Dock Light – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”
I already have a Kodak Ektar film simulation recipe that I published a little over two years ago, but I’ve been wanting to revisit it for awhile. In the article that I published for that recipe, I wrote, “I’m actually a little hesitant to call this film simulation recipe Kodak Ektar 100 because it’s not quite right. It’s close, but a little off. The color palette is slightly askew.” That’s a true statement. My original Ektar recipe is close but no cigar. Since that time Fujifilm has added more JPEG options to their cameras, so would it be possible to get closer to real Ektar on my X100V?
Kodak introduced Ektar in 1989. It has been made in ISO 25, 100, 125, 400 and 1000 versions at one time or another. Kodak discontinued Ektar in 1997, but they brought it back in 2008 with an updated emulsion. I’ve shot the old Ektar but never the new Ektar. It’s my understanding that they’re similar but not exactly the same.
This new film simulation recipe will be controversial. To achieve a more correct color palette, this recipe is based off of Classic Chrome instead of Astia. The reason that I used Astia in the original recipe is because “Classic Chrome isn’t vibrant enough, even with Color set to +4.” That’s still true, although Color Chrome Effect does help a little. Honestly, if +6 was an option, that’s what I’d set Color to. Unfortunately that’s not an option, so we have a slightly undersaturated recipe. Another issue is that Ektar can have several different looks, depending on how it’s shot, developed, and printed or scanned, just like any film; however, with Ektar, even a 1/3 stop over or under exposure can noticeably effect the aesthetics of the picture.
Peach Sun – Farmington, UT – Fujifilm X100V – “Kodak Ektar 100”
Fuji X Weekly reader Thomas Schwab helped me immensely with this recipe. He’s had a hand in several recipes, and even created one from scratch that’s quite popular: Urban Vintage Chrome. Thomas captured a bunch of pictures with actual Ektar film, and made several similar exposures with his X-Trans IV cameras. He showed me examples of both, applying my original Ektar recipe to the pictures captured with his Fujifilm cameras. Then we began to create a new Kodak Ektar 100 film simulation recipe based on his Ektar pictures, hoping to achieve something closer to the film than the original recipe.
We discovered very quickly that Ektar is impossible to faithfully recreate on Fujifilm cameras, because only Classic Chrome has the correct color palette, and it’s not vibrant enough. We tried Astia, Provia, Velvia, and PRO Neg. Hi, and of those Astia was the closest, but none of them were right. We settled on Classic Chrome despite it not being vibrant enough. We went back-and-forth on different settings, but especially the white balance. There were several times that we said, “This is it,” only to modify something the next day.
A problem we encountered is that Ektar can have several different looks, even from the same roll of film. There was a discussion about creating as many as three different recipes, depending on the exact aesthetic we wanted to recreate, but decided to go with just one recipe, modeled after our favorite pictures from Thomas’ Ektar film. After even more back-and-forth we finished with this recipe here. We feel confident that it is as close as we could get to actual Ektar film, acknowledging that it’s very close but not exactly right.
Boat in the Bay – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”
The original Ektar recipe isn’t an exact match to the film, and I believe that this new recipe is closer. The two recipes each produce a different look, and perhaps they both have a place, depending on what exact aesthetic you are after. This new recipe was a collaborative effort, and I want to give a special “thank you” to Thomas Schwab for all of the time and effort he put into making this a reality. It’s much appreciated!
This Kodak Ektar 100 film simulation recipe is intended for and only compatible with (as of this writing) the Fujifilm X100V, X-Pro3 and X-T4. It uses Clarity, which slows down the camera considerably. I just allow the pause to slow myself down. Another option, which is what Fujifilm recommends, is to add Clarity later by reprocessing the RAW file in-camera or with X RAW Studio.
Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +3
Grain Effect: Off
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 6050K, +3 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodak Ektar 100 film simulation recipe on my Fujifilm X100V:
Daisies by the Dock – Flathead Lake, MT – Fujifilm X100V
Henry’s Fork – Island Park, ID – Fujifilm X100V
Johnny Sack Cabin – Island Park, ID – Fujifilm X100V
North Shore of Island – Wild Horse Island State Park, MT – Fujifilm X100V
Butters – Roy, UT – Fujifilm X100V
Mustang Evening – Farmington, UT – Fujifilm X100V
Roofline Sky – Farmington, UT – Fujifilm X100V
Finding Clues – Farmington, UT – Fujifilm X100V
Golden Boy – Farmington, UT – Fujifilm X100V
Rocket Launching – Farmington, UT – Fujifilm X100V
Yellow Lady – Layton, UT – Fujifilm X100V
Light Too Bright – Farmington, UT – Fujifilm X100V
Lawnmower Handle & Shadow – Farmington, UT – Fujifilm X100V
Air Pump – Farmington, UT – Fujifilm X100V
Blossom Red – Farmington, UT – Fujifilm X100V
Flower Garden Blossom – Farmington, UT – Fujifilm X100V
Bug Hiding on a Flower – Farmington, UT – Fujifilm X100V
Rose Fence – Farmington, UT – Fujifilm X100V
Marsh Reeds – Farmington, UT – Fujifilm X100V
See also: Film Simulation Recipes
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I don’t know how closely it matches Ekta 100 but it’s a beautiful colour recipe.
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It doesn’t match Ektar completely, and it depends on the exact Ektar aesthetic you’re talking about, but it looks pretty interesting nonetheless. Thank you!
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some shot is spot on, you’ve made a great work!
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Thank you!
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Man, you are just a genius!
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Thanks! It was definitely a joint effort.
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Very beautiful colors, I think, the original simulation has too deep shadows.
