Thomas Schwab sent me an X-Trans I recipe to try, which he calls Punchy Velvia. Whenever Thomas sends me a recipe to try, I’m always excited to program it into the camera, because they’re often great. He’s a friend, and has a good eye for Fujifilm settings. He created the X-Trans I Kodachrome I and Kodachrome II recipes. Thank you, Thomas, for sending this!
I recently went on a hike with this new recipe programmed into my Fujifilm X-Pro1. My kids were with me, and my daughter, Joy, ended up shooting with the camera much more than I did. A couple of these pictures were captured by me, but most were captured by her. This recipe was a great option for photographing the vibrant colors we encountered. For colorful scenes where you want punchy pictures, this recipe or Vivid Color are the ones to use.
Yellow Oak – Farmington, UT – Fujifilm X-Pro1 – “Punchy Velvia”
If you have an X-E1, X-Pro1, or X-M1, be sure to give this recipe a try. You can also use this recipe on X-Trans II and Bayer cameras, but the results will be slightly different; however, feel free to it anyway, because you might like the results.
Velvia Dynamic Range: DR400 Highlight: +2 (Hard) Shadow: +2 (Hard) Color: +2 (High) Sharpness: +2 (Hard) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, 0 Red & 0 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured by Joy using this “Punchy Velvia” film simulation recipe on my Fujifilm X-Pro1:
Rock Outcrop – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Boulder in the Forest – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Mountain Forest – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Branches and Blue – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
One Leaf Turned – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Oak Leaves – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Backlit Autumn Tree – Farmington, UT – Fujifilm X-Pro1 – Photo by Joy Roesch
Autumn Trees – Farmington, UT – Fujifilm X-Pro1 – 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!
Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”
This is my favorite CineStill 800T film simulation recipe. I created my first CineStill 800T recipe, which is intended for X-Trans III cameras, over three years ago. My next version, which is intended for newer X-Trans IV cameras, was published nearly a year ago. This X-Trans II recipe was one of the original Patron “Early-Access” recipes on the Fuji X Weekly App. In other words, those who are Patrons on the App have already had access to this recipe, and now that another recipe has replaced it, this CineStill 800T recipe is available to everyone! Early-Access to some new recipes is one of the benefits of being a Fuji X Weekly Patron, and a great way to support this website.
CineStill 800T is Kodak Vision3 500T motion picture film that’s been modified for use in 35mm film cameras and development using the C-41 process. Because it has the RemJet layer removed, it is more prone to halation. The “T” in the name means tungsten-balanced, which is a fancy way of saying that it is white-balanced for artificial light and not daylight. CineStill 800T has become a popular film for after-dark photography.
Pair – Kaysville, UT – Fujifilm X-T1 – “CineStill 800T”
Even though the film that this recipe is intended to mimic is Tungsten-balanced, it can still produce interesting pictures in daylight. It’s a versatile recipe, but it definitely delivers the best results in artificial light. When I photograph with my Fujifilm X-T1 after sunset, this is the recipe that I use.
PRO Neg. Std Dynamic Range: DR200 Highlight: +2 (Hard) Shadow: +1 (Medium-Hard) Color: -1 (Medium-Low) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: 4300K, -3 Red & -3 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this CineStill 800T film simulation recipe:
Red Hatchback – Centerville, UT – Fujifilm X-T1
We Care About Asada Nachos – Centerville, UT – Fujifilm X-T1
Shoe Repair in Disrepair – Kaysville, UT – Fujifilm X-T1
Vending Machines – Kaysville, UT – Fujifilm X-T1
Narrow Drive – Kaysville, UT – Fujifilm X-T1
2nd & Main – Kaysville, UT – Fujifilm X-T1
The Kaysville Theatre – Kaysville, UT – Fujifilm X-T1
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!
One of my favorite X-Trans I film simulation recipes is Color Negative Film, which has a white balance shift inspired by my Fujicolor 100 Industrial recipe. This new recipe, available as a Patron Early-Access Recipe on the Fuji X Weekly App, is an adaptation of the X-Trans I recipe for X-Trans II. It doesn’t mimic any specific film, but just has a more generic film aesthetic. It’s not an exact match to the X-Trans I recipe, but it’s pretty close.
