My Fujifilm X100V Kodachrome 64 Film Simulation Recipe

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Evening at a Pond – Farmington Bay, UT – Fujifilm X100V “Kodachrome 64”

The Fujifilm X100V has some new features, including Clarity and Color Chrome Effect Blue, that my X-T30 doesn’t have, despite sharing the same sensor. The more JPEG options that I have, the more accurately I can create in-camera looks. My hope is to revisit some of my film simulation recipes, and create what I hope are more accurate versions using the new features. The first one that I revamped is my Kodachrome 64 film simulation recipe.

Many people love my Kodachrome 64 recipe, but not everyone. The biggest complaint that I’ve heard about it is that the reds aren’t vibrant enough. I don’t disagree with that, but there are always compromises when recreating looks in-camera because the tools available to me are limited. Of course, what Kodachrome 64 looks like depends on how you’re viewing it, whether projector, light table, scan, print, and how so. You can find some vastly different looking pictures that were captured on Kodachrome 64. For this revamped recipe, I spent some time studying the Kodachrome slides that I captured many years ago.

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Red Lights & Rain – Farmington, UT – Fujifilm X100V “Kodachrome 64”

While I feel that this is an improved Kodachrome 64 recipe, it’s still not perfect. Those who disliked how reds were rendered on the old recipe will certainly like this one better, but is it 100% exactly like the film? No. I think +2 Color might be too much, but +1 Color doesn’t render reds and yellows vibrant enough. If you prefer +1 Color, feel free to do that instead. There’s a little less contrast with this new version. Both of the Color Chrome Effects, the lower Dynamic Range setting, and Clarity add contrast, so I changed Highlight and Shadow to compensate. The X-T4 has .5 Highlight and Shadow adjustments, and I would set Shadow to +0.5 if I were using these settings on that camera (I hope that Fujifilm updates the X100V and X-Pro3 to allow this, too). I think it would be acceptable to use +1 Shadow, but I felt that was a tad too much, so I set it to 0. Despite not being perfect, I do feel that this version is a little more accurate to actual Kodachrome 64 film.

If you have an X100V, X-Pro3 or X-T4, I invite you to try this new-and-improved Kodachrome 64 film simulation recipe. Be sure to let me know what you think! Here are a couple pictures comparing the two versions of this recipes:

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Original Kodachrome 64 recipe.

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New Kodachrome 64 Recipe.

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Original Kodachrome 64 recipe.

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New Kodachrome 64 recipe.

Classic Chrome
Dynamic Range: DR200
Highlight: 0
Shadow: 0
Color: +2
Noise Reduction: -4
Sharpening: +1
Clarity: +3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, +2 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this new Kodachrome 64 film simulation recipe on my Fujifilm X100V:

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White Horse by a Stream – Farmington, UT – Fujifilm X100V

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Horses in the Grass – Farmington, UT – Fujifilm X100V

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Curious Horse – Farmington, UT – Fujifilm X100V

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Country Tires – Farmington, UT – Fujifilm X100V

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Yellow Flowers, Blue Sky – Farmington, UT – Fujifilm X100V

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Wishful Day – Farmington, UT – Fujifilm X100V

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Beer & Board – Farmington, UT – Fujifilm X100V

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Road Bicycling – Farmington, UT – Fujifilm X100V

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All the World’s a Sunny Day – Farmington, UT – Fujifilm X100V

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Orders & Pickup – Farmington, UT – Fujifilm X100V

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Red, White & Blue Day – Farmington, UT – Fujifilm X100V

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Flag Up Close – Farmington, UT – Fujifilm X100V

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Reeds by the Water – Farmington Bay, UT – Fujifilm X100V

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Evening Reeds – Farmington Bay, UT – Fujifilm X100V

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Landscape Flowers – Farmington, UT – Fujifilm X100V

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Handlebar – Farmington, UT – Fujifilm X100V

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Kodak Colors – Farmington, UT – Fujifilm X100V

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Half of an Orange – Farmington, UT – Fujifilm X100V

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Ground Beans – Farmington, UT – Fujifilm X100V

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Pallets – Centerville, UT – Fujifilm X100V

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IHOP – Centerville, UT – Fujifilm X100V

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Cupcake – Farmington, UT – Fujifilm X100V

