There doesn’t appear to be one place on the web to get your full Fujifilm fix. You might frequently visit a handful of websites, and the Fuji X Weekly blog is hopefully one of those websites. I have a few regular daily stops, plus a few that I visit less often. I realized recently that I’m missing a lot of great content that’s out on the web regarding Fujifilm, and perhaps you are, too. If there was a frequently visited website that gathered these articles and put them into one place, that would be very convenient. Seeing a need and wanting to fill it, I’m creating a new series called Fuji Features, which will have links to recent Fujifilm related articles. My intention is that each of these posts will have a theme, and the theme for this very first one is Fujifilm X-E4 reviews.
I searched the web and found a whole bunch of Fujifilm X-E4 reviews. I’m not including all of the reviews that I found, only those that were published over the last few weeks—if they’re older than that, it’s more likely that you’ve already seen them, so I didn’t include those in this article. I’m sure that I missed a few, so if you know of one that should have been included, don’t be afraid to add it via the comments section. Of course, I have my own Fujifilm X-E4 review, and I invite you to view it if you haven’t already. If you are considering purchasing an X-E4, my hope is that this post will be useful to you.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Hopefully you found this this post helpful or interesting. I plan to do more articles in this series, although the exact format might vary from post-to-post. I’m not certain how frequent these will come out, but my plan right now is weekly, but we’ll see how that goes. If you found one of these articles or videos especially helpful to you, let me know in the comments!
One of my favorite film simulations is Eterna. There’s a special quality to it that’s different than the other film simulations, with its low contrast and muted colors. Yes, you can get pretty close to Eterna using PRO Neg. Std, but you cannot completely match the lovely subtle tonality of it. I think the Eterna film simulation is a little underrated, as it’s a great base for crafting recipes, and I was eager to create a new look with it—so I did!
Real Eterna is a motion picture film. Actually, there have been a number of different film stocks that Fujifilm has given the name Eterna to. The film simulation of the same name doesn’t exactly match any specific Eterna film, yet it has a great general Eterna cinematic feel. In my opinion, the Eterna film simulation is good for achieving an analog color negative film aesthetic.
The first recipe that I created that uses the Eterna film simulation is simply called Eterna, and I really like how that one turned out. I wanted to make something similar, but not identical, using the additional JPEG options that Fujifilm has added to their newer X-Trans IV cameras. I wanted a warm vintage film look—something that could possibly be confused as being actual analog—without being based on any specific film. I think it looks pretty good, and I hope that you do, too.
El Capitan – Yosemite NP, CA – Fujifilm X-E4 – “Eterna v2”
Because this film simulation recipe requires the new Auto White Priority white balance, it is only compatible with the X-T4, X-S10 and X-E4; however, for outdoor natural light photography, using Auto white balance will produce identical results, which means that you can use this Eterna v2 recipe with the X100V and X-Pro3! For indoor artificial light photography, using Auto white balance will produce overly warm images, so Auto White Priority works better, but right now only the three newest Fujifilm X cameras have that option. For the X-T3 and X-T30, in addition to using Auto white balance, you’ll have to disregard Color Chrome Effect Blue and Clarity, and consider setting Highlight to +2 and Shadow to +1 plus Sharpness to -2 to compensate, as well as disregard Grain size (simply use Strong). It won’t be identical, but it will be very similar—I tested it out on my X-T30 and it works.
Eterna Dynamic Range: DR400 Highlight: +3 Shadow: +2 Color: +3 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Auto White Priority (X100V + X-Pro3: Auto), +4 Red & -7 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Eterna v2” film simulation recipe on my Fujifilm X-E4:
Faux Plant on a Table – Farmington, UT – Fujifilm X-E4
J.C. Higgins – Farmington, UT – Fujifilm X-E4
Empty Grapefruit Box – Bountiful, UT – Fujifilm X-E4
Duerden’s Will Call – Bountiful, UT – Fujifilm X-E4
Reaching Tree Branches – Bountiful, UT – Fujifilm X-E4
Flower Tree – Farmington, UT – Fujifilm X-E4
Click – Layton, UT – Fujifilm X-E4
Sevenhundred Sixty – Farmington, UT – Fujifilm X-E4
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!
Since 1938 – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”
The Ektachrome line has been around since the 1940’s, but Kodak didn’t introduced Ektachrome 320T, also known as Ektachrome EPJ 320T, until 1992. This was a high-speed Tungsten color-reversal (slide) film intended for use under artificial light. Tungsten films were never as popular as daylight-balanced films; when used in daylight you get a strong blue cast (unless you have an 80A filter). I’m not completely sure when Kodak discontinued Ektachrome 320T, but I believe it was sometime in the early to mid 2000’s—all Ektachrome films were discontinued by 2013. When Kodak reintroduced Ektachrome in 2018, EPJ 320T was unsurprisingly not included.
This film simulation recipe was not intended to mimic Ektachrome 320T. I was simply trying to create a tungsten film look using the new Eterna Bleach Bypass film simulation. Prior to this I had only one recipe for Eterna Bleach Bypass, LomoChrome Metropolis, so I was eager to create another. The reason for a tungsten-like recipe is because I feel as though I don’t have as many after-dark options as I’d like. This recipe’s similarities to Ektachrome 320T film is coincidental, as I didn’t set out to recreate it, but it does, in fact, resemble the film fairly well.
On – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”
Even though I didn’t intend to create an Ektachrome 320T recipe, these settings come curiously close. I would consider, when using this recipe under artificial light, setting the White Balance Shift to -7 Red & -6 Blue to more accurately reflect the film (I didn’t make that adjustment for any of the photographs in this article). I wish that +5 was an option for Color—that would likely be more accurate to the film—but unfortunately it tops out at +4. I debated if Grain size should be Small or Large, but I ended up going with Small because that’s what I originally set it to; however, Large grain might be slightly closer to what you’d find on actual Ektachrome 320T, although that’s certainly debatable.
This recipe is the first one to use the new Auto Ambience Priority white balance, which is currently (as of this writing) only available on the Fujifilm X-T4, X-S10 and X-E4 cameras. That means this recipe is only compatible with those three cameras. As a reminder, the camera will take a moment to save each exposure when using Clarity. Also, High ISO NR on the newer camera models is the same as Noise Reduction—Fujifilm renamed it for some reason, but it’s the same thing.
Eterna Bleach Bypass Dynamic Range: DR400 Highlight: +1 Shadow: -2 Color: +4 Noise Reduction: -4 Sharpening: 0 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Auto Ambience Priority, -6 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Ektachrome 320T film simulation recipe on my Fujifilm X-E4:
White Tree, Blue Sky – Farmington, UT – Fujifilm X-E4
Thistle Field – Farmington, UT – Fujifilm X-E4
Fake Plant on a Table – Farmington, UT – Fujifilm X-E4
Cage Free Eggs – Bountiful, UT – Fujifilm X-E4
Lifted – Bountiful, UT – Fujifilm X-E4
Old Navy Carts – Farmington, UT – Fujifilm X-E4
Ghost Mart – Farmington, UT – Fujifilm X-E4
Pot & Bench – Farmington, UT – Fujifilm X-E4
Lights in a Puddle – Farmington, UT – Fujifilm X-E4
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Accidents happen. Sometimes they’re happy accidents that lead to great discoveries, and sometimes they’re not. An example of one that wasn’t happy is when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 film simulation recipe. When I saw it, I thought, “You know, I’m going to make this mistake work, and call it ‘Agfa Vista Baby’—I just need to figure out what situations it works well in.” But, try as I might, Agfa Vista using Classic Chrome instead of Classic Negative just doesn’t look good. Sorry, Omar. An example of a happy accident is this recipe—it was discovered by mistake, but I’m very glad to have made that mistake.
You see, back in the fall I was shooting in Montana with what was at the time a brand-new yet-to-be-published recipe that’s now known as Kodak Portra 400 v2. Somehow I managed to accidentally change the film simulation from Classic Chrome to Classic Negative, and I shot a number of frames with this before I realized my mistake. As I reviewed the pictures I realized that the results were pretty good, and that this mistake was actually good fortune. As Lefty Gomez coined, “I’d rather be lucky than good.”
What does this film simulation recipe resemble? Of course, since it’s based on the Classic Negative film simulation, it has a Superia-like aesthetic, as that is what Classic Negative is modeled after. But to me it feels more vintage than Superia. I kept thinking that I’ve seen this look before. Not every picture makes me feel this way, but some—Autumn Aspen, Mill Creek, Blossoming Branch, etc.—seem to have this vintage vibe that I recognize from somewhere. But where?
Red on Pine – Big Fork, MT – Fujifilm X100V – “Vintage Vibes”
Wet Red Leaves – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”
I was digging through some old issues of Arizona Highways Magazine, which, if you are unaware, is full of fantastic photography—Ansel Adams was a fairly regular contributor back in the day—and I found a very similar aesthetic on the pages of that magazine. From the mid-1960’s through the early-1980’s, there are images with this look, by numerous photographers. I did research in an attempt to discover what films were used for those pictures, but unfortunately that was largely a dead-end. I’m not sure if it’s a specific film that creates this look (and, if so, which one?), or if it’s a byproduct of the printing process that was used, or the fading ink, or a combination of all that, but this film simulation recipe, which I call “Vintage Vibes” for lack of a better name, can be, in the right situations, very similar. It’s also similar, in the right situations, to Fujicolor Superia. Whatever it looks like, it looks good, and I know that many of you will appreciate this recipe.
I’ve been wanting to get this recipe out for awhile. Sometimes it takes time. Now it’s finally ready! This “Vintage Vibes” film simulation recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and X-E4 cameras.
Classic Negative Dynamic Range: DR400 Highlight: 0 Shadow: -2 Color: +2 Noise Reduction: -4 Sharpening: -2 Clarity: -2 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: 5200K, +1 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Vintage Vibes” film simulation recipe on my X100V and X-E4:
Trees & Dirt Cliff – Layton, UT – Fujifilm X100V
Forest Road – Layton, UT – Fujifilm X100V
Mill Creek – Bountiful, UT – Fujifilm X-E4
Blossoming Branch – Bountiful, UT – Fujifilm X-E4
Sunlit Blossoms – Layton, UT – Fujifilm X100V
Windshield Water – Centerville, UT – Fujifilm X-E4
Johanna & Lens Flare – Farmington, UT – Fujifilm X-E4
Playing in a Dirty Kitchen – Farmington, UT – Fujifilm X-E4
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Forest River – Layton, UT – Fujifilm X-M1 – “Superia Xtra 400” – Photo by Joy Roesch
I handed my Fujifilm X-M1 camera to my daughter, Joy, and told her that she could change the settings to whatever she wanted them to be—you might remember that she created the Winter Blue film simulation recipe. She used the camera to capture a bunch of pictures; afterwards, when I reviewed the images, I was very impressed with the look that she created. I asked her why she chose these settings, and she answered that she had hoped to capture some cherry blossoms, and it was initially overcast when she dialed in the settings, and she thought that it might work well for that.
