Airstream – Pismo Beach, CA – Fujifilm X-E4 – “Chrome Slide”
This Film Simulation Recipe is a bit of a mystery to me. I recently found it in my C1-C7 custom presets on my Fujifilm X-E4, simply named Exp. After shooting with it, I quickly remembered that I had created it back in July, and then for some unknown reason stopped using it. In the weeks and months that passed, I somehow completely forgot all about it. Here’s what I do know: while I was traveling over the summer, someone had asked me to create a certain look, which I believe was of a particular photographer and not a specific film stock (although I am not fully certain of that), and so I did, but now I have no idea who asked (because I get many requests) or who the photographer was that I was attempting to mimic. I’m not sure if I was close to successful or not, as I don’t really remember a whole lot of anything about it. I did find on an SD card the pictures that I had captured with the recipe over the summer. I began using it again just recently, and I really appreciate the results—I think many of you might, too. In fact, it could be a new favorite recipe for some of you!
While I don’t believe that this recipe was modeled after any specific film stock, it does remind me a little of Ektachrome. Over the years there have been around 40 different emulsions that Kodak has given the brand name Ektachrome to, not to mention that one film may have had numerous updates and revisions (Ektachorme E100, for example), so it can be tough to know exactly which “Ektachrome” this might most closely resemble. Maybe E100 or E200 or even Elite Chrome? I’m certain that it’s not an exact match to any, but to me it has a general Ektachrome “memory color” (as Fujifilm puts it). Since I’m not sure what it most closely resembles, I’m simply calling it Chrome Slide.
This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. I believe that it is also compatible with X-Trans V models, such as X-H2, X-H2S, and the upcoming X-T5. Those with newer GFX cameras should be able to use it, too, although it will render slightly differently. Unfortunately, it is not compatible with the X-T3 or X-T30.
Classic Negative Dynamic Range: DR400 Highlight: +1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -3 Red & +1 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Chrome Slide” Film Simulation Recipe on a Fujifilm X-E4:
Patriotic Boat – Morro Bay, CA – Fujifilm X-E4
Surf Rider – Pismo Beach, CA – Fujifilm X-E4
Elephant Seal Along Rocky Shore – San Simeon, CA – Fujifilm X-E4
Sport Bird – Avila Beach, CA – Fujifilm X-E4
Sunset Storm – Buckeye, AZ – Fujifilm X-E4
Layers & Repeated Shapes – Morro Bay, CA – Fujifilm X-E4
Public Guitarist – Pismo Beach, CA – Fujifilm X-E4
Billiards – Redlands, CA – Fujifilm X-E4
Ice House – Avila Beach, CA – Fujifilm X-E4
Urban Bikes – Pasadena, CA – Fujifilm X-E4
Pine Layers – Pine, AZ – Fujifilm X-E4
Small Flowers Near Tree – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Hexagon Waterdrops – Pine, AZ – Fujifilm X-E4
October Oak – Pine, AZ – Fujifilm X-E4
Wet Pine – Pine, AZ – Fujifilm X-E4
Singular Rose Bloom – Buckeye, AZ – Fujifilm X-E4
Water Falling Under The Bridge – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Small Waterfall – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
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I’ve told you before that the Fujinon 27mm f/2.8 is my favorite lens. I have the new version with the aperture ring and weather-sealing—the old version is optically identical (and the autofocus is identical), but it lacks an aperture ring and weather-sealing and costs just a little more for some reason. While the “Mark II” 27mm f/2.8 is the better option, it can be a little difficult to find. Fujifilm has had a difficult time getting the lens to stores, and stores sell out pretty quickly after they receive them. A number of you have stated your frustration trying to get your hands on one. There is a new alternative, though: the TTArtisan 27mm f/2.8 Autofocus.
I’ve shot before with a different TTArtisan lens—the 35mm f/1.4—on a Nikon Zfc, and was actually impressed by the image quality. It was no Fujinon or Zeiss or anything like that, but it was noticeably superior to the Nikkor 28mm lens that came with that camera. I suspect that this one will be similar: deliver decent image quality, have character, be solidly-built, and cost a lot less. In fact, the MSRP is only $160 (or $150 if you buy direct from Pergear), which is very affordable for an autofocus lens. If you can’t find the Fujinon 27mm, or if you cannot afford the Fujinon lens, this seems like a good alternative to consider.
I believe that the TTArtisan 27mm f/2.8 is a little bigger than the Fujinon 27mm f/2.8, so it isn’t quite as pancake, but more like the Fujinon 18mm f/2 pancake. It has a rear-lens-cap USB connection for firmware updates, which I think is interesting. I’ve never used this lens personally to verify any of this, but maybe someday I will.
I personally wish that TTArtisan would have instead created a different focal length pancake lens—maybe that’s in the plans, who knows?—and I think a 23mm pancake or 50mm pancake or 12mm pancake would be nice options. For reasons that I don’t understand, there aren’t nearly enough good pancake options for Fujifilm cameras. I mean, a selling point of APS-C is the compact size (compared to full-frame), so why not offer more tiny lenses to take advantage of it? I do believe that competition is good, so I’m happy to see this TTArtisan lens as an option for Fujifilm photographers, and I hope they make more lenses that are similar in the future.
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I get asked all of the time when to use which Film Simulation Recipe. With over 250 on the Fuji X Weekly App to choose from, it can be difficult to know when each recipe should be chosen. Besides, you only have C1-C7 Custom Presets on your Fujifilm camera (most of you, anyway). Which seven recipes should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular recipe will work for you or not. Only you can answer that for yourself, and you have to try a recipe to know. With that said, I attempt to give good advice. In each SOOC broadcast I recommend a few recipes for various situations. Still, I’ve really struggled with how to be helpful to those asking for direction—that is until I watched a video by Grainydays, a YouTube channel about film photography, in which photographer Jason Kummerfeldt tries to give advice on when to use which film stocks. You can view it below:
Jason has a similar dilemma. Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution is simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too; I’m going to do the same thing for recipes. I’ll tell you what my preferences are, and invite you to try them too if you want. If you don’t want, that’s cool. There’s not any one way—and especially no right or wrong way—to do this. Instead, figure out what works for you, and do that. If you’re not sure, perhaps this article will be helpful to you.