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Sitting on Concrete – Farmington, UT – Fujifilm X100V

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Spring Snow – Farmington, UT – Fujifilm X100V

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

Fujifilm X100V Black    Amazon   B&H
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Fujifilm X100F Review Blog

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Film Simulation Review: Changing Light, Part 2: Ilford HP5 Plus

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Clouds On Top – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

Changing Light, Part 1: Velvia

I get asked sometimes how do I decide between color and black-and-white. I don’t remember where I heard this, but a long time ago somebody told me that if color is important to the scene then it should be a color picture, and if it’s not it should be black-and-white. Back then you had to make this decision before loading your camera with 24 or 36 exposures. Nowadays you can wait until after capturing the picture before deciding, although I find it best to choose before making the exposure.

Color pictures are (primarily) about three things: light, shadow and color. Black-and-white pictures are (primarily) about two things: light and shadow. It’s easy to see that if color isn’t an essential element to the picture, then it only serves as a distraction to light and shadow; however, that’s an oversimplified way of looking at it. There are many different color theories, and whether color is important or unimportant is highly subjective. One thing is for certain: black-and-white pictures are about light and shadow and those in-between grays.

Whenever I photograph in monochrome my mentality changes. They way that I look at the scene is different. When I photograph in color, I look for color. When I photograph in black-and-white, I look for tones. That’s why it’s important for me to decide before capturing the picture whether it will be color or not. For the pictures in this article, I decided that they needed to be monochrome. I chose my Ilford HP5 Plus film simulation recipe because I thought it would offer me the right amount of contrast. It’s not my most contrasty black-and-white recipe, but it has a good amount of contrast—not too much or too little. I think it was a great choice for these scenes.

I captured these pictures over the last several days from my house. I didn’t go anywhere. There were a lot of clouds and the light on the mountain was constantly changing. Oftentimes it was rather dull, but sometimes it was amazing! The camera I used was a Fujifilm X-T30. Most often I used a Fujinon 100-400mm lens, but occasionally I used a Fujinon 90mm. These longer focal lengths allowed me to “bring close” the mountain, making it appear as though I was in them, and not at a distance. Sometimes you don’t have to go anywhere to capture interesting pictures. That’s especially true if you have a great view where you are.

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Wasatch with Snow – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Dramatic Sky Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Silver Sky Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Clouds Over the Peak – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Clouds Around the Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Top – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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White Cloud – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Cloud Reaching – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Clouds & Dark Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Lightly Snowing On Top – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Gray Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Obscurity – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Rain Shower – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Downpour – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Mist – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Francis Peak Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Radar – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Dark Hills – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Storm Over Dark Mountains – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Storm – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Clouds on the Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Covered by Clouds – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

See also: Film Simulation Reviews

Film Simulation Review: Changing Light, Part 1: Velvia

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Wasatch Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

Over the last few days I’ve captured a number of pictures from my house of the nearby Wasatch Mountains. I’m very fortunate that I live so close to such a majestic and beautiful landscape. I can see it from my living room. I can sit on my patio and watch the light change and the seasons change on the mountains. It’s right there! I feel very lucky to witness this and be able to capture it with my camera.

It’s been between overcast and partly-cloudy lately, with conditions changing rapidly and dramatically. It’s gone from fairly uninteresting to amazing and back to mostly uninteresting in a matter of moments. This has repeated over and over. I’ve tried to keep an eye out for it, and tried to be quick enough to photograph it before it disappeared. That’s not always possible, and many times I wasn’t successful, but sometimes I was.

The film simulation recipe that I chose for these pictures is my Velvia recipe (I also used my Ilford HP5 Plus recipe, and those pictures are in Part 2). These settings are bold and vibrant, much like actual Velvia film. I really appreciate this film simulation recipe for landscape photography where I want colors to pop. The mountain is covered in the fresh green of spring, and these settings are the best for highlighting that. If I want vivid colors, my Velvia recipe is what I choose.

The gear that I used for these pictures is a Fujifilm X-T30 with a Fujinon 100-400mm lens attached to it. I like to use a tripod or monopod with the 100-400mm lens, but these pictures are all hand-held. If I had waited to attach a tripod to the lens, I would have missed many of these shots. The long telephoto lens allows me to bring the mountains up-close, like I travelled into the mountains to capture these pictures, yet I didn’t even leave home. It really is amazing that I was able to make these photographs without going anywhere.