These settings remind me of my X-Trans IV Superia Xtra 400 film simulation recipe. It’s definitely not an exact match—there’s no way that it could be because X-Trans I cameras don’t have many of the JPEG options that X-Trans IV cameras have, including the Classic Negative film simulation—but it’s surprisingly similar. I don’t imagine it’s possible to get closer. If you have an X-Pro1, X-E1 or X-M1, this is your best bet for a Superia Xtra 400 look. I think it’s also not far off from my Superia Premium 400 recipe, although, again, it’s not an exact match, just in the general ballpark. For some of you, I have no doubts that this will become your new favorite recipe.
Horsetail Reeds – Layton, UT – Fujifilm X-M1 – “Superia Xtra 400” – Photo by Joy Roesch
While this recipe is intended for X-Trans I cameras, it’s possible to use it on Fujifilm Bayer cameras, although it will look slightly different. You can also use it on X-Trans II cameras, but it will look fairly significantly different, although you might like the results anyway, so it might be worth a try.
Astia Dynamic Range: DR200 Highlight: -2 (Low) Shadow: +1 (Medium-High) Color: +2 (High) Sharpness: 0 (Normal) Noise Reduction: -2 (Low) White Balance: Shade, +2 Red & +2 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by Joy using her “Superia Xtra 400” film simulation recipe on a Fujifilm X-M1:
Dirt Cliff Forest – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Sideways Tree – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Photographer Hiding in the Forest – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Forest Creek – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Water in the Woods – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Johanna on a Bridge – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Path Through The Trees – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Small Flower – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
Patch of Red – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
White Tree – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch
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!
Ever since I published my review of the Fujifilm X-E4, I have received numerous requests to explain my focus switch and ISO dial exclusion solution. It can be difficult to know how to best set up this new camera, especially with the changes that Fujifilm made, and perhaps most puzzling are focus mode and ISO. I don’t know if my settings are best, but hopefully this will be helpful to some of you.
In case you don’t know, Fujifilm removed from the X-E4 the M/C/S focus selector switch that most X cameras have. This switch allows you to quickly and easily go between Manual Focus (MF), Autofocus Continuous (AF-C), and Autofocus Single (AF-S). Instead of a switch, you now have to dig into the menu to change this, which is an inconvenience, to say the least. Fujifilm programmed the X-E4 so that the Focus Mode can be, or really must be, set and saved with each Custom Preset. I have all of my presets set to Autofocus Single (AF-S) because that’s the Focus Mode that I most commonly use. No matter the C1-C7 preset that I choose, it is set to AF-S, and whenever I change presets the Focus Mode will be automatically set to AF-S, whether that’s what I want or not. Most of the time this works well, but not always.
I have AF+MF set to On. I also have MF Assist set to Focus Peak Highlight (I prefer Red) and Focus Check set to On. This is important because most Fujinon lenses are capable of Manual Focus Override, and if you have one of these lenses, when you are in an autofocus mode, if you half-press the shutter you can turn the manual focus ring on the lens and manually focus. Yes, you read that correctly: you can manual focus while in AF-S or AF-C, without setting the camera to MF! Not only that, but MF Assist will automatically activate, and if you are using Single Point AF Mode, focus zoom will also automatically activate. So it’s like setting the focus selector switch to M, except that you stay in AF-S or AF-C. By the way, this isn’t a new feature, and many other Fujifilm cameras are capable of this. It’s pretty slick, and if you’ve never used it you should give it a try.
That works well for Fujinon lenses, but what if you are using a third-party or vintage lens that is manual-only? No matter the Focus Mode you are in, you can press the Focus Stick in to activate Focus Check. You don’t need to be in MF Mode to manually focus, and Focus Check helps to achieve a properly focused image; however, MF Assist will only activate in MF Mode, so Focus Peak Highlight (or whatever you have it set to) won’t activate unless MF Mode is selected. If you don’t need MF Assist, keeping the camera in AF-S or AF-C focus mode even when using a manual lens, and using the Focus Stick to Focus Check, is a good strategy. If you do like to use MF Assist, you’ll need to set the camera to Manual Focus Mode, which is found in the AF-MF Menu.
You can program one of the buttons on the camera body or one of the touch-screen gestures as a shortcut to activate the Focus Mode menu. I chose the AEL-AFL button on the back, and that works well for me, but it might not work for you. The unmarked Function (Fn) button on the top is another good option. This is not an ideal solution, but it’s better than digging through the menu. Since most of the time I’m using AF-S, it’s only occasionally that I need to change the Focus Mode to AF-C or MF, so it’s not a huge deal, but it would have been better if Fujifilm had kept the M/C/S switch on the camera body.
The X-E line has never had an ISO dial on the camera body. You’ve always had to dig through the menu to find the ISO menu. I had hoped that Fujifilm would add an ISO dial around the Shutter knob like the X100V, but they didn’t. My solution to this lack of an ISO dial is simple: the front wheel, which is called The Command Dial. The little wheel on the front can be programmed for only a few different things, like aperture, shutter speed, and ISO. A long press will allow you to switch what it controls, but I have it set to, and I leave it set to, ISO. Because I most often use Auto ISO, which can be programmed with each Custom Preset, I don’t change ISO often, but when I do this works very well, probably better than a dial around the Shutter knob.