I’m going to suggest seven recipes for you to program into your Fujifilm camera, and state when to use each. Since recipes are (for the most part) generationally specific, I’m going to make this a series of articles to cover most Fujifilm models. In this first one we’ll cover “newer” X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. This should also apply to X-Trans V cameras (from the reports I’ve received, X-Trans IV recipes are fully compatible with X-Trans V, although I have not tested this myself to know for certain) and newer GFX models (although the rendering will be slightly different).
Kodak Portra 400 v2 is a recipe that does well at anytime during daylight hours, and as the name suggests it is a good option for portrait photography, but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. This really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, make sure that this is the one you’re shooting with. I personally use this recipe frequently.
Denny’s Days – Beaver, UT – Fujifilm X-E4 – “Kodachrome 64”
Kodachrome 64 is another one that could be your go-to everyday-use recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, but I think it is one of the best options for when the sun is not low—from mid-morning to mid-afternoon. This is one of the few recipes that you’ll almost always find programmed into my camera.
Evening Clouds Over Wasatch Mountains – Farmington, UT – Fujifilm X-E4 – “Kodak High Definition Plus 200”
If it’s thick overcast and rainy, the Kodak High Definition Plus 200 recipe is an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour”), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.
For natural light indoor photography, my top choice is the Kodak Ultramax 400 recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural light indoor pictures. For artificial-light indoor images, use the recipes for nighttime photography below.
11th Street – Astoria, OR – Fujifilm X100V – “Serr’s 500T”
If it’s after dark, my top choice for nighttime or artificial light photography is Serr’s 500T. This is a very blue recipe, so it isn’t a good option for many daytime situations, but from just past sunset to just prior to sunrise, this is the one that I would most recommend, especially if there are warm artificial lights.
For an alternative process recipe—a fun option for unusual results—my top recommendation is Xpro ’62. Use it anytime of the day or night, as it is surprisingly versatile. The results will be different, and perhaps unexpected, yet the experience will be a lot of fun, so give it a try!
Alternatives for “alternative process” photography:
Round Window – Pismo Beach, CA – Fujifilm X100V – “Kodak Tri-X 400”
My all-time favorite recipe is Kodak Tri-X 400, so it should come as no surprise that it is my top recommendation for monochrome photography. It’s not the most popular recipe on Fuji X Weekly, but it is the most popular B&W recipe. Definitely give this one a try if you’ve never done so before.
You have plenty to choose from, because I just suggested to you 42 different Film Simulation Recipes! Of course, there are so many other recipes that I could have listed—just because one didn’t make this list doesn’t mean that it’s not good; however, I do feel that this is a good set—not only the seven suggestions, which I believe are a winning C1-C7 combination, but the alternative options, too. With that said, don’t let an exclusion from this list discourage you from trying a particular recipe, because you never know when one just “clicks” for you, and you find a new favorite. The top picture in this article was captured with a recipe that I didn’t recommend, yet I do really like that recipe and do recommend it, and I even use it myself sometimes, including recently. It’s a good reminder that this is all subjective, and you might not prefer any of my recommendations, but instead have seven that I didn’t mention as your C1-C7 custom presets. So, I guess, the conclusion is to try every recipe until you find the ones you love and fulfill your photographic needs—but, if you’re not sure, maybe start with these 42.
Next up will be recipes for “older” X-Trans IV cameras—the X-T3 and X-T30.
SOOC was live yesterday. If you missed it, you can watch it today—I’ve included the full episode at the bottom of this article. This was one of my favorite SOOC broadcasts so far, and much of the thanks for that goes to you! Everyone who tuned in and participated in some way made it exceptional. Definitely, if you couldn’t watch it live, be sure to take some time to view it now. Also, thank you to everyone who submitted pictures using the Kodak Portra 400 Film Simulation Recipe. The Viewer’s Images slideshow video is above, so be sure to take a look!
For those who don’t know, 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 not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.
The new recipe-of-the-month is Fujichrome Sensia 100. Be sure to shoot with that and upload your pictures (click here) by November 15th to be included in the next broadcast, which will be on November 17th (mark your calendars now!).
I couldn’t take it anymore, so I turned off the advertisements on Fuji X Weekly. They’re gone. You’re welcome. Oh, and I’m sorry that you had to put up with them for so long.
Why did I do this? Why did I even have ads in the first place? To answer the second question first, there’s a real cost to running this website and doing the things I do. The ad revenue (which isn’t much—it’s amazing how little you actually get from ads, much less than many of you likely imagine) helps to pay for it. It basically covered the cost of web hosting and domains and stuff like that—not only for Fuji X Weekly, but Ritchie’s Ricoh Recipes, RitchieCam, RithieRoesch.com, and the Community Recipes page, too. I discontinued the ads for two reasons: the company facilitating the ads cut their payouts in half (which is crazy unfair), and the ads were just soooo annoying anyway—I hated having them. It was time for them to go!
Unfortunately, when you run a website, you sometimes have to do things that you don’t want to because you have your own expenses that must be covered. The ads were helpful in covering those expenses, but not something that I liked having. In fact, in my very first post, I optimistically proclaimed, “I’m not placing advertisements on this website.” That lasted a little while (although, at the time, WordPress placed their own ads on this site because I was utilizing their free plan back then), but as this website grew, so did the expenses of running it. I hoped that someday another revenue stream would eventually be enough that I could turn the ads off. That never really materialized, but lately Amazon affiliate purchases have increased (thank you for using my links for your purchases!), so I’m using that as my excuse: affiliate revenue is now paying for the expenses of keeping this thing up and running. I’m hopeful that the ads are gone for good.