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, many early-access recipes have already been publicly published on this blog and the app, so now everyone can 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!
No Swimming – Layton, UT – Fujifilm X-T1 – “Color Negative Film”
If you have an X-Trans II camera and are a Fuji X Weekly Patron, it’s available to you right now on the app!
Example photographs, all camera-made JPEGs captured using this “Color Negative Film” film simulation recipe on my Fujifilm X-T1:
Sunlit Leaves – Layton, UT – Fujifilm X-T1
Green Leaves – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Early Autumn – Farmington, UT – Fujifilm X-T1
Forest Trail – Farmington, UT – Fujifilm X-T1
One Dead Leaf – Farmington, UT – Fujifilm X-T1
Backlit Autumn Leaves – Farmington, UT – Fujifilm X-T1
Autumn Flare – Farmington, UT – Fujifilm X-T1
Changing Leaves in the Woods – Farmington, UT – Fujifilm X-T1
Yellow Shrub – Farmington, UT – Fujifilm X-T1
Trail to the Trees – Layton, UT – Fujifilm X-T1
Water Logged – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Little Purple Blooms – Farmington, UT – Fujifilm X-T1
I want to give a big “Thank You” to everyone who tuned in to Episode 03 of SOOC, a collaboration between myself and Fuji X-Photographer Nathalie Boucry. This video series is live and interactive, so I’m especially grateful to all who participated! You are the ones who make these episodes great! This really is the best community in photography.
SOOC is a monthly live video series, with each episode focused on a different film simulation recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we will not only talk about Fujifilm camera settings, but also answer your questions.
Episode 03 of this live interactive video serieswas on September 9th. We discussed the Fujicolor C200 film simulation recipe, and took a look at the photographs that you’ve submitted. The SOOC Episode 04 “recipe of the month” is Kodacolor, which is compatible with X-Trans III & IV cameras. Upload your pictures here to be featured in the next video! Episode 04 will be on October 14, so mark your calendars, and I look forward to seeing you then!
In the video below are the viewer’s photographs, captured using the Fujicolor C200 film simulation recipe, that were shown during the show. It’s a short clip, so be sure to watch! I love seeing your pictures, and I’m honored that you submitted them for us to view in the show.
What is DR-P? It’s basically a tone curve intended to maximize dynamic range. There are four options: Off, Auto, Weak, and Strong. When DR-P is Off, the camera uses DR (DR100, DR200, DR400) instead, and when DR-P is On (Auto, Weak, or Strong), DR is disabled. When DR-P is On, Highlight and Shadow are “greyed out” so those can’t be adjusted—the curve is built into DR-P. You get what you get. DR-P Weak is similar to using DR400 with both Highlight and Shadow -2, but with a very subtle mid-tone boost. This recipe calls for DR-P Auto, and the camera will usually select DR-P Weak unless there is a bright light source (such as the sun) in the frame, such as the picture Sunlight Through a Tree further down below.
Tall Grass – Farmington, UT – Fujifilm X-E4 – “Portra-Style”
This “Portra-Style” recipe isn’t intended to faithfully mimic Portra film, but was inspired more by Kyle McDougall’s “Portra-Style” presets, which are, of course, modeled after Kodak Portra film. The Kodak Portra 400 Warm recipe was also inspired by these presets, and there are some similarities between this recipe and that one. I don’t know which is better, as they’re both good options for achieving a warm Portra-like aesthetic. For a more-accurate recipe, try Kodak Portra 400 v2. This recipe, which is closer to Portra 400 than 160, works best in natural light, especially daylight, although you can still get interesting results sometimes in other lighting situations. My “Portra-Style” recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.