The Fujifilm X-E4 is a great minimalistic camera, and I really appreciate that aspect of it, but the exclusion of the M/C/S switch went just a little too far, in my opinion. But that doesn’t mean the camera isn’t a great tool or that it can’t be worked around. I found that it has a sufficient number of buttons, and the firmware Fujifilm gave it does make up for some of the exclusions. Changing focus modes is more cumbersome than it should be, but it’s not a big problem, just an occasional minor inconvenience.
If you have a Fujifilm X-E4, I hope that you found this article helpful. If you’ve found a different solution to either the missing focus mode selector switch or the non-existent ISO dial, I’d love to hear about it in the comments! I’m fairly satisfied with my focus switch and ISO dial exclusion solution, but maybe you’ve figured out something even better.
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Joshua & Joy at a Creek – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
I’ve been wanting to create a Kodak Portra 400 film simulation recipe for Fujifilm X-Trans II cameras for a long time now. I’ve had a Portra 160 recipe on this website for awhile, but I’ve never created a Portra 400 recipe for this sensor. I’ve actually created five different Portra 400 recipes for X-Trans III and IV cameras, but those don’t work on X-Trans II. I made a guess on my Fujifilm X-T1 on what might be a good Portra 400 recipe, handed the camera to my son, Jon, and let him capture some pictures with it. You might remember that Jon created his own Classic Chrome recipe; this time I made the recipe, but I let him capture the pictures.
You might be wondering why I didn’t call this recipe “Portra 400” but named it “Portra v2” instead. While I believe that this recipe is similar to Portra 400, I do plan to create a more accurate recipe. Actually, that was my intentions with these pictures: reprocess the RAW files in-camera to refine the Portra look; however, as I reviewed the pictures, I liked the aesthetic created by these settings, so I decided to keep this as its own recipe. I will still work on a different Portra 400 recipe for X-Trans II.
Trees – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
One film can have many different aesthetics, depending on how it’s shot, developed, scanned or printed, and this is especially true with Kodak Portra 400. Portra can have many different looks. This recipe does resemble one of those aesthetics, but it definitely doesn’t resemble all of the aesthetics, or even the most common. If you do like Portra, I’m confident that you’ll appreciate these settings, which is compatible with all X-Trans II cameras that have the Classic Chrome film simulation.
Classic Chrome Dynamic Range: DR200 Highlight: -1 (Medium-Low) Shadow: -1 (Medium-Low) Color: +2 (High) Sharpness: -1 (Medium-Low) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, +4 Red & -4 Blue ISO: Auto up to ISO 3200 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using this Portra v2 film simulation recipe:
Water – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Fence Tree – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Lake – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Creek in the Woods – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Leaves – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Moss on a Log – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Grass – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Bridge – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
My Friend – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
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!
Omar Gonzalez posted an interesting video yesterday that I want to share with you. It poses the question: which Fujifilm X-Trans sensor is the best? I don’t want to get too deeply into what’s “best” because that’s very subjective. Omar directly compares images from X-Trans II, III & IV sensor cameras to see what the differences are. There can be, in fact, some pretty significant differences between sensor generations! If you have a few free moments and haven’t already watched it, push play on Omar’s video above.
I’ve done some pretty similar experiments. I’ve done my own side-by-side comparisons in the past. I know the differences between the sensors, particularly regarding JPEG output, and I agree with most of what Omar says in his video. Each sensor generation produces slightly different results, and that’s largely due to Fujifilm’s programming.
X-Trans II is programmed warmer than the others, and fairly significantly so. For example, my X-T1 Kodachrome 64 recipe requires a White Balance Shift of 0 Red & -3 Blue while my X-T30 Kodachrome 64 recipe requires a WB shift of +2 Red and -5 Blue, so there’s definitely a difference. X-Trans III is slightly warmer than X-Trans IV, but not by much—it would require a decimal in the shift, such as around a 0.3 adjustment, to make them match, which unfortunately isn’t possible. Omar doesn’t discuss X-Trans I, but it’s more similar to X-Trans III and IV in regards to warmth.
Man in Red – Farmington, UT – Fujifilm X-T1
I don’t find X-Trans II to be punchier than X-Trans III or IV, but they are certainly not programmed the same. Omar detected more contrast and more vibrant colors from his X-Trans II camera, but I think I can explain what is happening. First, the luminosity curve isn’t identical, so highlights and shadows are rendered slightly different on X-Trans II. Second, adjustments in X-Trans II cameras max out at +2 and -2, while adjustments in X-Trans III & IV cameras max out at +4 and sometimes -4; however, +2 on X-Trans II isn’t the same as +2 on X-Trans III & IV. +1 on X-Trans II is roughly equivalent to +0.8 on X-Trans III & IV, so it might seem to produce punchier results, but +3 on the newer sensors goes beyond +2 on X-Trans II, allowing you to get more contrast and color vibrancy from the newer cameras. X-Trans I is more similar to X-Trans II in how it renders shadows, highlights and saturation, but it’s not identical.
High ISO is something else Omar looked at, which is definitely subjective—what one person finds acceptable another might find detestable. On X-Trans I & II cameras, I don’t like going above ISO 3200 for color photographs. On X-Trans III cameras, I sometimes find ISO 12800 to be acceptable for color photography, depending on the subject and settings. On X-Trans IV cameras, ISO 6400 is my upper limit for color pictures. This isn’t too dissimilar to what Omar found, although I believe that ISO 3200 is his preference for the upper ISO limit no matter the camera. There’s no right or wrong acceptable threshold, just what works for you. For B&W photography, I don’t mind using even higher ISOs—in fact, it might be preferable to do so.