It’s long overdue, and I’m glad that I finally did it: Fuji X Weekly is now free of annoying ads! This should make the experience of this website noticeably better. I’m sorry that you had to put up with them for so long, and I hope you celebrate with me that they’re finally gone. Hallelujah!
SOOC will be live this Thursday, October 27! Join Fujifilm X-Photographer Nathalie Boucry and myself as we finish our discussion of the Kodak Portra 400 recipes, and introduce the next recipe-of-the-month: Fujichrome Sensia 100. The PreShow kicks off at 9:30 AM Pacific, 12:30 PM Eastern, and the main show begins 30 minutes later. I hope to see you then!
If you didn’t know, Fujifilm is on the cusp of announcing the X-T5 (you can find all of the latest details at Fujirumors). I’ve been asked by a number of people to give my opinions on this upcoming camera. I hadn’t yet commented about it because a camera retailer reached out to me about the possibility of testing a preproduction X-T5, which comes with a promise not to talk about it until after it’s been officially announced; however, it didn’t work out, so I am free to say whatever I want. And just to be clear, I have no inside information on anything—I find out about things the same exact way that you do.
The X-T5 will be a pivotal camera, in my opinion. The X-H2 and X-H2S are pivotal cameras, too. I’m getting a little ahead of myself here—let’s back this bus up a little bit, and start over from the beginning.
Fujifilm launched the X-A7 in September of 2019, and the X-T200 in January of 2020. These were Fujifilm’s budget entry-level models. The X-A line had always been a good seller, especially in the Asian markets, and the X-T100 had done quite well; however, the X-A7 and X-T200 flopped pretty hard—not because they weren’t good cameras, but because that budget entry-level segment of the market suddenly dried up. Those who would normally purchase those cameras were using their cellphones instead. I think this is the origins of a big shift at Fujifilm, and what we’re seeing today is a result of that shift.
One big change is that Fujifilm pulled back on Kaizen (updating the firmware of older models to improve the cameras for no reason other than to have happy customers that will hopefully be repeat customers). This is something that they were renown for. Some at Fujifilm seem to believe that improving older models hinders the sales of newer models, which is likely true to an extent, but it also builds a very loyal customer base who are less likely to jump ship on the brand, which is good for long-term sales. Fujifilm stated recently that Kaizen isn’t necessary anymore, and to expect even less of it. This is a shame, and I believe a big misstep.
Hidden Church – North Salt Lake, UT – Fujifilm X-T200 – “Golden Negative“
Another change is the models that one might think of as mid-range are now the new entry-level. The X-T30 II, X-S10, and X-E4 are the current options. I don’t see Fujifilm continuing with three entry-level models, and I think the X-T00 or X-E line will become defunct. The X-E line might seem most logical, as it’s discontinuation is often discussed, but the X-T00 and X-S lines are basically competing against each other, so it could be that the X-T00 line is first to go. It will be interesting to see how this plays out over the next two or three years.
Fujifilm finds themselves as, more-or-less, the top dog in the APS-C market. Canon and Sony are only half-heartedly in it, as it’s clear they’re primarily focused on full-frame. Nikon is in a similar boat, but with perhaps slightly more heart. Pentax… they’ve got the GR line, but beyond that, they’re only half-heartedly making cameras anymore, period. Fujifilm is not only setting themselves up as the king of APS-C, they’re making it known that they’re the most premium APS-C brand in the market.
Which brings me to the X-H2 and X-H2S. These two cameras—the flagship models—are intended to compete against full-frame Canikony cameras—maybe not high-end full-frame, but certainly bottom-end and mid-range. These cameras are a statement that APS-C is still relevant, and is just as good as, or perhaps in some ways better than, many full-frame options. The X-H2 and X-H2S are made/marketed for three groups of people: 1) those with full-frame Canikony cameras who aren’t completely satisfied with their system and are considering a change, 2) those with a GFX model who otherwise don’t own a Fujifilm X camera (but, because of their GFX, think they might want to try it), and 3) those who came into the Fujifilm system via the X-S10 and want to upgrade to a higher-end model but want PASM and not the traditional dials found on most Fujifilm cameras. Those people are who these two cameras are for.
It should come as no surprise that those who have been in the system for a long time aren’t thrilled about this. Maybe they started with the original X100, later purchased an X-Pro1, upgraded to the X100T, upgraded to the X-Pro2, purchased an X-H1, purchased an X-T3, and upgraded to an X100V. They’ve faithfully been with Fujifilm for a decade, purchasing a number of cameras and lenses. They’re eager to upgrade to the best that Fujifilm has to offer, and yet the new top-of-the-line flagship models aren’t for them, but for someone else. They’ll have to settle for second best (or is it third best?). I’ve had a dozen or more people tell me that the above is essentially their story, and how they feel. That shouldn’t be so easily brushed off as a “get off my lawn” mentality, because their feelings are valid whether you agree with it or not—just as valid as your feelings. In fact, I would suggest that the long-time loyal customers’ feelings should be more valuable than anyone else’s. Should is the keyword, because obviously that’s not the case here—Fujifilm has made that clear, and that’s another misstep, in my opinion.
Suburb Home – Farmington, UT – Fujifilm X-E4 – “Positive Film“
Fujifilm took a significant risk with the X-H2 and X-H2S. They placed a pretty big bet on their decisions and design. If the bet pays off—and early indications are that it is—I have no doubts that Fujifilm will double-down on it. Why wouldn’t they? If you find gold, you don’t stop panning. The direction of the brand, which has been altering course due to fluctuating philosophies, will be determined, in part, by the success of these two cameras. That’s why I said that they are pivotal models.