Classic Chrome Dynamic Range: D-Range Priority Auto Color: +1 Noise Reduction: -4 Sharpening: -2 Clarity: +3 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: 5000K, +2 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Portra-Style” film simulation recipe on my Fujifilm X-E4:
Jonathan – Farmington, UT – Fujifilm X-E4
Arrow & Cones – Sandy, UT – Fujifilm X-E4
Northstar – Orem, UT – Fujifilm X-E4
Summer Tree – Farmington, UT – Fujifilm X-E4
Sunlight Through a Tree – Farmington, UT – Fujifilm X-E4
Fence & Tree – Layton, UT – Fujifilm X-E4
Cautious Nature – Fruit Heights, UT – Fujifilm X-E4
Bridge in the Forest – Fruit Heights, UT – Fujifilm X-E4
Yellow Leaves in Green Forest – Fruit Heights, UT – Fujifilm X-E4
Log in the Forest – Fruit Heights, UT – Fujifilm X-E4
Last Light on Dead Tree – Fruit Heights, 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!
I’ve noticed that a lot of people are creating film simulation recipes and sharing them on their social media accounts, but they’re easily lost and forgotten. I wanted to create a place where you can share your recipes, and where you can find recipes created by others. That’s the idea behind the Fuji X Weekly Community Page—this is a library of film simulation recipes created by you and for you!
This project has been in the works for many months. It’s been a labor of love. Web developer and Fujifilm photographer Daniele Petrarolo (website, Instagram) partnered with me to make this a reality. He really put a lot of time and skill into this. Definitely, if you need a website built, visit his page and send him an email! He’s also talented with a camera, so be sure to check out his pictures! Without him, the community recipes page would still be a long ways off and not nearly as good. Marcel Fraij, Thomas Schwab, Julien Sorosac, and others (including my kids!) also had a hand in making this project come to fruition. I want to give a big “thank you” to everyone who participated in this.
If you want even more film simulation recipes for your Fujifilm camera, or if you’ve created a recipe that you want to share, or if you just want to check out some pictures captured by others, be sure to visit the Fuji X Weekly Community Recipes Page! My hope is that this will become a great resource for the Fujifilm community. Be sure to bookmark it and check it often!
Fujirumors suggested that Fujifilm is making a mistake by using the same sensor in multiple bodies, instead of what Sony does and offer multiple sensor options in one body. For example, Sony has the A7, A7S, A7R, which have nearly identical bodies, but each with a different sensor inside. Fujifilm does the opposite, and includes the same sensor inside a bunch of different bodies. For Sony, the differences between camera models is closely tied with the sensors inside, while the differences between Fujifilm models are largely external.
I think the reason this topic came up is that there are supposedly going to be two different X-H2 cameras coming out next year. It’s possible that it will be the same exact body for both, but two different sensors inside. Could Fujifilm be taking a similar approach to Sony? Nobody (outside of Fujifilm) knows.
If Fujifilm does this, I think it would make sense to have three options: a high resolution 40-megapixel sensor capable of 8K video, a 26 to 30-megapixel sensor that is the “all-around” option, and a lower resolution 16 to 20-megapixel sensor that maximizes high-ISO, dynamic range, and speed. Honestly, though, I hope that Fujifilm doesn’t do this, although admittedly I do like the idea of a lower resolution option to maximize high-ISO, dynamic range, and speed.
What I do appreciate about Fujifilm’s current approach is that, no matter the camera you have, if it has the same sensor, it will have the same image quality. You can have an X-T1, X100T, and X-T10, and the image quality will be identical between these models. You can have an X-Pro3, X-S10, and X-E4, and the image quality will be identical. The advantage of this uniformity cannot be understated! This is ideal for those wanting consistency across their kit.
On Sony models, image quality is certainly similar between the three nearly identical options, but definitely different. If you have an A7R IV and an A7S III and captured the same scene with identical settings, you’d be able to tell that two different cameras captured the pictures, if you compared them closely. If you did that same experiment with an X-T3 and X-T30, the pictures would look identical.
