Leaves in the Forest – Farmington, UT – Fujifilm X100V – ISO 3200 – “Kodak Tri-X 400”
The number one black-and-white film simulation recipe that I’ve been asked to create is Kodak Tri-X 400, but I’ve never been satisfied with my own attempts. Thankfully for you, Fuji X Weekly reader Anders Lindborg (Instagram) was able to do it! This is brilliant, and I’m sure you’ll love it. It’s the only B&W recipe I’m using on my Fujifilm X100V right now.
Kodak introduced Tri-X in the early 1940’s, and in the 1950’s they began selling it in 35mm format. Ever since, it has been the “standard” high-ISO black-and-white film for photographers. It’s been made in ISO 160, 200, 320 and 400 versions; this recipe is based on Tri-X 400. Kodak re-engineered Tri-X 400 in 2007 with finer grain and lower contrast, but it’s still nearly identical to the old stock.
Anders actually made three recipes in one: low-contrast, mid-contrast, and high-contrast. Tri-X, like most films, can be made more contrasty or less contrasty based on how it’s developed (chemicals used and/or development times) or printed (contrast filters). The recipe further down this article is the mid-contrast version. For low contrast, set Highlight to -1 and Shadow to +2. For high contrast, set Highlight to +1 and Shadow to +4. This film simulation recipe was designed for the X-T3 and X-T30, but I changed a couple of things for the X100V: I set Clarity to +4 (which isn’t available on the X-T3 and X-T30) and Grain to Strong & Large (on the X-T3 and X-T30, Grain is set to Strong). Because it adds contrast, setting Clarity to +4 actually makes this look more like the high-contrast version. If you are using this on the X100V, X-Pro3 or X-T4, feel free to try all three contrast versions, with or without Clarity, to see which you like better. For X-Trans III cameras, which don’t have Color Chrome Effect, you can still use this recipe; while it won’t look exactly the same, it will still look very similar. In other words, even though the title says “Fujifilm X100V Film Simulation Recipe” you can actually use it on any camera with the Acros film simulation—I’ve tried it on an X-T30 and X-T20, and it looks great!
Forest Edge – Fruit Heights, UT – Fujifilm X100V – ISO 1600 – “Kodak Tri-X 400”
I found that this recipe looks best when set to ISO 1600 or higher. From ISO 1600 to 3200, the results more resemble newer Tri-X 400 film. From ISO 6400 to ISO 12800, the results more resemble older Tri-X 400 film. I want to give a big thank-you to Anders Lindborg for creating this recipe, sharing it, and allowing me to publish it here—you are appreciated! Thank you!
Acros (+Y, +R, +G)
Dynamic Range: DR200
Highlight: 0
Shadow: +3
Noise Reduction: -4
Sharpening: +1
Clarity: +4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Daylight,+9 Red & -9 Blue
ISO: ISO 1600 – 12800
Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Tri-X 400 film simulation recipe on my Fujifilm X100V:
Fallen Trunk – Fruit Heights, UT – Fujifilm X100V – ISO 1600
The Forest – Fruit Heights, UT – Fujifilm X100V – ISO 1600
Light in a Dark Canopy – Farmington, UT – Fujifilm X100V – ISO 1600
Sunlight & Leaves – Farmington, UT – Fujifilm X100V – ISO 12800
Monochrome Backlit Leaves – Farmington, UT – Fujifilm X100V – ISO 1600
Drops on a Window – Fruit Heights, UT – Fujifilm X100V – ISO 1600
Half Leaf In The Road – Farmington, UT – Fujifilm X100V – ISO 1600
Footstep – Farmington, UT – Fujifilm X100V – ISO 1600
Barrier – Farmington, UT – Fujifilm X100V – ISO 1600
Corner Benches – Farmington, UT – Fujifilm X100V – ISO 6400
Drinking Fountains – Farmington, UT – Fujifilm X100V – ISO 1600
Feel Like A Kid Again – Farmington, UT – Fujifilm X100V – ISO 1600
Walking at an Amusement Park – Farmington, UT – Fujifilm X100V – ISO 1600
Waiting at the Exit – Farmington, UT – Fujifilm X100V – ISO 3200
Diagonal Light Boy – Farmington, UT – Fujifilm X100V – ISO 12800
FED 5c Film Camera – Farmington, UT – Fujifilm X100V – ISO 3200