The X-T5 will also be a pivotal model because it, too, could have a significant effect on the trajectory of the brand. If it does very well, Fujifilm will likely continue to produce this model (and others) that appeal to the long-time base, spending lots of R&D time and money on these types of cameras. If it doesn’t sell well, Fujifilm might pivot away from it, and it will be the beginning of the end of the X-T0 line. I think a lot more is at stake than many realize, and I’m sure that I will receive plenty of criticism for stating this.
The question is: will the X-T5 sell well or not? Will it convince people to upgrade from their X-T3 or X-T4. The X-T3 is Fujifilm’s all-time best selling model. I think the X-T4, while it did in fact sell well, wasn’t quite as big of a success as Fujifilm hoped it would be. I think they wanted it to be the flagship model that the X-H2 and X-H2S are now, but it didn’t work out because it wasn’t Goldilocks for either the X-T0 camp or the X-H camp—the compromises weren’t appreciated by either group. Will those who purchased an X-T3 or X-T4 be ready to upgrade to a new model? That’s the million dollar question.
Overall, I believe that the X-T5 will be better appreciated than the X-T4 because Fujifilm (apparently) walked back some of the changes introduced on the X-T4, and the X-T5 will be more similar to the X-T3 (except with IBIS and the new sensor and processor). I think this is very good. Bravo! However, the issue that I think could potentially derail the success of the X-T5 is that we’ve reached a point of diminishing returns. Does it matter that the X-T5 has 40-megapixels when the 26-megapixels of the X-T3 and X-T4 are more than enough for 99% of photographers? More megapixels can also mean more required memory, and you’ll have to upgrade your SD cards and external hard drives and/or cloud storage… sometimes less is more. Does it matter that the X-T5 has faster autofocus when the autofocus speed of the X-T3 and X-T4 is already fast enough for 99% of photographers? Sure, there are those who actually do need more resolution or faster autofocus (it’s a small group, and they know who they are), and there are those who think they need it but in reality don’t (better to learn the gear you’ve already got…), and that will generate some sales, too. But otherwise, is there enough to convince those who spent over a grand—maybe nearly two—on a camera body within the last two years—a camera that’s been working quite well for them—to drop $1,700 on a new body that they don’t really need? Time will tell.
I think the two new cameras that Fujifilm just introduced could potentially be a problem for the X-T5. You see, there were eager photographers who had money burning a hole in their pockets (a nice problem to have, I suppose) who wanted to get their hands on the latest-and-greatest and got caught up in the hype. They weren’t thrilled that it was a PASM camera, but they didn’t let that stop them, and they dropped $2,000 or more just recently. If they had known that the X-T5 was right around the corner, they would have waited and purchased that instead because they would have preferred it; however, they cannot justify owning both an X-H2 model and an X-T5, so they won’t buy the X-T5, at least not right away.
The other thing, which is a result of Fujifilm’s Kaizen retreat, is that new JPEG features introduced on later models won’t trickle to earlier models. The X-T3 doesn’t have Classic Negative, Eterna Bleach Bypass, Clarity, Color Chrome FX Blue, Grain size, half-step Highlight/Shadow adjustments, or the ability to save White Balance Shifts in the C1-C7 presets. The X-Pro3 doesn’t have Eterna Bleach Bypass or half-step Highlight/Shadow adjustments. The X-S10, X-E4, and X-T30 II have all of it, despite not being premium models, because they were introduced later. Whatever new features Fujifilm has up their sleeves that they will introduce on some later model won’t likely make it onto the X-T5, so if you want it, it’s better to wait towards the end of the X-Trans V lifecycle. The early bird gets …hosed, while the patient bird is rewarded.
Will I buy an X-T5? Maybe. Probably not, simply because I don’t need it. There’s no void in my camera lineup that the X-T5 would fill. All of my current Fujifilm models fulfill my photographic needs, so dropping so much money on something that I don’t need doesn’t make a whole lot of sense. Still, I’m intrigued by it, so I won’t say absolutely not; maybe I’ll put in a preorder on November 2—I’d definitely have to part ways with some other gear to fund it, and I have no ideas what that would be right now.
I could be very wrong, and I’ve been wrong in the past and I freely admit it, so take all of this with a grain of salt. I do think the X-T5 will sell well. Those who purchased an X-T3 maybe two or more years ago will take a very long look at the X-T5. Those who purchased an X-T4 but weren’t thrilled with the flippy screen will also consider upgrading to an X-T5. But I’m not convinced it will sell well enough (in Fujifilm’s eyes), which (if so) will result in some deep discussions at Fujifilm’s headquarters over the direction of the digital camera division. Again, time will tell if that happens, and, if so, what it even means.
This has been a whole lot of rambling about nothing. I have no real insights to offer. I’ve not seen or touched a Fujifilm X-T5. I’ve never spoken with anyone within the Japan office of Fujifilm about anything. I have talked with a number of Fujifilm photographers—I get nearly 50 messages a day—and I think I have a pretty good pulse on the community… at least those who primarily shoot JPEGs. I think the X-T5 will be a wonderful camera that many of you will purchase and love. I truly hope it far exceeds Fujifilm’s wildest sales expectations, because I believe this camera is a pivotal model. Will it? I have no idea—it’s as much my guess as anyone else’s.
This Creative Collective article is a followup to Comparing 10 Recipes For Indoor Photography and Fujifilm X-T30 & X-T3 Film Simulation Recipe: Cinematic Negative. Specifically, I’m going to discuss light rendering in a practical sense, color casts, and mood; how all of that relates to Film Simulation Recipes and photography, and how you can use it to your advantage to better control your images, and the emotions that they convey to those viewing them.
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I went down a pretty deep rabbit hole. I started researching cinematographer Greig Fraser, which led to investigating other great cinematographers, such as Roger Deakins, Rodrigo Prieto, Hoyte van Hoytema, Caleb Deschanel, and several more. I spent quite a bit of time learning about various motion picture techniques. I came to the conclusion that cinematographers often better understand light than many photographers. By “understand light” I mean 1) light qualities, 2) how light is rendered on what it is being captured on, 3) how to use or manipulate light so that it is rendered precisely as intended, and 4) how light affects moods and emotions. Granted, a movie has a whole team of people who’s job it is to control and manipulate the light, but the cinematographer (working with the director) is the one in charge of it.
