially good or practical way of achieving an out-of-camera Holga look. Can you? Sure, to an extent. The use of a couple of apps improves the results. Even so, there are only a few of these pictures that I really like. I think next time I’ll just load a roll of film into my Holga 120N.

Part 2

My Fujifilm X-T30 Kodak Portra 160 Film Simulation Recipe

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Summer Waves Hello – Farmington, UT – Fujifilm X-T30 “Kodak Portra 160”

This is the film simulation recipe that you’ve been waiting for! One of the top films that I’ve been asked to create a film simulation recipe for is Portra 160. I’ve tried many times, and I felt that I got close a couple of times, but I was never able to get it quite right. Fuji X Weekly reader Piotr Skrzypek recently created a Portra 160 film simulation recipe for his Fujifilm X-E2, which he gave me permission to share. I modified his settings very slightly, and published that Portra 160 recipe for X-Trans II cameras last week. Using those settings as a starting point, and understanding how X-Trans II is different than the newer sensors, I was able to make a Portra 160 film simulation recipe that is compatible with X-Trans III & IV cameras.

Portra is a line of films that Kodak introduced in 1998. As the name implies, it was designed for portrait photography, although it has been used for many different genres, as it’s good for more than just portraits. Kodak made Portra in three different ISOs: 160, 400 and 800. The ISO 160 and 400 versions originally had two options: Neutral Color (NC) and Vivid Color (VC). In 2011 Kodak redesigned Portra, and they did away with the Neutral and Vivid versions, making instead only one option in each ISO. Portra has been a popular film since its introduction.

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Horizontal Ladder – Farmington, UT – Fujifilm X-T30 “Kodak Portra 160”

This recipe looks great when you turn the exposure compensation dial up. You don’t want to clip highlights, but if you keep the highlights just below clipping you can get excellent results. This recipe is especially good for high-contrast scenes. Really, this is a good all-around recipe that you’ll want to keep programmed in your camera’s Q Menu. I imagine that for some of you, this will be the top film simulation recipe that you use most of the time. Don’t be afraid to use Auto-White-Balance instead of Daylight, or to adjust Color up to +2 or down to 0, depending on your tastes.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: -2
Shadow: -2
Color: +1
Noise Reduction: -4
Sharpening: -2
Grain Effect: Weak
Color Chrome Effect: Off
White Balance: Daylight, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Portra 160 film simulation recipe on my Fujifilm X-T30:

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Last Light Roofline – Farmington, UT – Fujifilm X-T30

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Yellow House – Farmington, UT – Fujifilm X-T30

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Rooflines – Farmington, UT – Fujifilm X-T30

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Garages – Farmington, UT – Fujifilm X-T30

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Blue Dumpster – Farmington, UT – Fujifilm X-T30

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Stop – Kaysville, UT – Fujifilm X-T30

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Elevator Trucks – Kaysville, UT – Fujifilm X-T30

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Bird Over Grain Elevator – Kaysville, UT – Fujifilm X-T30

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Autumn Leftovers – Farmington, UT – Fujifilm X-T30

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Sky Reed – Farmington, UT – Fujifilm X-T30

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Boy in Thought – Farmington, UT – Fujifilm X-T30

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Blue Wall Boy – Farmington, UT – Fujifilm X-T30

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Girl by the Fence – Farmington, UT – Fujifilm X-T30

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Bike Seat – Farmington, UT – Fujifilm X-T30

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First Pear Bloom – Farmington, UT – Fujifilm X-T30

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Goosenecks – Goosenecks SP, UT – Fujifilm X-T30

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Satellite Dish – Farmington, UT – Fujifilm X-T30

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Grey Sky Over Roof – Farmington, UT – Fujifilm X-T30

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Red Barn Day – Farmington, UT – Fujifilm X-T30

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Sky Blooms – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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36 Exposures of Portra 160

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Last month I loaded a 36 exposure roll of Portra 160 film into my Asahi Pentax S1 SLR, and attached a Super-Takumar 28mm f/3.5 lens to it. I walked along a trail that borders a ranch and leads to Farmington Bay, which is a wetland near the shore of the Great Salt Lake in Utah, and I snapped a bunch of pictures. I hadn’t shot Portra for a number of years, so I was excited to get the film back from the lab.

Portra is a line of films that Kodak introduced in 1998. As the name implies, it was designed for portrait photography, although it has been used for many different genres, as it’s good for more than just portraits. Kodak made Portra in three different ISOs: 160, 400 and 800. The ISO 160 and 400 versions originally had two options: Neutral Color (NC) and Vivid Color (VC). In 2011 Kodak redesigned Portra, and they did away with the Neutral and Vivid versions, making instead only one option in each ISO. Portra has been a popular film since its introduction.

My 36 exposures of Portra came back from the lab yesterday. I was excited to see the results! As I viewed the scans on my computer, I couldn’t help but recall my great appreciation for this film and film photography. Portra 160 is wonderful! It makes me want to ditch digital and go back to my analog roots, as there’s something special about film that you just can’t replicate with modern cameras. Below are some of those 36 exposures of Portra 160 that I shot last month. Enjoy!

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You might notice that the date of this article is April 1st, which is April Fools Day. I did not, in fact, shoot these pictures on Portra film. They were captured on my iPhone. Just kidding! Yesterday I shot 36 exposures of a new film simulation recipe that will be called “Portra 160” on my Fujifilm X-T30. I did, in fact, use the 28mm Super-Takumar lens. This new film simulation recipe, which is what I used for these pictures, is compatible with all X-Trans III & IV cameras. I hope to publish the recipe later this week, so stay tuned!