I’m sure that Fujifilm watches closely what Sony is doing, looking at both what is working and what isn’t. They’d be wise to find lessons that can be applied to their own products. With that said, Fujifilm should not lose sight of what makes their brand special, and why their current customers chose them. They can learn a lot from themselves. I can’t tell Fujifilm what to do, and I’m certainly not an expert at camera marketing, but I think they’d do better to differentiate themselves from the competition, and not copy what Sony is doing. Sony is Sony, and Fujifilm is Fujifilm. If someone wants a Sony camera, they’re not going to buy a Fujifilm camera. If someone wants a Fujifilm camera, they’re not going to buy a Sony. Fujifilm should do more to convince potential customers that they should want a Fujifilm camera, which means highlighting what makes them unique, and why that uniqueness might be better for one’s photography. This blog does a pretty good job of doing that on Fujifilm’s behalf—not because I’m paid to (I’m not), but because of how I feel about their products, and what their cameras mean to my photography. I hope that Fujifilm doesn’t lose sight of their uniqueness, and doesn’t try to copy what other brands are doing—that just doesn’t seem like the right move to me.
What is DR-P? It’s basically a tone curve intended to maximize dynamic range. There are four options: Off, Auto, Weak, and Strong. When DR-P is Off, the camera uses DR (DR100, DR200, DR400) instead, and when DR-P is On (Auto, Weak, or Strong), DR is disabled. When DR-P is On, Highlight and Shadow are “greyed out” so those can’t be adjusted—the curve is built into DR-P. You get what you get. DR-P Weak is similar to using DR400 with both Highlight and Shadow -2, but with a very subtle mid-tone boost. This recipe calls for DR-P Auto, and the camera will usually select DR-P Weak unless there is a bright light source (such as the sun) in the frame, such as the picture below.
Big Grass Leaves – Farmington, UT – Fujifilm X-E4 – “Scanned Superia”
This recipe was inspired by pictures I found that were captured with Fujicolor Superia 100 film scanned with a Frontier SP-3000. Of course, how the film was shot, or even the scanner settings selected, can effect the exact aesthetic of an image. Even the same emulsion captured the same way and scanned on the same scanner can look a little different if the settings on the scanner are different (more on this in an upcoming article). I didn’t spend a lot of time trying to precisely match this recipe to those scans—it was more of a quick attempt, but I liked the results so I didn’t fine-tune it any further. It has a pretty good feel, I think, that produces pleasing results in many circumstances, although it isn’t the best for artificial light, and you might consider using Auto White Balance when not in natural light situations. This recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.
Classic Negative Dynamic Range: D-Range Priority Auto Color: +3 Noise Reduction: -4 Sharpening: -3 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: Daylight, -2 Red & +3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Scanned Superia” film simulation recipe on my Fujifilm X-E4:
RADAR Peak – Farmington, UT – Fujifilm X-E4
Colorful Blooms of Summer – Farmington, UT – Fujifilm X-E4
Last Red Rose – Farmington, UT – Fujifilm X-E4
White Rose of Summer – Farmington, UT – Fujifilm X-E4
Yellow Country Flowers – Farmington, UT – Fujifilm X-E4
Little Yellow Flowers in the Wetlands – Farmington, UT – Fujifilm X-E4
Suburban Reeds – Farmington, UT – Fujifilm X-E4
No Parking Any Time – 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!
Because I now have JPEG recipes for both Fujifilm (fujixweekly.com) and Ricoh (ricohrecipes.com) cameras, my wife, Amanda, suggested that I should have an overarching website that joins the two together. Amanda is always right about these things, so I created RitchieRoesch.com, my new homepage! Of course, Fuji X Weekly still has its own homepage. Nothing has changed. But I can now direct people to RitchieRoesch.com for both Fujifilm and Ricoh—it doesn’t matter which brand you have. In fact, you might have both, because there’s quite a few people who do—there’s some overlap between these two brands of cameras thanks to their popularity among street, travel, and documentary photographers. You can access both Fuji X Weekly and Ritchie’s Ricoh Recipes from RitchieRoesch.com.
There’s not a lot of stuff on the new website. There’s a Photo Gallery that you might enjoy. Beyond that, it simply stands as a gateway to Fuji X Weekly and Ritchie’s Ricoh Recipes. So if you’d like, check it out! Also, stay tuned, because at least one big announcement is coming soon!