You might notice when watching a movie that the colors and color cast change from scene-to-scene. The way you respond when viewing a predominately blueish scene is much different than a reddish scene. The colors, among other things, trigger certain responses from the viewers, and cinematographers use this extensively, and often brilliantly. Sometimes it’s quite obvious, and sometimes it’s much more subtle, and you might not even notice unless you’re paying careful attention. If you understand light similarly to a cinematographer, you could do the same thing in your photography.
Another thing that I stumbled across is gear. Obviously film and digital have different aesthetics—digital is much easier to work with, especially when it comes to incorporating special effects and CGI, but it can come across as clean, clinical, and soulless. Film has more character and a different feel, but is much more difficult to work with. There are also digital-film hybrid techniques. Whatever method is used will affect the final aesthetic. Some cinematographers like working with modern lenses, and some—like Greig Fraser—prefer vintage lenses because they have more character. Filters are a big part of the process. Color correction filters (to control the light) and diffusion filters (to give atmosphere) are pretty common. I was surprised to learn that some cinematographers like putting water, silicone, dirt, etc., on the filter to dirty them, and some even like shooting through glass (in-between the camera and the subject).
This is probably more than you ever wanted to know, but I think it’s important to understand for this recipe. First, the light you shoot in will affect how pictures are rendered (definitely not unique to this recipe, but worth noting). Cool light will give a cool color cast, warm light will give a warm color cast. You’ll want to think about the light—how it will render—and the mood or emotions you want to convey in your photographs. Second, inspired by Greig Fraser, I used vintage lenses for these photographs, mostly a Helios 44-2. You don’t have to use vintage glass, but I do think it helps to achieve the desired aesthetic. Third, for most of these images (especially if there was a bright light source) I used a 5% CineBloom diffusion filter. What I appreciate about this filter is that it’s quite subtle. The 5% CineBloom filter is not a requirement for this recipe, but it helps give it a filmic look, especially when there are bright highlights, so I do recommend it if you have one.
This “Cinematic Negative” Film Simulation Recipe isn’t modeled after any specific motion picture film, but is more inspired by a generic daylight-balanced cinema film aesthetic after researching a number of different cinematographers. It is compatible with the Fujifilm X-T30 and X-T3 cameras. To use it on newer X-Trans IV cameras (X-Pro3 and newer) plus X-Trans V, set Color Chrome FX Blue to Off, Clarity to 0 (or -2 in lieu of the 5% CineBloom filter), and decide on either Grain size Small or Large. For the X-H1, you can use this recipe if you ignore Color Chrome Effect; however, it will render slightly differently. I used the 16:9 aspect ratio for some of these photographs, but use whichever aspect ratio you prefer.
Eterna Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Strong White Balance: Incandescent, +8 Red & -9 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3
Below are all camera-made JPEGs captured using this “Cinematic Negative” Film Simulation Recipe on my Fujifilm X-T30:
Horseplay – Buckeye, AZ – Fujifilm X-T30
Scrabble – Buckeye, AZ – Fujifilm X-T30
Palms Trees – Glendale, AZ – Fujifilm X-T30
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T30
Crisscross Contrails – Buckeye, AZ – Fujifilm X-T30
Last Light on Rooftop – Glendale, AZ – Fujifilm X-T30
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When people discuss their camera gear, they mostly talk about their camera bodies and lenses. Photography accessories are sometimes overlooked, but they can be just as important. While I’m most commonly asked about cameras and lenses, occasionally someone inquires about my “other” gear, wanting to know what I use and why, and what I recommend. In this article I’ll briefly discuss each camera accessory that I use and why I use it.
The way that I’m going to do this article is I’ll talk about which accessories I currently use with various camera bodies. I’ll begin with the Fujifilm X100V and continue on until I’ve covered all of the different accessories.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X100V Accessories
I don’t have a lot of accessories for my Fujifilm X100V, but the ones I do have are very important. First, I have a Hoagle filter adapter (Amazon). Using a filter adapter on the X100V (in conjunction with a filter) makes the camera weather-sealed, as the only part that isn’t weather-sealed is the front lens element—simply screwing on a filter fixes this, but it requires an adapter. There are a number of brands who sell one, including Fujifilm themselves (Amazon), but I use Hoagle because it’s cheap and it works. I always use a filter, either a Fotasy 49mm UV filter (Amazon), or one of several diffusion filters: Tiffen 1/4 Black Pro Mist (Amazon), which I used in conjunction with the KodaNeg Film Simulation Recipes, 5% CineBloom (Amazon), 10% CineBloom (B&H), or 20% CineBloom (Amazon). Of these filters, the 5% CineBloom and Fotasy UV are the two most commonly used, and the 20% CineBloom is the least used. Shooting with diffusion filters is the third suggestion in my 7 Tips to Get the Film Look From Your Digital Photos article. You can also stack them to achieve a dreamy look.
What else? I found the camera strap used on eBay. I have a Monfrotto Compact Action Aluminum Tripod (B&H), which I do use occasionally with this camera (and my other cameras). Otherwise, that’s it.
Fujifilm X-E4 Accessories
I don’t really have any accessories for my Fujifilm X-E4, but I thought I’d take a moment to talk about lens adaptors. Fujifilm cameras are especially great when paired with vintage lenses, which typically have more character than modern glass. This is the fourth suggestion in my 7 Tips to Get the Film Look From Your Digital Photos article. To use vintage lenses, you’ll need an adapter, and I currently have three: M42-to-Fuji-X, M39-to-Fuji-X, and Pentax-110-to-Fuji-X. The M42 and M39 adapters are nondescript ones I purchased on eBay for cheap six years ago, but the Fotasy M42 (Amazon) and M39 (Amazon) would work just fine, and are inexpensive. My Pentax-110 adapter is made by Fotasy (Amazon).