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Clearing Clouds Above the Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Cold Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Francis Peak Veiled – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Mist – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Spring Green Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain in May – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Radar – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Sliver of Illumination – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Spring Green Hill – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Wasatch Green – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

Changing Light, Part 2: Ilford HP5 Plus
See also: Film Simulation Reviews

Fujifilm X100V New Feature: Clarity

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The Fujifilm X100V has a new feature called Clarity. It actually first appeared on the X-Pro3, and it’s also on the new X-T4, but the X100V is the first camera that I’ve used with it. I’m always very happy whenever Fujifilm gives us new JPEG options, as it allows me to  more accurately achieve the look that I’m after in-camera. I can create better film simulation recipes when I’m given more tools, and the X100V indeed has some new tools.

If you’ve ever done RAW processing, you’ve probably seen a Clarity tool within your software of choice. Maybe you use it all of the time, maybe you’ve never touched it. What exactly Clarity does with each software is slightly different, but the gist of it is that it increases mid-tone contrast, while (mostly) leaving the highlights and shadows untouched. This makes the image appear more contrasty while not blocking up shadows or blowing out highlights. Because Clarity often adds micro-contrast (contrast to fine lines), it can make an image appear to be sharper and more finely detailed than it actually is. Some software programs include sharpening within Clarity. Too much Clarity can often make a picture look unnatural and “over baked”.

I like the idea of having a Clarity option on my Fujifilm camera, but I was really unsure of how it would look. Is it actually a good tool? Does it produce pleasing results? Where should I set it on my camera?

In the manual Fujifilm states that Clarity increases or decreases “definition” while minimally altering highlights and shadows. The camera has the options of -5 to +5, with 0 being the default setting. Let’s take a look at some examples to see what exactly this new feature does to photographs.

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Clarity -5

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Clarity 0

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Clarity +5

You can see from the photographs above that there’s a noticeable difference between Clarity set at -5, 0 and +5. There’s a significant contrast difference between the three pictures. Even highlights and shadows are affected. The first picture looks “soft” while the third picture boarders being “over-baked” with too much definition. Let’s take a closer look at some crops, and add -2 and +2 while we’re at it.

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Clarity -5

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Clarity -2

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Clarity 0

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Clarity +2

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Clarity +5

When you look closely, you can appreciate using minus Clarity for softening skin. At -2 there’s a small difference, but by -5 there’s a big difference. The X100V has a new lens, and it’s sharper, especially when wide open. Some people (myself included) appreciated the softness of f/2 on the old X100 series lens for artistic effect, but the X100V is tack sharp across the board at all apertures. However, -5 Clarity will give a similar softness at any aperture as the old X100 lens does at f/2. Portrait photographers might especially appreciate selecting a minus Clarity option, and somewhere in the range of -2 to -5 seems to be nice.

On the other side, +5 Clarity is definitely too much for some circumstances, particularly portraits. Even +2 might be pushing it in this case, although the results are acceptable in my book. I find that minus Clarity is better when skin is involved, but you can use plus Clarity for more dramatic portraits, although I’d limit it to no higher than +3, unless you’re trying to accentuate something like wrinkled skin and a greying beard, in which case up to +5 might be acceptable. Outside of portraits, I like adding Clarity, and I find that +2 or +3 is a good range for me.

Here are some more examples:

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Clarity -5

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Clarity -3

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Clarity 0

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Clarity +3

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Clarity +5

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Clarity -5

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Clarity -3

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Clarity 0

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Clarity +3

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Clarity +5

The difference between -5 and +5 Clarity is pretty significant, but the in-between differences aren’t huge. It’s difficult to notice a plus or minus one difference. Going up or down two spots is a bit more obvious, although if you’re not closely comparing side-by-side examples you might not pick up on it. I think you’re perfectly fine selecting any of the Clarity options, but for portraits I’d consider using minus Clarity, unless you’re want a dramatic portrait look. For everything else adding a little Clarity helps the picture to pop more. I personally like Clarity set at +2.