I received an email earlier this week from Anders Lindborg with an interesting discovery he made. You might remember that Anders is the creator of the Kodak Tri-X 400 film simulation recipe, as well as the Fujicolor Pro 160NS and Fujicolor Pro 400H recipes, which are actually much more than just recipes—they’re a new way to approach using recipes on your Fujifilm camera. Needless to say, I was intrigued!
“After reading the information on Fujifilm’s subsites about how they develop their film simulations for the 999th time,” Anders wrote, “I had a small revelation. The base for the simulations are professional photos scanned with their Frontier scanner with corrections applied, so apparently that scanner plays a major role in the final look. I googled around for a bit and found a PDF version of the software manual for the Frontier SP-3000. Here are the really interesting parts: 1) The image settings in Fuji’s cameras are more or less exactly the same as those found in the image correction settings in their Frontier scanner software; 2) There is a correction called Hypertone that turns out to be exactly the same thing as the dreaded D-Range Priority (DR-P) modes; 3) A bit of further research revealed that almost all Fujifilm associated photo labs used the Frontier scanner since the early 90’s and the recommended method was fully automatic mode which included both white balancing as well as Hypertone—both on auto.”
After reading this, I dug around the internet for articles on Fujifilm’s Frontier SP-3000 scanner. I immediately recognized Fujifilm’s “color science” in the photographs I found. There was a distinct similarity between the images that I was seeing, which were scanned negatives, and the pictures from my Fujifilm X cameras. Another tidbit I found was a remark that negatives scanned using the Frontier scanner have a similar aesthetic to negatives printed on Fujicolor paper, which makes sense, because you’d want the digital images to closely match the prints. All of this is to say that, based on these discoveries, I believe Fujifilm’s JPEG programming is heavily influenced by their scanner technology, which was heavily influenced by their photographic paper. This was a surprise to me, although it shouldn’t have been because it is very logical.
The similarities between Hypertone and D-Range Priority are interesting. I’ve written a couple articles that discuss D-Range Priority (here and here), but I’ve always thought of it as a “use only in extreme circumstances” kind of feature, and not a particularly useful tool for everyday photography. But if it was commonly used by photo labs around the world (as Hypertone), maybe it should be more commonly used now (as DR-P)?
It’s one thing to theorize about these things, and a whole other thing to put it into practice, so I created two different “recipes” that utilize D-Range Priority (which I will share in future articles). I wanted to see if this feature could be left on for extended shooting and produce good results, or would the results be flat and uninteresting? Here are a few pictures captured with each recipe:
Recipe 1
Tall Grass – Farmington, UT – Fujifilm X-E4
Peach Tree – Farmington, UT – Fujifilm X-E4
Summer Tree – Farmington, UT – Fujifilm X-E4
Northstar – Orem, UT – Fujifilm X-E4
Arrow & Cones – Sandy, UT – Fujifilm X-E4
Recipe 2
Brownie on a Shelf – Farmington, UT – Fujifilm X-E4
White Rose of Summer – Farmington, UT – Fujifilm X-E4
Last Red Rose – Farmington, UT – Fujifilm X-E4
Big Grass Leaves – Farmington, UT – Fujifilm X-E4
Suburban Reeds – Farmington, UT – Fujifilm X-E4
D-Range Priority Weak is very similar to using DR400 with Highlight and Shadow both set to -2. When you compare the highlights and shadows of pictures captured with D-Range Priority Weak and those captured with DR400 with Highlight and Shadow both set to -2, you’ll notice that they’re nearly identical. What is a little different—subtly different—are the mid-tones. Anders observed, “I noticed that DR-P, just like its predecessor Hypertone, also applies a slight mid-contrast boost.” There is an advantage to using D-Range Priority Weak over DR400 with Highlight and Shadow reduced to their lowest option, but it is subtle. Another note is that D-Range Priority Weak requires a minimum ISO of 320 while DR400 requires a minimum ISO of 640.