Another thing worth noting is that, because of the compact size of the X-E4 and X100V, the National Geographic NG 2344 Earth Explorer Mall Shoulder Bag (Amazon) works really well for me, better than any other camera bag I’ve ever owned—I don’t travel without it.
Fujifilm X-T30 Accessories
I don’t have a lot to add with my Fujifilm X-T30, so I’ll take the opportunity to bring up SD cards and batteries. Because I’ve been shooting for awhile, I have tons of memory cards lying around, but the one I use the most is SanDisk Extreme Pro 128GB (Amazon), which I own several of. I have a number of spare Fujifilm NP-W126S batteries (Amazon); I do own a couple third-party batteries, but I don’t like using them, and only do so in a pinch, which is very infrequently. I love the Nitecore USB Camera Battery Charger (Amazon), which just so happens to fit really well in one of the pockets in my camera bag.
Fujifilm X70 Accessories
My Fujifilm X70 came with an official Fujifilm leather half-case (Amazon), which I absolutely love! If mine hadn’t come with this, I probably wouldn’t have purchased the case because I wouldn’t have realized what I was missing. Definitely “worth it” in my opinion; however, I’m sure some of the cheaper third-party options are nearly as good for a fraction of the cost.
Fujifilm X-H1 Accessories
The final accessory that I want to bring up for my Fujifilm gear is my studio lighting: Phottix Nuada R3 II two-light kit (Amazon). I don’t use artificial lights very often, but occasionally I do (like here and when I do the SOOC broadcasts), and the Phottix Nuada R3 II is absolutely great. Best lights I’ve ever owned—bright, versatile, compact, lightweight. I’m sure they’re not for everyone, but if you’re thinking about buying some studio lights and are unsure what to get, I do recommend this kit.
iPhone 11 Accessories
Since I created my very own iPhone camera app—RitchieCam—it should come as no surprise that I have a couple of iPhone accessories: Moment Tele 58mm lens (Amazon) and Moment MagSafe Tripod Mount (Amazon), which require a Moment cellphone case (Amazon). Completely worthwhile, in my opinion.
I own a shelf-full of different accessories that I’ve collected over the last nearly 25 years, but the ones mentioned in this article are the ones that I actually use. There are a number of items that I have used before, but have parted ways with or sit collecting dust, so I didn’t mention them. I’m sure I could list a number of accessories that I wish I had, but this article is about what I currently use. For some of you, this list might seem surprisingly short. For some of you, this list might appear to have unnecessary or redundant items. A lot of times I think that less is more, particularly with camera gear, but if there’s something you’ll actually use, it’s likely worth having around.
Well, because I’ve been under the weather, I’ve had the opportunity to read several books that have been sitting on my shelf for awhile. Some of these I’ve read before. Some I had previously only skimmed through. Some I hadn’t even cracked open yet. Now, with extra time on my hands, I have been able to read through a number of photography books. Below are the ones that I’ve been reading. If you are looking for some photographic resources and/or inspiration, I recommend adding these to your library—I’ve included a link to Amazon if you’re interested in purchasing any.
The Art of Photography by Bruce Barnbaum — A great practical guide to improving your photography — Amazon
Authentic Portraits by Chris Orwig — Solid advice for improving your portrait photography — Amazon
Ansel Adams’ Yosemite by Ansel Adams — Inspirational pictures of one of my absolute favorite locations — Amazon
Lost America by Troy Paiva — A fun book of abandoned places light-painted at night — Amazon
The Way Home by June Van Cleef — A book by the person who taught me photography — Amazon
Curious Cameras by Todd Gustavson — If you like learning about unusual gear, this is the book — Amazon
Steam, Steel & Stars by O. Winston Link — Amazing B&W photography of steam trains at night — Amazon
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I’m currently sick with the flu, and because of that the SOOCbroadcast scheduled for this Thursday has been postponed one week. Nathalie and I will instead be live on Thursday, October 27th. Sorry for any inconvenience this might cause, and I hope to see you on the 27th!
For those who don’t know, 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 not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
Are you somewhat new to photography? Not really sure what you’re doing with your camera? Are you intimidated by social media, especially short form video like TikTok and Reels? Do you like cars? Fast cars? Do you appreciate conversations with interesting people? If the answer is yes to any of those questions, this interview is for you, and you’re going to want to keep reading!
Those who refurbish rusty Toyota Corollas into fast racing cars likely have heard of Tim Duncan and know of his garage, Second Stage. Perhaps you’ve seen him on TikTok or Instagram, where some of his videos have been watched by millions. Otherwise, let me introduce you: Tim Duncan is an up-and-coming photographer from Adelaide, South Australia. He has a thirst for learning, and isn’t afraid to try (and fail, and try again). He also has a passion for teaching. Oh, and he’s creative. All of it comes together in this article, where Tim and I discuss all sorts of things, including Fujifilm cameras and Film Simulation Recipes.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: How did you get started turning rusty Corollas into track cars? Where did your passion for cars, mechanics, and racing come from?
Tim Duncan: The very beginning would have been my cousin taking me to drag racing when I was 14, then I watched the movie Gone in 60 Seconds at the cinema—after that I was pretty much hooked on all things cars.
The passion comes from what cars can teach. Everyday I am looking for ways to learn something new, and with cars it really is never-ending.
When I was younger I was obsessed with all things muscle car. My first project car was a Chrysler Valiant Charger with a 265 CI straight six engine—I bought that when I was 17 and spent years trying to fix it up. During this time I learned that I actually really enjoy driving cars on tight twisty roads. Where I live in South Australia we actually have some amazing driving roads right near the city in the Adelaide Hills. So I wanted a new project car that was great around a corner, but I was still so attached to muscle cars. Then I discovered that Toyota made a factory engine that came with a supercharger: the 4AGZE! A friend was selling a shell of an AE86 and all it needed was a supercharged 1.6L engine, so I bought that and never looked back. The rusty Corollas are really the end point of what I enjoy about cars
The Panel Van — Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FWX: Tell me about your Corolla panel van project. How did you get started with that, what’s your current progress, and what’s the goal?