Because Clarity adds contrast and does affect highlights and shadows, if you go higher than +3 Clarity, consider decreasing Highlight and Shadow by one to compensate. Also, if you go lower than -3 Clarity, consider increasing Highlight and Shadow by one to compensate. The X-T4 can do .5 Highlight and Shadow adjustments (please, Fujifilm, update the X100V to allow this, too), and that’s probably closer to what you need to compensate for the increased or decreased contrast due to selecting the far ends of Clarity. Just be aware that when you change the Clarity setting, you are changing the picture’s contrast.

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+3 Clarity

Something that I need to point out is that when Clarity is set to anything other than 0, it takes the camera longer to save the file. Fujifilm actually recommends setting Clarity to 0 and adding it later by reprocessing the RAW files in-camera. If you need to shoot quickly, this might be a good option, but if you’re not in a hurry, I’d just set it to what you want it to be so that you don’t have to change it later. Yes, it does slow you down, but if you’re not in a hurry, it’s not a big deal.

In my opinion Fujifilm did a good job of implementing Clarity on the X100V. It’s a useful tool. Those who appreciated the softness of f/2 on the older models will appreciate using minus Clarity on the new model. Those who want to add just a little more punch to their pictures will like using plus Clarity. Each situation might benefit from a Clarity adjustment, and you’ll have to decide which setting is the best for the scene. Whether it’s adding or subtracting Clarity, this is a feature you’ll find me using often. Fujifilm’s inclusion of Clarity on the X100V is something that I’m extremely happy with.

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

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

Fujifilm X100F Review Blog

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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Fuji Film Simulation: Fujicolor 100 Industrial (Video)

I posted a new video to the Fuji X Weekly YouTube channel! This is a new series called Fuji Film Simulation, which is sort of the video version of my Film Simulation Reviews. It’s my way of demonstrating how you can use my different recipes in various situations. In this episode I walk around the University of Utah campus in Salt Lake City using my Fujicolor 100 Industrial film simulation recipe on my Fujifilm X-T30 with a Fujinon 35mm f/2 lens.

The first part of the video, which is right after the super cool intro sequence, is just me talking about this blog, how I got started in photography, my gear, film simulations and so forth. I hope that you find it interesting. Where I walk around the college campus begins at the 3:12 mark. This might be my favorite section of the episode! Be sure to watch to the end.

My wife, Amanda, made this video. The photographs are mine, but all of the footage was captured by her using a Fujifilm X-T20 and a GoPro Hero 8 Black. She did all of the editing. She did such a great job! Really, it turned out better than I hoped it would. She far exceeded my expectations when she showed me the finished video.

I invite you to watch this episode, which you’ll find at the top of this article. If you liked it, I invite you to give it a thumbs up, share and subscribe. I appreciate any feedback that you might have. Let me know what you think!

World’s Smallest SLR: Pentax Auto 110 + Adapting Tiny Lenses to Fujifilm X Cameras

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The Pentax Auto 110 is the smallest interchangeable-lens single-lens-reflex camera ever produced. Never heard of it? That’s OK, I hadn’t either until a few weeks ago. This little camera was introduced in 1978, and the Pentax Auto 110 system was manufactured until the mid-1980’s. In all, there were two SLRs and six lenses made by Pentax, plus several accessories, so this was indeed a complete camera system.

The Pentax Auto 110 camera is extraordinarily tiny! It fits into the palm of my hand, and looks more like a toy than a real camera. You might think that it was intended for kids, but it wasn’t. What allows this camera to be so small is that it uses 110 film, which is quite a bit smaller than 35mm film. In fact, the frame is similar in size to a Micro 4/3 sensor. If you aren’t familiar, 110 film comes in a cartridge that’s easy to load and unload, designed for the novice. The tiny film allowed Pentax to design an extraordinarily small camera system.

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Kodak introduced 110 film in the early 1970’s. They didn’t intend for it to be for serious photographers, and only made cheap entry-level point-and-shoot cameras for it. Kodak never figured that anyone who had more than a basic understanding of photography would ever be interested in using 110 film. It was great for those who knew very little about photography, those who valued simplicity over quality. Pentax, on the other hand, saw an opportunity to create a miniature interchangeable-lens camera aimed at a more advanced user. Perhaps the compact size of the gear would be enough for photographers to overlook the inferior film format.