If you use D-Range Priority Auto, the camera will almost always select DR-P Weak, and only DR-P Strong if there is a bright light source, such as the sun, in the frame (like Big Grass Leaves above). D-Range Priority Strong produces a very flat image, and it only looks good if there is a lot of contrast in the scene. Anders noted that both Hypertone and DR-P can produce “weird” results if applied too strongly, but the camera seems to do a good job of knowing when to use which DR-P option. D-Range Priority Strong requires a minimum ISO of 640.
“You have to be really careful with the exposure compensation when using it,” Anders advised. “A bit too much or too little can quickly kill the whole photo. I tried to keep it at 0 most of the time and only use Fujis recommendations for correct exposure.” I found this to be true, too, and rarely needed to go beyond +1/3 or -1/3 exposure compensation.
D-Range Priority is only found in Fujifilm X-Trans IV cameras. Using D-Range Priority Weak or Auto seems to be an effective strategy; DR-P Strong is more useful in extreme circumstances. Those who created this feature (and the other JPEG options) were influenced by Frontier scanners, and the programmers likely intended D-Range Priority and White Balance to be set to Auto. Of course, there’s no “right” or “wrong” way to do anything, and I’m certainly not afraid of doing things outside-the-box (as you know). D-Range Priority is something that I shouldn’t have ignored so much, because it is more useful than I originally thought. I’ve created two film simulation recipes to take advantage of DR-P (and I’ll probably create more down the road), which I’ll publish very soon.
Thank you, Anders Lindborg, for making this discovery and sharing it with us!
Let me know in the comments which recipe—1 or 2—above you are most excited for.
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!
I want to give a big “Thank You” to everyone who tuned in to Episode 03 of SOOC, a collaboration between myself and Fuji X-Photographer Nathalie Boucry. This video series is live and interactive, so I’m especially grateful to all who participated! You are the ones who make these episodes great! In the video above are the viewer’s photographs, captured using the Fujicolor C200 film simulation recipe, that were shown during the show. It’s a short clip, so be sure to watch! I love seeing your pictures, and I’m honored that you submitted them for us to view.
The SOOC Episode 04 “recipe of the month” is Kodacolor. Start shooting with that recipe, and upload your pictures here to be featured in the next video! Episode 04 will be on October 14, so mark your calendars, and I look forward to seeing you then!
If you missed Episode 03, you can find it below. There were 7 minutes of sound issues in the original airing, which have been removed from the video, so if you didn’t catch the show for that reason, don’t worry, it’s no longer there. I appreciate those who have watched already (and who stuck through the tech problems!), and I appreciate all those who are watching now. Thank you!
I want to thank everyone who tuned into and participated in SOOC Episode 03! You are amazing! This really is the best community in photography. If you missed it, you can still watch it—I’ve included the video above. There were some technical difficulties, so I recommend skipping ahead to about the 7-minute mark.
SOOC is a monthly live video series, with each episode focused on a different film simulation recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we will not only talk about Fujifilm camera settings, but also answer your questions. This is an interactive program, which means that we need your participation!
There is a mistake in the article that I’d like to point out. Check out the image below:
Caption reads: “Using Kodachrome 64 Recipe.”
This picture was captured using real Kodachrome 64 film.
The picture above was supposed to be an example photograph of the actual film, which I captured over 20 years ago using real Kodachrome 64 film shot on a Canon AE-1 camera. So it is film, and not a film simulation. A couple other mistakes are found in the recipe itself: Dynamic Range should be DR200, and Noise Reduction should be -4. But, you know, it’s always alright to “season to taste” a recipe, so maybe that is how they prefer those settings.
I’m super happy to have been included in this writeup! I’m stoked that Moment found this recipe to be a valuable resource to the photography community—so valuable, in fact, that they were eager to share it with their customers on their website. Honestly, I’m flattered. Thank you, Moment!
I get asked sometimes how I know which film simulation recipes I used for certain pictures. Especially when I take a road trip where I might use a number of different recipes, it can be difficult to remember which ones I used when. Honestly, I didn’t have a good method for this. I would limit myself to only a few recipes, and tried to avoid using similar-looking recipes on the same day. If I still didn’t remember, I would go back into the camera and display the picture information to give myself a clue. However, I recently became aware of a much better method.
