Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: GAF 500

Urban Rhino – Phoenix, AZ – Fujifilm X-E4 – “GAF 500”

Hold onto your hats, because, for this Film Simulation Recipe, we’re going to dive deep into the obscure and practically forgotten history of a unique film called GAF 500. We’re going to explore the intriguing history of GAF, discover what made this film unique, and discuss how this new GAF 500 Film Simulation Recipe came to be. You are in for a treat today!

GAF actually began in 1886 as the Standard Paint Company of New Jersey. After acquiring a holding company in 1928 that had (among other things) majority ownership of AGFA, the company changed its name to General Aniline & Film—GAF for short. Also in 1928, AGFA merged with Ansco, so in addition to acquiring AGFA, GAF also got ownership of Ansco, which was founded in 1842. Originally named E. Anthony & Co., after merging with Scovill Manufacturing in 1901 it was renamed Ansco (“An” from Anthony and “sco” from Scovill). Ansco was headquartered in New York, and was Kodak’s biggest competitor for many decades. The merger with AGFA was intended to bring Ansco’s photography products to a global market, which would allow them to better compete against Kodak.

Then World War II happened, and in 1941 the U.S. government seized and took ownership of GAF and Ansco (separating it from AGFA, which was a German-owned business), and officially merged Ansco into GAF. The U.S. government retained ownership of GAF until 1965, when it sold all of its shares.

Morning Sunlight on a Curtain – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

In 1967 GAF introduced a revolutionary new film: GAF 500. It was a high-ISO 35mm color transparency (slide) film—the highest ISO color film during its time; the second-highest color ISO film (another GAF emulsion) was rated at ISO 200, so it was more than twice as “fast” (as they called it back then) as the second fastest. 30 years prior to the introduction of GAF 500, the highest ISO color film was rated at ISO 8, so having an ISO 500 option was unthinkable back then, and a lot of people wondered why anyone would need such a high-ISO film. While it was mostly sold under the brand name GAF, it was sometimes sold as Anscochrome 500. Was GAF/Anscochrome 500 any good?

From all accounts, you either loved GAF 500 or hated it. The grain was extremely pronounced. Colors were “good” yet muted (a.k.a. “neutral” or “natural”) and generally considered to be not as “nice” as Kodak’s. It didn’t push-process nearly as well as, it wasn’t quite as sharp as, and it didn’t pair with color correction filters as well as Kodachrome or Ektachrome. It was inferior to all other color emulsions except for one fact: it was fast! You could use it when other films wouldn’t work due to low light. If it was dark and you wanted to shoot color, GAF 500 was your best bet.

GAF 500 had a warm color cast—some described it as orange, some said red-orange, and others stated that it was red—not as warm as some Kodak emulsions, but warm nonetheless. The shadows tended to lean blue. If you pushed the film, it had a purple cast across the frame. Some people liked how it looked when shooting under fluorescent lights or stage lights, and was a popular choice for concert photography.

Illuminated Cat & Sleeping Child – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

What people seemed to like most about GAF 500 is that it was gritty yet soft. It was grainy, like a high-ISO black-and-white film, and it was contrasty with a very narrow exposure latitude—it was easy to blow out the whites or block up the blacks; however, it also had low color saturation (or was “more neutral” as some put it) , and the gradations were gentle. It was like a biker ballerina, if you will. Some people loved the aesthetic of GAF 500, and would use it even in bright-light situations just for the look that it produced. Many photographers steered clear of it just because there were “better” options, such as push-processing lower ISO films.

There was a time in the 1970’s that GAF was everywhere. It was the official film of Disneyland, and, for a time, was the only brand of film that you could purchase inside the park. Sears sold GAF cameras and film. Henry Fonda was the spokesman. Despite that, GAF struggled to be profitable competing against Kodak, Fujifilm, and other brands.

GAF made a few minor “improvements” to their ISO 500 film over the years, and (from what I read) it seemed to get “better” towards the mid-1970’s. In 1977, due to sluggish sales, GAF decided to get out of the photography business altogether. GAF/Anscochrome 500 was discontinued, along with all of the other GAF films. The Ansco brand name was licensed out to other companies for years to come, although it was largely used for rebranded films and not original emulsions. GAF 500 was gone forever.

Garden Spiderweb – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

Perhaps thanks to Alien Skin Exposure software, there’s been a renewed interest in GAF 500. Alien Skin has a GAF 500 preset that is supposed to allow you to mimic the aesthetic of the film with your digital images. I’ve used it before, and that’s the closest I’ve come to shooting GAF 500. It’s been awhile since I’ve used Exposure software, so I don’t recall too much about the preset (other than it was grainy). So, for this Film Simulation Recipe, I spent significant time studying whatever I could find on the film. There’s a lot of written information out there, but photographs were hard to come by. Still, I found some, and did my best to emulate the look with my Fujifilm X-E4.