The Pentax Auto 110 was only moderately successful. It sold enough copies for Pentax to continue to market the system for seven or eight years. The first camera, the Auto 110, was replaced by the slightly improved Auto 110 Super in 1982. Initially Pentax made three lenses for the camera, all very tiny, and in the early 1980’s they introduced three additional small lenses. As the name implies, the camera was fully automatic, except for focus, which was manual. Around 1985 the system was discontinued, and not long afterwards forgotten.

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Two things gave the Pentax Auto 110 camera new life in recent years: the lomography movement and the ability to use old lenses on new cameras via adapters. As 110 film became less and less popular, it was discontinued altogether by major manufacturers. Around 10 years ago Lomography stepped in and began selling it, making 110 film somewhat trendy, which increased the popularity of cameras like the Pentax Auto 110. Because 110 film is similar in size to Micro 4/3 sensors, the Asahi lenses made for the Pentax 110 Auto became in-demand for use with Olympus and Panasonic MFT cameras.

When I saw the little lenses, I wondered if they could be adapted to Fujifilm X cameras. Could I even mount these tiny lenses to my X-T30 and X-T1? A quick search revealed that Fotasy makes an inexpensive Pentax 110 to Fujifilm X adapter. But would it work? Would the lenses cover the frame? After all, APS-C sensors are larger than a 110 film frame. Are the lenses any good? I wasn’t sure the answer to these questions, but I gave it a shot and purchased an adapter and a Pentax Auto 110 camera with three lenses.

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These three lenses, which are 18mm, 24mm and 50mm, all have an aperture fixed at f/2.8. You cannot stop down. It’s f/2.8 and be there! They are manual focus only. They’re pretty darn small, much smaller than any APS-C or full-frame lens that I’ve ever used! If you want something small and lightweight, these are the lenses for you! They’re absurdly and almost comically small when mounted to a Fujifilm X camera. The smallest of the three is the 24mm, which is likely the littlest lens in the world that you can attach to a Fujifilm camera.

I gave these lenses a chance. I attached them to my Fujifilm camera and went out to shoot. I wanted to put them to the test. One thing that stood out to me is that these lenses make the camera feel lighter and smaller, because it is! Even the largest, the 50mm, is smaller than other lenses I’ve used before. You can have one lens on the camera, plus two in a snack-size ziplock bag in your pocket, and you’ve got a three-lens kit. This setup is good for travel because it is out of the way, with the two spare lenses taking up almost no space in your pocket.

18mm

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The Asahi Pentax 110 18mm f/2.8 was the lens that I was most excited about. I thought, of them all, this one has the most potential to be useful. Because of the fixed aperture, I knew that depth-of-field would be narrow on all of the lenses, but it would be largest on this lens because of its wide focal-length, which is full-frame equivalent to 27mm on Fujifilm X cameras. The further towards infinity that you focus, the larger the depth-of-field becomes. When focused at the close end, depth-of-field is indeed small, and I was shocked by just how good bokeh (the quality of the out-of-focus portion of the image) is on this lens.

Surprisingly, this 18mm has good coverage on the APS-C sensor. There’s some pronounced vignetting and corner softness, which you can easily crop out or leave for artistic effect. Sharpness is good at the center, but the lens becomes less sharp as you move away from the center. There’s some obvious chromatic aberrations and highlights tend to have an Orton-ish glow. This lens might be good for “dreamy” pictures. Overall, I didn’t like the 18mm nearly as much as I thought I might, and I didn’t use it as often as the other two lenses.

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Trees by a Lake – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

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Seed Pods – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

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Blooms on a Branch – Farmington, UT – Fujifilm X-T1 & Asahi 110 18mm f/2.8

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Tree Branch Leaves – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

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Countryside – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

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Mountain, Trees & Meadow – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

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Trail & Tall Trees – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

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Boys on Scooters – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

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Big Leaf – Layton, UT – Fujifilm X-T30 & Asahi 110 18mm f/2.8

24mm

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The Asahi Pentax 110 24mm f/2.8 is the smallest of the three lenses, and the smallest interchangeable lens that I’ve ever used. It’s unbelievably tiny! I doubt that you’ll find a smaller lens that can be attached to your Fujifilm camera. Because of the focal length, which is full-frame equivalent to 36mm, this lens has a narrow depth-of-field, especially when focused at the near end. Bokeh is great!