In Episode 02 of SOOC, X-Photographer Nathalie Boucry shared her smart solution for this common problem. Whenever Nathalie is out shooting, when she switches to a new recipe, the very first exposure that she makes is a snap of her phone with the Fuji X Weekly App open and the recipe she’s using displayed. Then she knows that every picture after that (until she reaches the next image of her phone) was captured with that recipe. I began doing this myself, and it works very well. Yes, it takes an extra moment “in the field” to snap an image of your phone, and it does take a little extra space on the memory card, but it can definitely save you time (and sanity) later as you try to figure out what recipe you used for that picture.
First image captured after switching recipes is an image of the Fuji X Weekly App with the recipe displayed.
This is a tip that I know will be helpful to some of you, because it was helpful to me. These kinds of tips and tricks are what you’ll find in the SOOC live video series. Episode 03 is this Thursday, September 9. It’s an interactive program, and your participation makes the show even better, so I hope to see you then!
If you haven’t downloaded the Fuji X Weekly App, be sure to do so. It’s free, and available for both Android and Apple. If you are looking for a way to support Fuji X Weekly and all that I’m doing for the community plus unlock the best app experience, consider becoming a Fuji X Weekly Patron (available in the app)!
Congratulations to these five winners! I know you will appreciate using the filters!
CineBloom diffusion filters are a great way to take the “digital edge” off of your photographs, giving them an analog-like feel. Diffusion filters have been popular in cinematography for awhile, and people are beginning to realize that they’re great for still photography, too. These filters pair especially well with my Film Simulation Recipes, and are a wonderful tool for the JPEG photographer.
I want to give a huge shout-out to Moment for teaming up with Fuji X Weekly to make this giveaway possible! They did it because they’re big fans of this website, Fujifilm cameras, film simulation recipes, and the Fujifilm community. Moment’s website (shopmoment.com) is definitely one of the better camera stores out there (yet, really, they are so very much more than just “a camera store”). If you’ve never visited Moment, be sure to do so—you can thank me later.
Even though the Fuji X Weekly Moment giveaway has ended, please continue to use the #fujixweeklymoment hashtag on Instagram. I love seeing your Fuji X Weekly moments, and I hope you continue sharing them!
Also, while I’m here, if you haven’t downloaded the Fuji X Weekly App, be sure to do so. It’s free, and available for both Android and Apple. If you are looking for a way to support Fuji X Weekly and all that I’m doing for the community plus unlock the best app experience, consider becoming a Fuji X Weekly Patron (available in the app)!
The Fuji X Weekly moment CineBloom giveaway is in its final hours. There’s not much time, so I hope that you participated for a chance to win one of five Cinebloom diffusion filters. The full rules and details are found here. So far, there have been over 400 submissions! Check out the #fujixweeklymoment hashtag on Instagram to see them all.
I want to give a huge “Thank You” to Moment for teaming up with Fuji X Weekly to make this giveaway possible! They did it because they’re big fans of this website, Fujifilm cameras, film simulation recipes, and the Fujifilm community. Moment’s website (shopmoment.com) is definitely one of the better camera stores out there (yet, really, they are so very much more than just “a camera store”). If you’ve never visited Moment, be sure to do so—you can thank me later.
I hope to announce the five Cinebloom diffusion filter winners on Monday (September 6th), so stay tuned!
Also, while I’m here, if you haven’t downloaded the Fuji X Weekly App, be sure to do so. It’s free, and available for both Android and Apple. If you are looking for a way to support Fuji X Weekly and all that I’m doing for the community plus unlock the best app experience, consider becoming a Fuji X Weekly Patron (available in the app)!
SOOC is a monthly live video series, with each episode focused on a different film simulation recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we will not only talk about Fujifilm camera settings, but also answer your questions. This is an interactive program, which means that we need your participation!