Tim Duncan: It’s actually a silly story where the idea came from. My friends all had drift cars and they were trying to encourage me to build one, too. My good mate, Ash, did this terrible “Photoshop” picture of me sideways in a Corolla panel van. Life happened and I never built any drift car, but for some reason that stupid silly photo always stuck with me. Then years later a shell popped up for sale for $150 and it was just a perfect time for me to start a big project, to build the drift car that never happened. Never underestimate the power of a meme! The end goal is to have a reliable easy-to-maintain-and-run drift car for having fun with my family and friends.
Current progress: I have mounted a 3800cc GM v6 from a Holden Commodore, then a stronger diff from a R31 skyline. Full custom suspension for extra lock in the front and 4 link equal length rear. A complete weld-in roll cage and mounted fixed back seats for safety. The next step is to get the exhaust finished—I got a little carried away trying to make a 6-1 exhaust that collects behind the motor.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: Tell me about your passion for teaching—where did that begin? What is your teaching outlet?
Tim Duncan: It’s just something that has always come very natural to me, but only recently I have realized it’s a core value of mine. I was saying before I love to learn, and the old saying is you don’t truly understand something until you can explain it clearly to someone else. So I guess my love for learning works together with the love of teaching others.
I basically have two outlets: I like to make short form videos for TikTok and Instagram and now YouTube Shorts, and a lot of my content is teaching trade skills and basics about cars; my other outlet, which is really important to me, is my nephews coming to my workshop to help build the drift van. We try to do a session once a week where they come to the workshop—if I can teach them some basic skills and work ethics for when they head out into the real world, that would make me very happy.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: You’ve had some success with short form video. What advice would you give to someone interested in making short form videos but are not really sure where to start or are maybe too insecure to try?
Tim Duncan: You have to make videos about something you are passionate about, and you need to be yourself. What makes it work is being authentic. If you are trying to follow trends or just make videos purely to get views, there is no way you can sustain that. I can already hear the response, “Thanks for the super vague cliché answer, Tim—this does not help me!” (ha ha). So here’s some practical advice: the most important thing is to focus on your hook at the start of a video—you literally have 0.5 to maybe 1.5 seconds to grab someone’s attention, and if you can’t do that they’re going to keep scrolling. It’s very hard to hold someone’s attention. I started out forcing myself to only make 15 seconds videos—think back to Vine where you only had seven seconds to get across a point. Short form video is definitely hot right now, but don’t get fooled into thinking that this is easy.
Painting by Tim’s Grandfather, Thomas Allen Duncan
FXW: Your grandfather was an accomplished painter. Tell me about him. What impact did he have on your life?
Tim Duncan: He had such a huge impact on my life! I have fond memories of him trying to teach me how to draw and paint, how to play chess. When I was 12 he handed me a welder and taught me how to do my first welds. He always talked so passionately about being a tradesmen—he made being a boilermaker sound so exciting and interesting, that’s all I wanted to be when I grew up. I ended up being a maintenance fitter instead, but I have always loved fabricating with metal as much as I can. He loved my Nanny so much and wanted nothing more than to provide and give her the best life possible—I believe he did that. On top of all of this he was always painting. My whole life I had his paintings hanging up around my house. He tried his best to get me started, but it just never clicked—yet I feel the concepts he was trying to teach me has certainly shaped how I see the world. He showed me how an artist sees the world, that an old building or a tree or a small boat on a shore can be beautiful. Painting is definitely not my thing; taking photos is my artistic outlet, and I owe most of that to my Grandad.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: How did you get started in photography? What was your first camera? Why Fujifilm?
Tim Duncan: I would definitely call myself an amateur/hobbyist, but I would say I am only just now getting started. Growing up I had a few point and shoots, and I would borrow my Dad’s Canon DSLR, but my first real camera is the one I’m using now: a Fujifilm X-T30 with a 27mm f/2.8 lens. I was wanting to get a “real” camera for a little while and was looking at a few options. To be honest I was searching for a better way to record audio for YouTube videos and wanted a mirrorless camera that I could plug a mic into. For some reason I was always attracted to the Fuji cameras—for me, they’re like Nintendo. While you have Playstation and Xbox trying to be the biggest, best, and fastest with spec sheets (just look how powerful we are!), Nintendo is making console and game experiences that are fun and with way more character—that’s my Fuji camera. I get loads of comments asking, “Is that an old film camera?” It has dials that I love adjusting, it’s nice to look at, and I just really love using it.
When I got the X-T30, I decided to start taking a few photos with it to get the hang of the camera, then I’d start filming with it. But I just found myself really enjoying taking photos, and I fell in love with photography!
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: Do you use Film Simulation Recipes? If so, which ones do you use?
Tim Duncan: The film simulations were a huge selling point when looking for a camera. I first used one I found on YouTube called Muted, and I also tried his B&W settings—for the life of me I can’t remember the channel. Those were the two main ones that I had been using, but recently I tried the Nostalgic Print recipe (modified for the X-T30) from the Fuji X Weekly App and instantly loved it, and I can see this becoming a regular. I also had a crack with the Kodak Vision3 250D recipe and can see why it’s a favorite! After watching the film The Batman, I attempted to make my own recipe, but I’m not sure I really know what I’m doing (ha ha), so I definitely appreciate the Fujifilm camera community making recipes available. I’m very grateful for everyone who posts up their recipes on YouTube and explain how to set the camera up—it’s extremely helpful, especially for someone just starting out.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: What are your photographic interests? Describe your method for learning photography.