Like the 18mm, this lens covers the frame, but there’s some obvious vignetting and corner softness. Center sharpness is good, but the lens becomes less sharp as you move away from the center of the frame. There are some chromatic aberrations and highlights tend to glow, but neither are as pronounced as the 18mm. Overall I liked the 24mm lens more than the 18mm, but it didn’t impress me enough to want to use it all of the time.

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Rural Roofline – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

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Coca-Cola Machine – Farmington, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

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Mini Mart – Ogden, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

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Corner Building – Ogden, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

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Trail Parking – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

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Barbed Wire Red – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

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Country Thistle – Farmington, UT – Fujifilm X-T30 & Asahi 110 24mm f/2.8

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Ball Flower in a Garden – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f/2.8

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Lit Leaf – Sunset, UT – Fujifilm X-T1 & Asahi 110 24mm f.2.8

50mm

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The Asahi Pentax 110 50mm f/2.8 is the lens that I thought I’d like the least. Why? Because I already have several great 50mm (or near 50mm) lenses that I really like. Because of the focal length, which is full-frame equivalent to 75mm on Fujifilm X cameras, this lens has the most narrow depth-of-field of the three, especially when focused towards the near end, where it’s very thin. Once again, bokeh is great. Lens flare, if you like lens flare, can be downright amazing!

While there is some light falloff near the corners, this lens definitely has 100% coverage on APS-C sensors. It’s sharp in the center, and becomes less sharp towards the corners, although not quite as bad as the other two lenses. I did find some chromatic aberrations, but it’s pretty minor, especially when compared to the others. The 50mm lens was the most difficult of the three to use, but the results were the most rewarding. This was my favorite, and the one that I used most often. Of the three, this lens is the one that I can see using again and again. There’s something special about it.

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Ray – Ogden, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Girl in Yellow – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Boy & Lens Flare – Farmington, UT – Fujifilm X-T1 & Asahi 100 50mm f/2.8

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Rainbow Flare & Kids – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Rainbow in the Woods – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Tree Flowers in a Forest – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Reeds by the Woods – Layton, UT – Fujifilm X-T30 & Asahi 110 50mm f/2.8

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Large Rocks & Yellow Flowers – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

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Rushing Waterfall – Farmington, UT – Fujifilm X-T1 & Asahi 110 50mm f/2.8

Conclusion

The lens that I thought I’d like the most is the one that I liked the least, and the one that I thought I’d like the least is the one that I liked the most. The 18mm and 24mm lenses are certainly usable, but they have some serious flaws, and you’ll have to consider how to artistically use those flaws to your advantage. Because of the narrow depth-of-field, the 50mm lens was the most difficult to use, but it produced my favorite pictures.

While using these tiny lenses on my Fujifilm cameras was a bit strange, I thoroughly enjoyed the experience, and I’ll definitely do this again sometime. I also plan to use the Pentax Auto 110, as I purchased three 110 film cartridges to use in it, and I’ll share the results when I do. I’m not afraid to do unusual things sometimes, like sandpapering a camera or taping cardboard to the front of a lens, and using little lenses intended for another camera is certainly unusual. If you’re looking to try something different, attaching Asahi Pentax 110 lenses to your Fujifilm camera is just that. For me it was a great experience, and these little lenses provided me with big fun!

Fujifilm X100F Review Blog

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Fuji X Weekly’s Kodachrome Recipes on YouTube

Popular Fujifilm YouTubers Andrew & Denae just posted a video that features Fuji X Weekly, specifically my three Kodachrome film simulation recipes! It’s an interesting video that’s worth 11 minutes of your time. I embedded it above, so take a look!

Kodachrome is one of the films that I liked to shoot with many years ago. Back then, everyone used Kodachrome it seemed. It was a very popular film, but because of the complex and toxic process required to develop it, and lower sales due to digital photography, Kodak discontinued it in 2009. Kodachrome is gone, but people still want the Kodachrome look. My recipes allow people to get a Kodachrome aesthetic straight out of their Fujifilm camera.

Of course, Kodachrome can look different depending on various variables. There were different eras of Kodachrome, and different film options, each with its own look. How you view the picture greatly effects the look: light table, projector, print, or scan, and how so. You can’t make a recipe that mimics all of these variables, but I do think my three options are good at recreating a Kodachrome look in-camera.