100% – Salt Lake City, UT – Fujifilm X100V
In my opinion, of the different X-Trans sensors, X-Trans II is the most “different” looking, although mostly because it’s programmed to produce warmer pictures. In some ways X-Trans I is more similar to X-Trans II and in other ways it is more similar to X-Trans III & IV. There are some differences between X-Trans III and X-Trans IV, but to my eyes they’re the most similar. I don’t personally believe that any one sensor generation is inherently better than another, but it’s clear that they’re not completely identical.
Fujifilm continues to add new JPEG options to newer cameras, which allows you to further customize your straight-out-of-camera look. X-Trans I doesn’t have Classic Chrome. X-Trans II doesn’t have Acros. X-Trans III doesn’t have Color Chrome Effect. This is just scratching the surface! There are just so many more picture aesthetics that one can get straight-out-of-camera on the X-E4 than the X-E3, and the X-E3 can get more than the X-E2, and the X-E2 can get more than the X-E1. For many people, that makes the newer sensors “better” than the older ones, but if you prefer how an older sensor renders pictures, then that sensor is likely “better” for you. It just depends on your preferences—whatever works best for you and your photography. While one camera will render pictures a little different than another, and one might have more features than another, the most important thing is what you do with it. Using your gear to the best of your ability is much more important than the gear itself.
Wet Radio Flyer – Farmington, UT – Fujifilm X-E4 – “Old Kodak”
The Fuji X Weekly app is free, yet becoming a Fuji X Weekly Patron unlocks the best app experience! One benefit of being a Patron is you get early access to some new film simulation recipes. These early-access recipes will eventually become available free to everyone in time, including this new one. In fact, a few of the original early-access recipes have been publicly published on this blog and the app, so everyone can now use them. Patrons help support Fuji X Weekly and, really, without them there would be no app. So I want to give a special “thank you” to all of the Patrons!
This new recipe, called Old Kodak, is similar to Vintage Kodachrome and Kodachrome 1. I was recently viewing some old pictures captured on various Kodak films, and I was reminded of those two film simulation recipes. I thought that with some tweaks I could get closer to mimicking the aesthetic of the old Kodak pictures I was looking at. If you like the Vintage Kodachrome and Kodachrome 1 recipes, you’ll really appreciate this Old Kodak recipe, too! It’s compatible with the Fujifilm X-T4, X-S10 and X-E4 cameras.
If you are a Fuji X Weekly Patron, it’s available to you right now on the app!
I’ve had many requests to create a LomoChrome Metropolis recipe, but it was impossible until Fujifilm created the new Eterna Bleach Bypass film simulation and new Auto White Priority white balance. LomoChrome Metropolis film, which is a Lomography product, has only been around for a couple of years. The film is high-contrast, with low-saturation and a warm cast. It has a cool retro-feel despite being new.
There’s a special quality to this LomoChrome Metropolis recipe. It’s almost a color version of black-and-white photography. In the right situations it creates a wonderful look that’s easy to love. It often mimics the film pretty faithfully. I’m very happy with how this one turned out, and I used it recently on a trip to Arizona.
This LomoChrome Metropolis recipe has been on the Fuji X Weekly app as a Patron Early-Access recipe since December 1st when the app launched. All of the Patron Early-Access recipes will eventually be made available to everyone as they’re replaced with new ones, which means that there’s a new recipe for Fuji X Weekly Patrons on the app right now, so if you’re a Patron, go check it out. This LomoChrome Metropolis recipe has been unlocked, so everyone now has access to it.
Dark Blossoms – Phoenix, AZ – Fujifilm X-E4 – “LomoChrome Metropolis”
Because this recipe requires Eterna Bleach Bypass, Auto White Priority and a .5 adjustment, it’s only compatible with the Fujifilm X-T4, X-S10, and X-E4 cameras. Unfortunately, all of the other X-Trans IV cameras (as of this writing) don’t have the required JPEG options, so it’s not compatible with other cameras. If you have an X-T4, X-S10 and X-E4, you might really appreciate this new film simulation recipe!
Eterna Bleach Bypass Dynamic Range: DR200 Highlight: +1 Shadow: +2.5 Color: -2 Noise Reduction: -4 Sharpening: -1 Clarity: +4 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Auto White Priority, +1 Red & -7 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this LomoChrome Metropolis film simulation recipe:
Artful Girl – Farmington, UT – Fujifilm X-T4
National Geographic Bag – Phoenix, AZ – Fujifilm X-E4
Bouquet of Fake Flowers – Phoenix, AZ – Fujifilm X-E4
Blossoming Red – Phoenix, AZ – Fujifilm X-E4
Tropical Bloom – Phoenix, AZ – Fujifilm X-E4
Red Winter Berries – Farmington, UT – Fujifilm X-T4
Dirt Desert Drive – Phoenix, AZ – Fujifilm X-E4
Sunlight Through a Dormant Tree – Farmington, UT – Fujifilm X-T4
Backlit Reeds – Farmington, UT – Fujifilm X-T4
Suburban Triangles – Farmington, UT – Fujifilm X-T4
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A straight-out-of-camera infrared photograph captured with a Fujifilm X-E4.