Recreating GAF 500 on my Fujifilm camera was tricky for several reasons. First, I wouldn’t have considered Eterna as the best base (just because it lacks the necessary contrast to emulate a contrasty slide film), but after trying Classic Chrome, PRO Neg. Low, and Eterna Bleach Bypass, I decided to give Eterna a go. Bingo! This one had the right tonality (those “gentle gradations”); however, I do wish that Shadow could be set to +5 to get deeper blacks, but that’s not an option. Another tricky aspect was achieving the warm, reddish/orangish color cast that could still produce a hint of blue in the shadows. Fujifilm cameras aren’t capable of split-toning, so I did my best to approximate this with the white balance; I do wish the shadows were just a little more blue, but it’s not possible without sacrificing the overall warmth. Another challenge was replicating the grain. Fujifilm’s option of Grain Strong Large wasn’t nearly as pronounced as it needed to be, so I set out to supplement it with digital noise using high-ISO. But how high? ISO 1600 wasn’t nearly enough. ISO 3200 wasn’t enough, either. ISO 6400… much closer, but not quite there, either. Should I dare try ISO 12800? Yes, that’s it! More importantly, it looks good, which I had my doubts about.

With slide film, depending on the emulsion, you had to nail the exposure exactly, as the dynamic range was extraordinarily narrow. You didn’t know what you had until you got the film back from the lab (or developed it yourself at home); some frames would be underexposed, some frames would be overexposed, and some frames (hopefully) would be correctly exposed—I found examples of all three when searching for GAF 500 photographs. You can achieve similar aesthetics with this recipe if you want, by either dropping the exposure a little or increasing it a little—the exact look of this recipe will vary some depending on the exposure. While I couldn’t replicate every potential GAF 500 aesthetic with this one recipe, and no recipe will ever be 100% spot-on accurate (because of the limited tools available on the camera, and because the results of one film can vary significantly depending an a whole host of factors), I do believe that this recipe is pretty close to replicating the look and feel of GAF 500 film—at least from the perspective of someone who was born after the film was discontinued, so I never had a chance to use it myself.

Offroad Tricycle – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

Because this “GAF 500” recipe uses Clarity and Color Chrome FX Blue, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, and is not compatible with the X-T3 or X-T30. Those with X-Trans V cameras can also use it, and it should render identically, although I have no first-hand experience to verify that. Those with newer GFX cameras can use it, too, although it will render differently. Because of the ultra high-ISO that’s required, I recommend using your electronic shutter and a small aperture (like f/8, f/11, or even f/16) when shooting in bright light outdoors.

Dynamic Range: DR100
Highlight: +2
Shadow: +4
Color: 0
Noise Reduction: -4
Sharpness: -3
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: 2900K, +9 Red & -9 Blue
ISO: 12800
Exposure Compensation: -2/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “GAF 500” Film Simulation Recipe on my Fujifilm X-E4:

Eat – Phoenix, AZ – Fujifilm X-E4
Bird Scooters – Phoenix, AZ – Fujifilm X-E4
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4
FAO JUG – Phoenix, AZ – Fujifilm X-E4
Why Love? – Phoenix, AZ – Fujifilm X-E4
Twin Dumpsters – Phoenix, AZ – Fujifilm X-E4
Garfield – Phoenix, AZ – Fujifilm X-E4
Overhead Crane – Phoenix, AZ – Fujifilm X-E4
Oversized Load – Phoenix, AZ – Fujifilm X-E4
And So It Begins – Phoenix, AZ – Fujifilm X-E4
Air Garage & Graffiti – Phoenix, AZ – Fujifilm X-E4
Can in the Sage – Phoenix, AZ – Fujifilm X-E4
Suburban Barrel Cacti – Phoenix, AZ – Fujifilm X-E4
Double Peace – Buckeye, AZ – Fujifilm X-E4
Table Roses – Buckeye, AZ – Fujifilm X-E4
Sunlit Curtain – Buckeye, AZ – Fujifilm X-E4
Yellow Trumpets & Sunstar – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch in the Blue – Buckeye, AZ – Fujifilm X-E4
Orange Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X-E4
Two Yellow Trumpets – Buckeye, AZ – Fujifilm X-E4
Joy – Buckeye, AZ – Fujifilm X-E4

Grain examples:

Big crop to show the “grain” in the image.
Big crop to show the “grain” in the image.
Big crop to show the “grain” in the image.