Coffee Grounds in a Filter – Farmington, UT – Fujifilm X100V – ISO 3200
Rainbow Feet on the Floor – Farmington, UT – Fujifilm X100V – ISO 3200
Girl in Zebra Shirt – Farmington, UT – Fujifilm X100V – ISO 12800
Rainy Day Siblings – Farmington, UT – Fujifilm X100V – ISO 3200
Level Up – Farmington, UT – Fujifilm X100V – ISO 12800
Wet Leaf in the Grass – Farmington, UT – Fujifilm X100V – ISO 5000
Wet Tree Leaves – Farmington, UT – Fujifilm X100V – ISO 3200
Leaf of a Different Color – Farmington, UT – Fujifilm X100V – ISO 3200
Emptiness – Roy, UT – Fujifilm X100V – ISO 3200
Empty Boxes in an Abandoned Home – Roy, UT – Fujifilm X100V – ISO 12800
Nobody’s Home – Roy, UT – Fujifilm X100V – ISO 3200
White Truck – Roy, UT – Fujifilm X100V – ISO 3200
Dead End Night – Roy, UT – Fujifilm X100V – ISO 12800
Trolley Bus – Farmington, UT – Fujifilm X100V – ISO 12800
Wrong Way – Centerville, UT – Fujifilm X100V – ISO 12800
See also:
Film Simulation Recipes
Tri-X Push-Process Film Simulation Recipe
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Hi, I wonder how to set Acros (+Y, +R, +G). In my X-T4, if I choose Acros, I could only select one of the four choices (Standard, Yellow, Red and Green). I don’t know how to choose +Y, +R, +G at the same time. Can you tell me the answer?
You can only choose one, whichever you think is most appropriate. This article might help:
https://fujixweekly.com/2019/03/07/understanding-acros-film-simulation-options-on-fujifilm-x-cameras/
Hello Ritchie,
In my research for alternative WB in my XT3 I’ve found out that setting FLUORESCENT-1, R+7B-7 gives almost the same results of the original Daylight R+9B-9, it’s really hard to see differences.
And, as FLUO-1 has so few recipes, it may be used for Tri-X 400.
What do you think?
That’s a great idea! Very nice solution. Thank you for sharing!
Love the app; just bought a one year subscription. One, probably, stupid question though; under white balance it says- Daylight,+9 Red & -9 Blue.. does this mean you can toggle between daylight and the custom white balance? Or Are you supposed to modify the daylight option? If thats the case, I cant figure out how to do that.
This article should help:
https://fujixweekly.com/2020/08/19/fujifilm-white-balance-shift-what-it-is-how-to-use-it/
thank you for answering. i know how to do what it says in the article. but what does it mean it those recipes like for example “kodachrome ii” where it says white balance; auto, +red and -4 blue. Or in the kodak tri-x 400 where it says white balance: daylight, +9 red & -9 blue.. why the comma I guess is what Im asking.
That’s the White Balance Shift. So when you select Daylight White Balance, you must also “arrow to the right” to open the White Balance Shift menu (as shown in the article), and select the Red & Blue values (+9 Red & -9 Blue, for example). White Balance and White Balance Shift are used in conjunction with each other.
I get it now. only problem is I cant go right on any of the options. early today I could go right on the customs, but not on daylight. now I cant go right on any of them. oh well.
You cannot from within the Edit/Save Custom Menu unless you have an X-Pro3 or newer camera. If your model is older than that, you have to do it from within the White Balance menu, which is found in the IQ menu.
I didn’t mean toggle, but alternate between.
Oh, at last. thanks a lot, man. you just made my day.
Awesome!
I just loaded this recipe (ISO 1600, +1/3 EV) into my X100V, stepped outside in 5pm bright California sun, and holy smokes, this is way overexposed! Even with the ND engaged, the highlights are through the roof. I’m guessing this is to be used in very subdued/overcast/shade lighting? Is there a lower ISO recipe for bright daylight? In the shade/non-direct sun, it’s amazing.
It’s definitely easier in non-bright-daylight conditions, but you should be able to get a correctly exposed picture with the ND filter on, a fast shutter, and a small aperture. If you are still having trouble, you can drop the ISO.