Episode 03 of this live interactive video serieswill be this Thursday, September 9, at 11 AM MST (10 AM Pacific, 1 PM Eastern)! We’ll discuss the Fujicolor C200 film simulation recipe, and take a look at the photographs that you’ve submitted. Click here to submit your photographs! We really would love to see your pictures captured with the Fujicolor C200 recipe, and when you submit a picture you are entered into a drawing to win a one-year Patron subscription to the Fuji X Weekly App. We’ll also be introducing the next recipe, among other things. I truly hope you’ll join us!
While you are waiting for Thursday to come around, let me share with you a wonderful article by Nathalie Boucry (click here) entitle Not Lost, Verloren, which includes many wonderful pictures captured with the Fujicolor C200 recipe on a Fujifilm X-S10. If you have a few moments today, go read the article, it’s well worth your time!
Fujifilm officially announced the X-T30 II today. This “new” camera is just like the “old” camera (including the X-T30 nameplate on the front… it says “X-T30” and not “X-T30 II”), except for a few key things. The rear screen is higher resolution. The camera has some additional built-in memory. It has (basically) the same firmware as the X-T4, X-S10, and X-E4. Otherwise, the two models are identical.
In my article Thoughts on the Upcoming Fujifilm X-T30 III basically blasted Fujifilm for not offering a firmware update to the X-T30, but selling that firmware update as a “new” camera. I also stated:
It is possible that the X-T30 doesn’t have the internal memory, processing power, or heat dispersion capacity to receive this firmware update. It is possible that there is a hardware limitation that prevents it.
It seems that “internal memory” was indeed an issue, although I believe that the memory issue has more to do with the video side of things than still pictures. That’s just my opinion, not anything I have any evidence for. So the X-T30 II firmware can’t just be uploaded onto the X-T30, but a scaled down version, perhaps without the improved video features, certain could, and definitely should! It’s long, long overdue.
Fujifilm, if you happen to read this, please visit the comments section of my previous article. These are your customers, and those are their opinions.
The X-T30 II will be available on October 21, and if you have been thinking about getting an X-T30, you are better off waiting until October and buying the X-T30 II. I assume that the “original” X-T30 will be discontinued and discounted around that time, so perhaps a good deal on that model will be coming soon.
Also announced was the X-T3 WW, which is an X-T3 without a battery charger, and a $100 cheaper price-tag. The X-T3 and X-T3 WW are 100% identical. If you don’t need a battery charger, this might be a good option to save a little money.
My favorite part of The Fuji X Weekly Moment giveaway is reading your great stories. For example, @snapsbybennettshared:
I love how the places at my dad’s have literally never changed since I was a kid. If you’re a Fuji shooter and haven’t used the Fuji X Weekly App yet… GO TRY IT OUT! Changed my whole look on my photography. Fujifilm XT3, 18-55mm, Portra 400 Sim.
Shot with Fujicolor Pro 160NS film simulation. I am loving the film simulation recipes from Fuji X Weekly. They add another level of creative control in camera that enhances my experience when shooting my Fujifilm X100F.
My Fuji X Weekly moment: Modeled a classic helmet this afternoon. Turn head right, left, up, that’s it…!!! In order for the color of this afternoon’s sun to get better, I’m using Fuji X Weekly’s Provia recipe in camera. A Provia standard color variation that is soft and suitable with the yellowish shine of the afternoon sun. No Grain in this recipe because it’s made for larger sensors. Whatever it is, the color looks cool on X-Trans III cameras. Find it on the Fuji X Weekly App!
This is my Fuji X Weekly moment. Captured on my Fujifilm X100V with the Fuji X Weekly Kodak Portra v2 film simulation recipe, which I found on the Fuji X Weekly App. Image is of my granddaughter Sutton gripping her Mimi’s finger. First time I used an X100V—instead of a professional DSLR or my new Canon EOS R5. Sutton was 2 days old, and I wanted to “focus” on my new granddaughter and not my camera settings. The X100V did the trick.
There are, of course, so many more (almost 400!)! I encourage you to take a look at all of the #fujixweeklymoment submissions, and to submit your own! The giveaway closes on Saturday (September 4th), which is only a couple days away, so don’t procrastinate. I look forward to seeing your pictures and reading more of your stories!