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

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  1. Francis.R. · September 1, 2022

    A fascinating story about a brand I had never heard about before. Despite the issues of Kodak the laboratories here that print digital images (only one process film) still have those big kodak signs. Some of the photos have quite a tridimensional rendering, specially ‘Eat’, and even the flat graffiti of ‘Air Garage & Graffiti’, which is great considering the small aperture used.
    I recall after years using a Sony R1 when I shot with a Fujifilm X-E1 I had to set it at iso 400 to get the same grain of the Sony at iso 160, otherwise the lack of noise was unsettling to me. I understand how with the way cameras have progressed such a high iso of 12800 was needed to get a film iso 500 rendering 😮

    • Ritchie Roesch · September 1, 2022

      It’s actually quite incredible. Many photographers in the mid-1970’s wondered why anyone would want such a high ISO film. If DPR forums existed back then, that would be one of the “big” debates. ISO 500? Who needs to go that high?! Nowadays I use, and I’m sure most people use, ISO 500 without thinking twice about it. It’s no big deal whatsoever. But ISO 12800? Who would ever want to shoot that high? 🤣

      • Dick · September 1, 2022

        Slightly off topic but I know somebody who,when buying his first PC said ‘I don’t need a harddisk , floppies are more than enough for me ?! I wonder what happened to me ?

      • Ritchie Roesch · September 1, 2022

        Lol 🤣🤣🤣🤣

  2. Dick · September 1, 2022

    Oh how wonderful…! And what a history ! Thank you Sir ! (Master , whichever comes first 🙂 P.S. Have you ever thought of making a video ‘Make your own simulation the Roesch Way ‘ ? I would even pay for it (Yes, I thought that would make you sit up 🙂 )

    • Ritchie Roesch · September 1, 2022

      I appreciate your kindness, encouragement, and support! Thank you so much! 😀

  3. justingould · September 1, 2022

    Another lovely one, Ritchie. I’ve been getting really into Eterna as a recipe base recently and this is a great example of the excellent tones it can produce.
    I’d like to share it on ‘my’ Facebook group https://www.facebook.com/groups/film.recipes using your sample pics, if you’re ok with that?

    • Ritchie Roesch · September 1, 2022

      Thank you so much! Yeah, feel free to share 👍

  4. TheCameraEatsFirst · September 1, 2022

    Well done. I have never heard of GAF till now. Thanks. The settings are most extreme yet. Can’t wait to give this recipe a go.

  5. abchappell · September 3, 2022

    Hi there, I am new here and I think that the historical perspective and research you put into your article was absolutely awesome. I am definitely going to use this recipe!
    I think I am hooked on Fuji X Weekly already 🙂

    • Ritchie Roesch · September 4, 2022

      Awesome! I’m so glad that you liked the article, and I hope that you enjoy the recipe. 😀

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  7. theBitterFig · September 15, 2022

    So I can’t replicate these settings on my X-E2. Wrong film sim (Classic Chrome is all it has), settings only go to +2, none of the chrome effects, and ISO caps out at 6400 if also shooting RAW. Still looks kinda neat.

    But I did do something interesting with the “as close as I can get.” I also used the same settings, but with B&W (Y). The articles on the X70 Monochrome Red and Fujichrome Slide sharing setting but not film speed were a bit of an inspiration. Definitely something I need to experiment more with, but the graininess and narrow dynamic range are pretty interesting.

    Overall, I’d love to see some more really cranked ISO film sims of various styles. Seems like there’s a nifty world of grain to explore, particularly since it’s still Virgo season.

    • Ritchie Roesch · September 15, 2022

      Oh, very interesting! I love cranking up the ISO, but so many are afraid to do so. I’ve actually had someone tell me that wanted to try a recipe, but since it required a minimum ISO of 640, they weren’t willing: ISO 400 was their max. I think it stems from the days 15 or so years ago when high-ISO digital looked terrible, or maybe even the days of film when ISO 400 was considered to be “high ISO”. But it is amazing how high you can go, and how good Fujifilm’s digital noise looks (compared to other brands). I appreciate the feedback and encouragement!

      • theBitterFig · September 23, 2022

        I can understand the desire to keep ISO low in general (why not minimize noise if you can?), but I think folks should be more willing to make exceptions. Sometimes it’s just dark. Sometimes it’s an aesthetics choice, particularly with older Fuji X-Trans sensors, where the noise is more pleasing and akin to film grain.

        Sometimes the look of a photo is worth more than the “flaws” apparent when pixel peeping.

      • Ritchie Roesch · September 23, 2022

        I think pixel-peeping might be one of the “worst” things that photographers do. I’m guilty of it as much as the next person, though. Thanks for the input!

  8. Leslie M · April 11

    Hi, I’m very new to using film recipes on my xt5, how would I go about adding the white balance of 2900k when I don’t have that setting on available to do so? I appreciate any help or advice with this!

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