Hi Ritchie, I love the Kodak Tri-X 400 film! But I would like to know how to adapt this recipe to a Fujifilm X100F or XPro2. You know, a lot of people don’t have an X100V yet! Thank you so much for your articles and your fantastic research on Fuji film simulations! Best regards, Remi
This paragraph explains it:
“Anders actually made three recipes in one: low-contrast, mid-contrast, and high-contrast. Tri-X, like most films, can be made more contrasty or less contrasty based on how it’s developed (chemicals used and/or development times) or printed (contrast filters). The recipe further down this article is the mid-contrast version. For low contrast, set Highlight to -1 and Shadow to +2. For high contrast, set Highlight to +1 and Shadow to +4. This film simulation recipe was designed for the X-T3 and X-T30, but I changed a couple of things for the X100V: I set Clarity to +4 (which isn’t available on the X-T3 and X-T30) and Grain to Strong & Large (on the X-T3 and X-T30, Grain is set to Strong). Because it adds contrast, setting Clarity to +4 actually makes this look more like the high-contrast version. If you are using this on the X100V, X-Pro3 or X-T4, feel free to try all three contrast versions, with or without Clarity, to see which you like better. For X-Trans III cameras, which don’t have Color Chrome Effect, you can still use this recipe; while it won’t look exactly the same, it will still look very similar. In other words, even though the title says ‘Fujifilm X100V Film Simulation Recipe’ you can actually use it on any camera with the Acros film simulation—I’ve tried it on an X-T30 and X-T20, and it looks great!”
Maybe I didn’t explain it well in the article, but for X-Trans III, simply ignore Color Chrome Effect, Clarity, and Grain size, since your cameras don’t have those. Choose between the high, mid, and low contrast options explained in the above paragraph.
Hi Ritchie,
Following the last episode on YouTube, I am now trying this film recipe.
As I have learned, after taking a picture, there is little bit of a delay while the camera is saving the jpeg, so I cant use the continues shooting mode, and as a photographer in some situations capturing the moment is important. What are your thoughts about leaving clarity at zero, or adding it latter in Fujifilm x raw studio?
Fujifilm actually recommends just what you said. The other option is to not use Clarity, and follow the instructions for that in the written article (basically, the instructions for the X-T3/X-T30).
Thank you for your help.
My first try at a B&W recipe. A little confused at the very first setting. Does the Acros (+Y, +R, +G) mean for me to choose Acros standard or does it mean to tell me I can choose any of the three filters yellow, Red, green as needed?
Acros (+Y, +R, +G) So how do I set this setting? thanks.
You choose the one you want: no faux filter, +Y, +R, or +G. This article might be helpful:
https://fujixweekly.com/2019/03/07/understanding-acros-film-simulation-options-on-fujifilm-x-cameras/
Hi, Ritchie. Hope all is well. Just wondering if you have any experience with Tiffen Glimmerglass 1. I bought one with the intention of letting it more or less live om my 35mm lens, because I really like the little extra suttle touch it gives your brilliant color recipies.. but after discovering this recipe, in addition to your old ilford ones *(the hp5 plus push process is amazing fun), I just want to shoot in B&W, all the time.. not sure to do with this kodak tri-x one though (contrast and all).. would you still recommend I’d go for the mid contrast trans iv one (which I really like), or should I make slight modifications if I want to use the filter? Lord have mercy; all the “stupid” questions you get.. 🙂
Glimmer Glass filters were popular with portrait photographers in the 1980’s. By the time that I began learning photography they were more the butt of jokes, yet now they’re coming back (I think more subtly perhaps?). I’ve never used a Glimmer filter, but I’d be interested in trying. Kodak Tri-X 400 is my personal favorite B&W recipe. I think this recipe could be a good match for the filter because I like a 5% CineBloom, but I don’t have any personal experience to know for certain.
Hello Richi,
Thanks again for your great work you have done. I have been working with your recipes for a few weeks now. Since the question arises with me, whether the sometimes violent image noise in some recipes is reproduced in print similar to the computer screen? Have you had any experience with this?
Greetings
Ralf
I have printed pictures with this (and other) recipes as small as 4” x 6” and as large as 2’ x 3’ and everything in-between. There is faux Grain and digital noise… obviously the higher the ISO, the more pronounced the noise will be (and Grain in Acros recipes). So if it’s too much, perhaps try to use a lower ISO when possible. But, even at ISO 51200, you can get an 8” x 12” print that has noticeably finer grain than Ilford Delta 3200 35mm film printed at the same size (I did such an experiment). It comes down to personal tastes, I think, on whether you like the Grain/noise or not, and if not, I would suggest using less faux Grain (Weak/Small?) and/or a lower ISO. I hope this helps!