I want to give a special Thank You to Andrew & Denae for trying my Kodachrome recipes and for featuring this website on their video. They said a lot of kind things, and I really appreciate their encouragement. Check out their YouTube channel and subscribe if you don’t already! Also, as a reminder, Fuji X Weekly has a YouTube channel, and I invite you to take a look at it and subscribe.

See also:
Vintage Kodachrome Film Simulation Recipe
Kodachrome II Film Simulation Recipe
Kodachrome 64 Film Simulation Recipe

Film Simulation Review: Kodak Portra 400 – New vs. Original

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New Kodak Portra 400

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Original Kodak Portra 400

I have two different Kodak Portra 400 film simulation recipes. I created the original Portra 400 recipe two years ago on my old Fujifilm X100F. I created the new Portra 400 recipe just recently on my Fujifilm X-T30. Which one is better? Which should you use? How do they compare?

The original recipe requires a hard-to-achieve custom white balance measurement, and for that reason I never really liked it. Yes, it looks good, but to get the recipe right requires a vague setting. Some people, in lieu of the custom white balance measurement, use auto-white-balance, which is a fair way to deal with the issue. On my X-T30 I don’t think I have the custom white balance quite right, but it was as close as I could get at the time that I took the measurement. The original Portra 400 recipe is one of the most frustrating recipes I’ve created, but it also produces great results sometimes.

The new Portra 400 recipe is a little more accurate to the film, in my opinion. Of course, with film, depending on how it’s shot, developed, printed or scanned, results can vary greatly. While I think the new version is more accurate, that’s not to say that the original version isn’t accurate. It’s just a little different look. In this post are examples of pictures captured with both recipes side-by-side.

Which one is the better Kodak Portra 400 recipe? The new version is easier to program, overall a little more accurate to the film, and in many situations I like it better; however, sometimes I prefer the original Portra 400 recipe. I can’t tell you which one is better for you, but I can tell you for me, I like the new recipe better, yet I see that the original version has its place and shouldn’t be discarded. That’s just my tastes, and yours might be different. Hopefully seeing the two recipes next to each other provides you with some clarity on which to choose.

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New Kodak Portra 400

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Original Kodak Portra 400

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New Kodak Portra 400

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Original Kodak Portra 400

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New Kodak Portra 400

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Original Kodak Portra 400

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New Kodak Portra 400

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Original Kodak Portra 400

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New Kodak Portra 400

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Original Kodak Portra 400

See also: Film Simulation Reviews

Film Simulation Review: Dreary Day with Fujicolor Superia 800

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Gone Fishin’ – Farmington, UT – Fujifilm X-T30 & 90mm

I get asked frequently what film simulation recipes are good for which situations. It can be hard to know when to use each one. When faced with a scene, which recipe should you choose? I hope that this Film Simulation Review series helps to bring clarity to this.

On grey-sky days there’s one film simulation recipe that I love to use: Fujicolor Superia 800. When I invented this recipe, I had no idea how good it was for dreary days. Fuji X Weekly reader Luis Costa shared his use of this recipe on a grey day, and it blew me away! Ever since, when there’s overcast sky and a little rain, for color pictures, my Fujicolor Superia 800 film simulation recipe is what I use.

This series of pictures were captured on a recent dreary day using the Superia 800 recipe. I used a Fujifilm X-T30 with a Fujinon 90mm f/2 lens attached to it. This 90mm lens can be difficult to use just because of its focal length, which is full-frame equivalent to 135mm, but it delivers excellent results. It’s super sharp and nearly flawless. It’s such a great lens!

My Superia 800 recipe is based on Fujicolor Superia X-tra 800 film. Fujifilm introduced this consumer grade high ISO color negative film in 1998 and discontinued it in 2016. It was a common film to find at the local store. It was an excellent choice for low-light situations, and it was commonly used by photojournalists. All of the pictures in this article are camera-made JPEGs using my Superia 800 film simulation recipe.