I’ve had a fascination with infrared photography for a very long time. Using light beyond the visible spectrum to create pictures often produces unusual results—an ordinary scene can become extraordinary with infrared photography. While I’ve been interested in this type of photography for awhile, I’ve not experimented much with it. Many years ago I shot a roll of IR film, but it didn’t turn out very well; up until these experiments, that was my entire IR experience. I’m an infrared novice.
A little more than a year ago I purchased a Fujifilm X-T1 with the intentions of doing a full-spectrum conversion. Digital camera sensors are sensitive to light beyond the visible spectrum, so manufacturers put a filter over the sensor to block that extra light. There are a couple of companies that will remove the filter, but the process isn’t cheap. I’ve yet to send off my X-T1 to get a full-spectrum conversion, but I still hope to do so someday.
Even though digital cameras have a filter to block infrared light, many cameras are still IR sensitive. You can test your camera by pointing a TV remote (which works via infrared light) at it. When you press a button on the remote, if your camera is IR sensitive, you’ll see the infrared light in the LCD or electronic viewfinder. It turns out that my new Fujifilm X-E4 is indeed IR sensitive!
I didn’t want to spend a lot of money on this experiment, so I purchased a Fotga IR720 filter on Amazon for $20. The number corresponds to light wavelength. Visible light falls between 400nm and 700nm. Ultraviolet light is below 400nm, and infrared light is beyond 700nm. The filter number—in this case 720—refers to the light cutoff point. In other words, the IR720 filter blocks light below 720nm, and allows light 720nm and above to pass through. Because this filter blocks visible light, it allows a heck-of-a-lot less light to reach the sensor, which means you will be using larger apertures, higher ISOs, and/or slower shutter speeds—a tripod is helpful tool.
Another consideration is the lens. Many lenses have IR hotspots, which makes them not especially great for infrared photography. Thankfully, there’s a large database that shows which lenses are good and which ones aren’t. It turns out that my Fujinon XF 35mm f/2 R WR is a good lens for IR, so I purchased a 43mm-threaded filter for it.
One thing that I knew going into this project is that digital infrared photography often involves significant editing. Some of the classic infrared looks involve swapping color channels and making large adjustments to the color curves. My photographic philosophy has evolved into: as best you can, get it in-camera. My goal with this experiment was to get good infrared results in-camera without editing, or perhaps minimal editing at most.
What I discovered is that it’s not really possible to get good color IR photographs straight-out-of-camera because the filter puts a strong red color cast on the picture. I set the white balance to 2500K with a shift of -9 Red (and Blue set to anywhere between 0 and +7), but unfortunately that drastic white balance adjustment isn’t strong enough to combat the red. For whatever reason, I liked the Astia and Eterna Bleach Bypass film simulations better than the others. For black-and-white, Acros+R with Highlight and Shadow set to +4 looked good, although I think it’s possible to get similar results without the use of an IR filter.
These are straight-out-of-camera pictures from my Fujifilm X-E4 with a 35mm f/2 lens and IR720 filter:
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
Straight-out-of-camera infrared photograph.
The black-and-white pictures are good, but the color images aren’t anything great. I wanted to see if the color pictures could be improved by using an app like Snapseed. Maybe a quick edit could make a big improvement. If I couldn’t achieve desired results straight-out-of-camera, perhaps the next best thing would be a simple edit on my phone.
I gave the same exposure two different treatments in Snapseed. Take a look!
This is straight-out-of-camera unedited.
White Balance and other adjustments in Snapseed.
Color Curves and other adjustments in Snapseed.
The two strategies that I explored in Snapseed were adjusting the White Balance and changing the Color Curves, and these two methods produced much different results. Adjusting the White Balance or messing with the Color Curves in Snapseed can have a big impact on the image; either strategy works, with varying results. Still, using these methods in Snapseed was more involved than I wanted, and delivered mediocre results. Better than straight-out-of-camera? Yes, definitely. But not as good as I would have liked.
I also tried using Capture One to post-process some RAW files, and the results weren’t all that much better than using Snapseed—yet it adds another step and takes extra time. Really, the best software for editing infrared pictures is Lightroom or Photoshop, not Capture One, because you need the ability to swap color channels. You can get alright results editing infrared pictures with Capture One, just keep expectations low. Or maybe there’s a trick that I haven’t discovered.
An infrared picture edited with Capture One.
An infrared picture edited with Capture One.
Overall I was disappointed with my color infrared photographs. It’s not possible to get anything other than a picture with a strong red color cast straight-out-of-camera, which is alright sometimes but certainly not all of the time. I didn’t find any good quick fixes. Maybe there’s a shortcut that I’m missing, but I think good digital infrared photography in general typically requires significant editing, and using the right post-processing program.
The black-and-white photographs look good straight-out-of-camera, but I don’t think that I achieved anything special using the IR filter (compared to what I could have done without it). I’m not sure that it’s worth the hassle of the infrared filter for black-and-white photography, although I might play around with it more; perhaps there’s a potential that I’ve yet to discover.
Not being one to quickly give up, I kept looking for a solid solution to easily achieve good-looking color infrared pictures. I had to think outside-the-box. Was the IR filter necessary? Was a good facsimile possible? I knew it wasn’t possible straight-out-of-camera, but maybe a simple filter in an app could do the trick? That’s when I discovered RNI Aero! The app is free, but requires a $10 annual subscription to unlock its usefulness. RNI also makes an infrared simulation plugin for Lightroom (that’s significantly more expensive than the app). This post isn’t sponsored by them (or anyone), but I have been enjoying this simple solution for simulating infrared photography, so I wanted to share it with you. While I would prefer to do this in-camera (Fujifilm, please make an infrared film simulation), the RNI Aero app is the simplest and quickest way to get infrared-looking pictures without fuss. I’m happy with the results—more happy than using an actual infrared filter on my X-E4.