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Thanks! It’s appreciated!
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May be here is the right place to remember you for the request for Ricoh Positive Effect. After some cameras has Clarity and Color Chrome Effect Blue this can help.
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I need to see if I can. It seems a bit kodak-esque from the samples I’ve seen.
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Really excellent work, respect! maybe when you have time try to create the Panavision look of the 70-80ies (example)
the Movie “Lethal Weapon 1” from 87 has a nice Vibe, but maybe it just works with DaVinci & CO, but what I see here from your works/passion is a lot possible come out of the cam 🙂
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Thanks so much! Sounds like a good excuse to watch Lethal Weapon again!
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This is a great film recipe! Really good looking, i have never used Ektar film but from this simulation, even if its not 100%, i can see why they brought it back!
Thank you for your efforts on all the recipes.
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I’m glad that you like it!
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White Balance: 6050K, +3 Red & 0 Blue!
is it correct? there is no 6050K on X-T30!
maybe white balance setting is different on X100V. Right?
then how to achieve this look on X-T30(except clarity & color chrome blue)?
Thx for your efforts.
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The X100V (as well as the X-Pro3, X-T4 and X-S10) can adjust WB by 0010 increments, so it can, in fact, be set to 6050K. The X-T30 cannot.
The closest on the X-T30 is going to be 6000K +3R & 0B, Highlight +2, Shadow -1, disregard CCEB and Clarity. It won’t be exactly the same, but that’s as close as you’ll get, I think.
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Thx a lot. i’ll try it.
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You are welcome!
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maybe they should hire more people like you to implement this idea and to perfect this method to the point where similars stimulation we set on the camera can directly transfer to the raw, so we can use it as a base. That way Fuji will make it big, ur a genius bro. I already love the x100v, but i m thinking to go w leica m10p for my everyday camera, then here is Richie. Brilliant bro! Make it way too fun to shoot and careless the process and edit part.
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I appreciate the kind words! I would love to work for Fujifilm someday. Don’t know what the process is, but I do know it’s a small team. Thanks for the comment and encouragement!
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any suggestions for how to adapt this to a trans iii like xt2?
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It’s definitely not going to look the same since you don’t have Color Chrome Effect, Color Chrome FX Blue and Clarity. But… try DR100, Sharpness +2 and White Balance will need to be 6100K or 6000K, I’m not certain which, but try 6100K first.
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I’ve shot hundreds rolls of Ektar100, the problem with film is- it looks with every camera quite a bit different. The only picture that has some Ektar-Flavor in this article is the top picture, “Dock Light”.
But honestly, it looks more like Fujifilm160NS
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So much depends on the camera, plus how it is shot, developed and scanned or printed. One film can vary wildly.
For this recipe, literally a film camera loaded with Ektar and a Fujifilm X camera were placed side-by-side and captured the same subject at the same moment. Myself and Thomas Schwab worked really hard on this one, trying absolutely everything in our quest to get it as close to “right” as possible. It’s amazing how close we came! But, we also recognized that it’s not perfect. It’s not vibrant enough as +6 Color is really necessary, but isn’t an option, unfortunately. I would love to get closer to the film, but I just don’t think it’s possible–this is as accurate as one can get on Fujifilm X JPEGs.
As far as Fujicolor 160NS, I think Pro Neg. Hi is a much closer starting point than Classic Chrome. Obviously this recipe is much too warm, unless one was using a warming filter or had a radioactive-coated lens. And too much contrast, too. Again, there are so many variables, and it’s difficult to nail down exactly what one film “looks like”. That’s obviously a pretty big challenge, but I’m always trying to get the general feeling “right” if I can.
I appreciate your input. Thank you for the comment!
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When you say that one recipe or another is not exactly like the film, I think you may be overthinking this. Nationwide variations in processing (including the water used) contribute more to the variations than the tweaks you are doing ‘to make it more like the film’. Someone in San Francisco regularly using and processing a given film would notice differences if he had that film processed in Miami or London, Cairo or Tokyo.
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That’s a great point. Even the temperature of the water and chemicals makes a difference, or how “fresh” or “used” they are. There are so many variables. Thanks for the comment!
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Hello Ritchie,
I discovered you last week.
Your work is GREAT.
I photographed all weekend with several simulations … I was bored in digital photography but since then I have regained pleasure with my X-S10.
I like landscape photography and I have a question: can we always use a polarized filter with all simulations?
PS : sorry for my english.
Hello from Belgium
David.
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I appreciate your kindness!
Great question. It’s definitely fine to use a polarizing filter in conjunction with the recipes.
Take care!
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Hi Ritchie. I’m trying to emulate this Ektar 100 from https://images.app.goo.gl/4ejLpT5A3WyyQu2S6 on my X-E3. I used your recipe as base, H:1 S:0. I then chose Astia, it matches the skin tones; but the blues 😭.
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It’s definitely a challenge. In this case (as was common) the film was overexposed, because color negative film had a much greater tolerance to overexposure than underexposure (kind of the opposite of digital). I find that Classic Chrome has the right color palette in general but is not vibrant enough. The other film sims don’t have the right color palette, but Astia, Velvia, Provia, Pro Neg Hi potentially are capable of enough vibrancy. I’ll take a look. Thanks for the suggestion!
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Been liking this one since I got my X-Pro3. I think autumn in New England might be a little too intense for this, and I tapped slightly on the WB from 6050K, +3 Red, 0 Blue to 5990K, +2 Red, 0 Blue. Still a lovely warm film, really capturing the color of the season.
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Awesome! It’s always ok to “season to taste” any recipe. I appreciate the tip!
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