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Raining in the Alley – Farmington, UT – Fujifilm X-T30 & 90mm

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Goodyear – Farmington, UT – Fujifilm X-T30 & 90mm

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Drop in the Bucket – Farmington, UT – Fujifilm X-T30 & 90mm

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Wet Slide – Farmington, UT – Fujifilm X-T30 & 90mm

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Wish Maker – Farmington, UT – Fujifilm X-T30 & 90mm

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Green – Farmington, UT – Fujifilm X-T30 & 90mm

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Drop of Water on a Blackberry Leaf – Farmington, UT – Fujifilm X-T30 & 90mm

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Green Tree Tops – Farmington, UT – Fujifilm X-T30 & 90mm

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Trees – Farmington, UT – Fujifilm X-T30 & 90mm

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King – Farmington, UT – Fujifilm X-T30 & 90mm

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Catching a Lost Float – Farmington, UT – Fujifilm X-T30 & 90mm

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Geese – Farmington, UT – Fujifilm X-T30 & 90mm

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Swimming Duck – Farmington, UT – Fujifilm X-T30 & 90mm

My Fujifilm X-T30 Kodak Vision3 250D Film Simulation Recipe

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Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 “Kodak Vision3 250D”

A Fuji X Weekly reader asked me to create a film simulation recipe that mimics Kodak Vision3 250D motion picture film. Kodak introduced Vision3 250D in 2009. While it’s a color negative motion picture film, it can also be used for still photography. I’ve never used this film, but as I researched it, I came to realize that this one film can produce many different looks, depending on how it’s shot and developed. In fact, you can develop it using either the C-41 or ECN-2 process, and you can even develop it as black-and-white. You can push-process several stops. There’s a lot of latitude for over and under exposure.

As you can imagine, it would be impossible to create a film simulation recipe that mimics every possible look from this film, or even most. I focused in on one specific aesthetic, although I can’t say for sure how that aesthetic was achieved, and made a recipe that mimics it. I think I came pretty darn close. Perhaps more importantly, these settings look good. There’s a certain quality to the pictures made using this recipe that’s especially lovely. Some of you are really going to love these settings!

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Flowers on a Tree Branch – Farmington, UT – Fujifilm X-T30 “Kodak Vision3 250D”

Since Kodak Vision3 250D is a motion picture film, I had fun using this film simulation recipe in the 16:9 aspect ratio from time-to-time because it is a more cinematic shape. If you used the film for still photography, most likely the frame would be a 3:2 aspect ratio, which is what I chose for most of these pictures. You can choose any aspect ratio that you’d like. If you have an X-H1, which doesn’t have Color Chrome Effect but does have Eterna, you can still use this recipe, but the results will be slightly different.

Eterna
Dynamic Range: DR100
Highlight: +3
Shadow: +4
Color: +3
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Fluorescent 1 (Daylight Fluorescent), -3 Red & -1 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Below are all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation recipe on my Fujifilm X-T30 camera:

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Blue Bokeh – Farmington, UT – Fujifilm X-T30

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Nighttime Fire Hydrant – Farmington, UT – Fujifilm X-T30

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Yellow Tree – Farmington, UT – Fujifilm X-T30

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Lights Strung Across The Road – Farmington, UT – Fujifilm X-T30

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Forever the Perfect Accessory – Farmington, UT – Fujifilm X-T30

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Artificial Light Rays – Farmington, UT – Fujifilm X-T30

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Reserved Parking – Syracuse, UT – Fujifilm X-T30

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Grass by a Waterfall – Syracuse, UT – Fujifilm X-T30

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Three Ducks – Farmington, UT – Fujifilm X-T30

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Pond – Syracuse, UT – Fujifilm X-T30

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Tree & Purple Flowers – Farmington, UT – Fujifilm X-T30

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Green Leaves & White Blooms – Farmington, UT – Fujifilm X-T30

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Webs in the Grass – Farmington, UT – Fujifilm X-T30

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Sky Reeds – Farmington, UT – Fujifilm X-T30

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Clouds & Roof – Farmington, UT – Fujifilm X-T30

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Chopped Logs – Farmington, UT – Fujifilm X-T30

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Fake Flower Decor – Farmington, UT – Fujifilm X-T30

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Shy & Uninterested – Farmington, UT – Fujifilm X-T30

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Sunglasses Indoors – Farmington, UT – Fujifilm X-T30

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Boy in Evening Light – Farmington, UT – Fujifilm X-T30

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Beans in the Grinder – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Fujifilm X100F Review Blog

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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