Below are pictures edited with the RNI Aero app:
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
Non-infrared picture edited with RNI Aero.
I’m not giving up on actual infrared photography. I still hope to someday do a full-spectrum conversion on my X-T1, and attach the Kolari IR Chrome filter to mimic Kodak Aerochrome straight-out-of-camera. That would be a lot of fun! Maybe I’ll discover some other method I’ve overlooked to easily get good results without the need for significant editing. In the meantime, I’ll use the app to get infrared-like results whenever I feel the need for an IR look.
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One of the more popular film simulation recipes that I’ve created is Kodachrome II, which was made for X-Trans III sensor cameras. While you can use that recipe on X-Trans IV cameras, the newer models have some JPEG options that the older ones don’t, so it can be fun to utilize those options to produce a different and hopefully better version of an old recipe. In this case, I have two new versions of Kodachrome II for X-Trans IV cameras.
Kodak introduced Kodachrome in 1935, and in 1961 they replaced the original film with a new and improved version called Kodachrome II and a higher-ISO sibling called Kodachrome-X. These films had more accurate color, finer grain and faster ISOs (ISO 25 and 64, respectively, compared to ISO 10) than the previous version. It was a big leap forward for color photography, and so it is no surprise that the innovators of color photography in the 1960’s and 1970’s relied heavily on it. It’s also the version that Paul Simon sang, “They give us the greens of summer, makes you think all the world’s a sunny day.”
Kodachrome II and Kodachrome-X produced a very similar look to each other. The main differences were in grain, contrast and saturation, but overall the variations were quite minor. Kodachrome-X was slightly more bold while Kodachrome II was slightly more clean. Even so, comparing slides, it’s tough to distinguish one from the other (conveniently, I have my grandparents old slides at my home). Even though I have named these two film simulation recipes “Kodachrome II” I think they more closely resembles Kodachrome-X film, but I find them to be a reasonable facsimile for both.
Yellow Arrow – Farmington, UT – Fujifilm X-E4 – “Kodachrome II v2”
Because of the toxic chemicals used in the development of this era of Kodachrome, plus the complexity of the process, Kodak changed from K-12 development to K-14 development, which ushered in new Kodachrome in 1974, called Kodachrome 25 and Kodachrome 64. This version of the film is the one that I have personally used. Interestingly enough, even though this version wasn’t all that much aesthetically different than the previous, there was a big outcry among photographers, and a large group who used Kodachrome II and Kodachrome-X did not appreciate the change.
While I created the X-Trans III Kodachrome II recipe, it was Thomas Schwab who modified it for X-Trans IV. His version, entitled Kodachrome II, is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4. In some of my example pictures below I used a Tiffen 1/4 Black Pro-Mist diffusion filter with my X100V. Why? Because I haven’t used this filter in awhile and wanted to. I don’t think it adds anything essential to the recipe. In fact, you might prefer the results without the filter. Thank you, Thomas, for creating and sharing this update to the original recipe!
I made a slightly modified version, entitled Kodachrome II v2, which is compatible with the X-T4, X-S10 and X-E4. I used this recipe on my X-E4 (without any diffusion filter). This isn’t intended to be a “better” recipe, just a slightly different version using the new JPEG options found in my X-E4. Both of these film simulation recipes can be found in the Fuji X Weekly app!
Kodachrome II
Classic Chrome Dynamic Range: DR200 Highlight: +1 Shadow: +2 Color: +1 Noise Reduction: -4 Sharpening: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto, +3 Red & -4 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II film simulation recipe on my Fujifilm X100V:
Rooflines – Farmington, UT – Fujifilm X100V
Backyard Play Kitchen – Farmington, UT – Fujifilm X100V
Playing Backyard Kitchen – Farmington, UT – Fujifilm X100V
Hover Scooter – Farmington, UT – Fujifilm X100V
Chair by a Fence – Farmington, UT – Fujifilm X100V
Jo in Evening Light – Farmington, UT – Fujifilm X100V
Brothers – Farmington, UT – Fujifilm X100V
Easter Egg Basket – Farmington, UT – Fujifilm X100V
Jon with Walkie Talkie – Farmington, UT – Fujifilm X100V
Fake Plants on a Shelf – Farmington, UT – Fujifilm X100V
Kodachrome II v2
Classic Chrome Dynamic Range: DR200 Highlight: +1 Shadow: +1.5 Color: +1 Noise Reduction: -4 Sharpening: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto White Priority, +3 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II v2 film simulation recipe on my Fujifilm X-E4:
Table Between Chairs – Farmington, UT – Fujifilm X-E4
Brothers Playing Together – Farmington, UT – Fujifilm X-E4
Fenced Horse – Farmington, UT – Fujifilm X-E4
Bicycle Sky – Farmington, UT – Fujifilm X-E4
Stop the Storm – Farmington, UT – Fujifilm X-E4
Grabber – Farmington, UT – Fujifilm X-E4
Handle – Farmington, UT – Fujifilm X-E4
Hand Spade – Farmington, UT – Fujifilm X-E4
Jo Holding a Toy – Farmington, UT – Fujifilm X-E4
Jo & Josh Playing – Farmington, UT – Fujifilm X-E4
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Back when I was a kid, my family had a Polaroid camera, which we often used to capture memorable moments. Christmas, birthdays, and vacations were all made permanent on instant film. My dad had a 35mm SLR that he used sometimes, but when you look through the old picture books from my adolescence, a large percentage of the photos are Polaroids. My childhood was captured on instant film.