Hey Ritchie!
I’ve been having a question regarding multiple recipes for quite some time now, so I’m gonna ask. Does having a Daylight WB mean that the recipe works only in the daylight? Should I change it to something different (preserving WB Shift, of course) if the conditions change or should I always leave it like that?
Great question. With film, with a few rare exceptions, you have either Daylight Balanced or Tungsten Balanced film—you pick whichever one most closely matches the light you expect to encounter. Film simulation recipes often work similarly. This article might help a little:
https://fujixweekly.com/2022/01/19/film-simulation-recipes-why-pictures-are-too-yellow-how-to-fix-it/
The bottom line is I recommend keeping the Daylight WB… until it doesn’t work for you. Then you have some options, including using a different recipe that better matches the light, color correction filters, or changing the WB.
I hope this helps!
I am considering the purchase of an H2S, and would be interested in these recipes. What I struggle to understand, is this tr-ix 400 recipe is not listed for the x-trans V sensor. Ok, but can’t this be used to create this for the H2S if it has all the same settings available for modification?
This recipe isn’t listed on this website as being compatible with X-Trans V because it was published well before X-Trans V even existed; however, if you look at the Fuji X Weekly App, you’ll see it listed both under X-Trans V and the X-H2S.
Hi, Thanks for the recipe! I am now using it to my satisfaction on me XE4. The only problem is that it now takes a second to save the photo. Do you have any idea how that comes about?
It’s Clarity. Whenever set to anything other than 0, there is a storing pause… a similar amount of time as advancing to the next frame on a film camera.
https://fujixweekly.com/2020/05/24/fujifilm-x100v-new-feature-clarity/
Hi, thanks for the recipe. I am using it to my satisfaction on my XE4, only now it takes a second to save the photo. Do you know this problem?
On X100V, it is not possible to choose DR200 once White Balance: Daylight,+9 Red & -9 Blue is set. Only DR100 is available in this case..
The Dynamic Range settings are ISO dependent. Increase the ISO and DR200 will become available. It has nothing to do with the White Balance.
https://fujixweekly.com/2023/07/13/answers-to-the-10-most-common-fujifilm-how-to-questions/
I hope this helps!
Even I know you might not be able to read my German text – but at least you might appreciate my bw pictures based on your Tri-X 400. https://shashindo.de/tag/schwarzweiss/
I also switched to a 1:1 format.
Love it!!!
Thx!
Awesome! Thanks for sharing!
Hi Ritchie, Tri-X no doubt my favorite film similar always gravitate to it and have never erased it. Of course I always ask myself why? Why is a good question and for those of us that garner inspiration from master photographers who’s work found there way into Photographic museums on silver gelatin paper, I’ve always and continue to marvel at the tonality and textures of Tri-X used in their work. Grain in this film sim is controversial to me I go back and forth as to whether I like it or not compared to those museum works that in many cases don’t seem to reveal much grain at all. My dilemma continues.
Those museum works were probably shot on larger format film… the larger the film, the finer the grain will appear in prints. For example, I’ve seen 8″x10″ Tri-X sheet film that when printed had nearly invisible grain. To mimic that, you can lower the grain settings. I hope that makes sense and is helpful to you.
You do a spectacular job… , I just wonder, can you do this simulation in lightroom?
I’m sure there are Lightroom presets that will produce a Tri-X look.
As for using this Recipe in Lightroom: the software can apply its version of its interpretation of some (but not all) of the JPEG settings to the RAW. It can get you “halfway there” but it will take a number of tweaks to replicate the camera-made JPEG, and even then it won’t be 100% identical. I haope this makes sense.
Hey Ritchie
Just my opinion. Looking at the images taken with this Tri-X simulation, it seems that you have taken a more diverse approach to the images than other simulation samples. They have a creative take to them that I think is really cool and a broader subject matter… maybe you feel b&w more than color…just thought I’d say that…my opinion only. Excellent images with this recipe. Well done.
I first learned photography on B&W. I think, if I were left to my own devices, I’d probably shoot 75%+ of my pictures in B&W. I appreciate your kindness! 😀