There’s magic in instant film photography. The camera would spit out a print, which started out completely white and would slowly reveal an image. Maybe you’d shake it, hoping to speed up the process. Back when I was young most things weren’t “instant” like today, so having a tangible picture in mere moments was a seemingly impossible novelty. The cameras were easy to use—even a child could capture pictures, and my brother, sister and I were occasionally granted permission to be photographers. The legendary landscape photographer Ansel Adams published a book on instant film photography. It didn’t matter if you were a complete novice or experienced pro, the magic of instant film photography was for everyone.
Polaroid is no longer the king of instant film. Fujifilm, with their Instax line of cameras and film, is number one. Introduced in 1998, Instax was an immediate hit, but like Polaroid, it was greatly affected by the emerging digital camera technology, and sales began to decline sharply after 2002. Polaroid jumped ship in 2008 (they’ve since returned), but Fujifilm continued the Instax brand, and in 2009 sales began trending up. Today, Instax is Fujifilm’s top selling photography product by a large margin.
My oldest daughter, Joy, was gifted a Fujifilm Instax Mini 8 camera for Christmas five years ago, and she loves to photograph with it! The Mini 8 was introduced by Fujifilm in 2012, so it’s by no means a new camera, but, since it was a popular model, nearly a decade later you can still find it sometimes brand-new. I asked Joy to write a couple paragraphs about this camera and Instax photography to include in this review.
“I like the Fujifilm Instax Mini 8,” Joy began, “because of the many possibilities that come with the camera! I love the pastel blue color of my Instax. To capture a picture, there is a button near the lens that must be pushed first, which pops the lens forward and powers the camera on. There’s a ring around the lens that controls the brightness of the picture. Choose between Indoors, Cloudy, Cloudy and Sunny mixed, Sunny, and Hi-Key. Press the circle shaped button and a picture comes out the side of the camera. My Instax Mini 8 is amazing!”
“Taking pictures with my Instax is super exciting! I like to photograph plants, cities and my family. There are two trails near where I live that are my favorite places for pictures. The Instax Mini 8 has a flash that cannot be turned off, so sometimes my pictures will come out too bright. It takes a little practice to capture good pictures with this camera. I have four different colored filters that attach to the lens, and I can change the color of the photos with these filters. I have taken pictures with different films. The film loads into the back of the camera, and it’s easy to change. I love the awesome pictures I capture with my Instax Mini 8!”
There are three different Instax sizes. Mini measures 2.1″ x 3.4″ with a 1.8″ x 2.4″ image. Square measures 2.8″ x 3.4″ with a 2.4″ x 2.4″ image. Wide measures 4.3″ x 3.4″ with a 3.9″ x 2.4″ image. No surprise, Mini is the smallest, and most lo-fi. Image quality isn’t especially great, but that’s a part of the charm. The instant-film magic is what makes the Instax Mini a fascinating camera.
The biggest cost with Instax is the film. It adds up quickly. You can save a little by buying in bulk, but it’s still not cheap. There’s a real cost with each picture, but you get a tangible photograph, which is uncommon anymore. Holding a physical image is also a part of the instant film magic. More importantly, Instax is fun, and there certainly is a childlike joy photographing with the Mini 8 camera.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm Instax Mini Film B&H Fujifilm Instax Cameras B&H
Below are some of Joy’s Instax photographs captured with her Mini 8 camera:
In my kit are two Fujifilm cameras: an X100V and an X-E4. The X100V is capable of saving seven recipes, while the X-E4 is capable of saving eight, which means that I could have had as many as 15 different film simulations ready-to-go between the two cameras! Of course, with the Fuji X Weekly app, I had access to many, many more, which I could have quickly programmed if I had wanted to. I ended up using 10 different recipes: two on my X100V and eight on my X-E4.
While I could have used as many as 15 recipes, and I ended up using 10, I think no more than eight film simulation recipes for one trip might be a better strategy. It would have made a lot of sense to have the same ones programmed into both cameras, just for consistency. Still, it’s fun to see how different recipes do in various situations, so maybe consistency isn’t as big of a deal as enjoyment is—there’s something to be said for both, so maybe it’s important to find the right balance, and that number is likely different for each person.
On my Fujifilm X100V I had seven film simulation recipes programmed into the camera, but I only used two on this trip. I ended up using the X100V a lot less than I thought I would, mostly because the X-E4 had just arrived, and I was trying to put it through its paces. If I had shot with the X100V more, I likely would have used more than just two recipes with it. On my next trip I plan to program the two cameras with, for the most part, the same recipes.
Of the eight film simulation recipes that I programmed into the X-E4, two are currently early-access recipes only available to Fuji X Weekly Patrons on the Fuji X Weekly app: Vintage Negative and Lomochrome Metropolis. These two recipes will eventually be free to everyone, but right now only Patrons can access them.
The recipes that I used the most are Fujicolor Superia 800, Kodachrome 64, and Kodak Tri-X 400. If I only used those three for the trip, I would have been happy, I think. But it’s fun to try different ones. For example, Lomochrome Metropolis and B&W IR aren’t always easy to use, but in the right situations they can produce stellar results.