Tim Duncan: I feel like I’m only just really getting started, so up until now I have been sticking with the basics, focusing mainly on my compositions—placing interesting things in the right spots. I also set my camera to B&W for a good few months to learn about lighting and to understand contrast better. So I’m just trying lots of different things, and making many mistakes, to see what I like—for instance, I discovered that I’m not really interested in landscapes, but I love street photography.
I also have zero interest in sitting down and editing photos. Everything I shared today is straight from my camera—I like the challenge of trying to get it right when I take the photo. I love that, on the Fuji, I can see exactly what I’m taking because the screen and viewfinder match the film simulation settings. I do my best to get the framing correct, exposure, etc., and take the photo. That’s it! That’s the photo, and if it’s good, it’s good; if it’s bad, it’s bad. I’d really like to encourage everyone to get out there and make as many mistakes as possible, and don’t be afraid to learn from them.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
Thank you, Tim, for your willingness and openness to do this interview, and for all of your time!
I’ve had a lot of people tell me lately that they’re frustrated the Fujifilm camera they want to purchase is out of stock, and has been for some time. Unfortunately, Fujifilm (like a lot of companies) has been plagued by global supply chain issues and parts shortages. On top of that, I believe that Fujifilm is ready to fully move onto X-Trans V, which means that X-Trans IV models will get harder and harder to find. So I thought I’d look at what is out there in stock on Amazon, and share what I find.
I was not surprised to see the Fujifilm X100V and Fujifilm X-E4 out-of-stock. Those two cameras haven’t even had a chance to hit the shelves, because they’re already sold the moment the shipment arrives at the store. Fujifilm could have sold a lot more copies of these two models if they had been able to manufacture more, and maybe they’re in the process of doing just that, or maybe they’re retooling for the next iteration—who knows? Whatever the case, a lot of people want an X100V and/or X-E4, and they can’t get one, unfortunately, and maybe buying used (and likely at an inflated price) is their only option.
For all the news that the X-H2S and X-H2 have had more demand than can be filled… they’re apparently in stock, and you can get one (or both) before Thanksgiving. The X-T3 and X-T4 are both in stock, but the X-T5 is apparently coming before Christmas (so watch for that). There are plenty of X-Pro3’s available. Supposedly there’s only one X-S10. Surprisingly, there are several X-T20 and X-E3 bodies, apparently. Shockingly, I found one (supposedly) brand-new X-M1, two refurbished X-T1’s, and one (supposedly) new-but-not-warrantied X100T, if you are interested in an older model.
Have you ever embarked on a photographic excursion with high expectations of the pictures you’re about to capture? Perhaps upon returning home you believed that you had some amazing images sitting on your SD card, but, upon reviewing the exposures, you’re left disappointed? I know that I have. Sometimes our expectations of how things will go doesn’t match reality, and it can be discouraging.
It’s easy to believe that I am a better photographer than I am. This is pretty common—I’m certain I’m not the only one—and it’s easy to spot in hindsight: I thought some certain photographs of mine were really good, but reviewing them years later I realize that they were mediocre at best. I’m biased about my own images, and it takes some time to view them through fresh (less-biased) eyes for what they really are. Besides, I hope that I’m constantly improving, so my photographs today should be better than they were years ago. Years from now I’ll look back at my photographs that I think are great today, and I’ll realize they’re not nearly as good as I once perceived them to be.
Still, I have some expectations—prior to even pulling out the camera—of what I will capture. I also have some expectations—before I even have a chance to review them—of the exposures that I did capture. It’s only later, after returning home and viewing the pictures, do I really begin to process what I actually have, and very rarely does it match those expectations. Kyle McDougall talks about this in his video below.
I think sometimes we expect—or at least I do—to have a whole crop of wonderful pictures from each photographic outing. Our social media feeds demand a steady stream of fresh pictures to keep our followers engaged. Our relevancy relies on an abundance of images to showcase our talents. But it’s all unrealistic.
Ansel Adams stated, “Twelve significant photographs in any one year is a good crop.” That was the expectation of one of the greatest photographers of all time: one great picture a month, on average. Maybe one month had three, and two months had none—however it worked out, twelve a year was a good year.
How many have I had this year so far? Not 10, I can tell you that. Maybe five or six. I’m no Ansel Adams, so perhaps twelve in a year is an unrealistic goal for me. I think if I captured a half-dozen photographs in one year that I’m really proud of, that’s a good year. I definitely shouldn’t expect any more than one good picture at most from one outing with my camera. More than one would be an extraordinarily successful—and I’m sure exceedingly rare—event.
Oak Autumn – Pine, AZ – Fujifilm X-E4 – “KodaNeg VC“
So that brings me to the pictures in this article, which were captured while on a weekend adventure to the Mazatzal Mountains in central Arizona. These three images are my personal favorites from the trip. I don’t consider any of them to be “significant” or “portfolio worthy” pictures. In the moment that I captured them and a number of others from the trip, I thought they were. I thought I had five or six frames that I was going to love, but upon reviewing them, I had maybe close to 50 decent frames, and five or six good pictures, but no great photographs. I was disappointed with myself, because I thought I had done better.
Then I watched that Kyle McDougall video, which was exactly what I needed to see. I had unrealistic expectations for myself, and that led to disappointment. Instead, going forward, I should hope to come away with just one picture that I’m happy with—anymore than that is a bonus—and perhaps if I capture one significant picture within a month, that’s something to be ecstatic about.
I think it’s easy—thanks to social media—to think we need to capture a handful of portfolio-worthy pictures each time we go out with the camera. That’s being completely unfair with ourselves. If you capture one, celebrate that. If you don’t capture any “significant” pictures, don’t fret! That’s normal. That’s to be expected. Just try to learn and grow and become better in some way, so when a potential portfolio-worthy picture opportunity presents itself, you’re fully prepared. That’s the expectation you should have for yourself, and nothing more.
Rainfall on the Desert Mountains – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
I’m asked pretty regularly if I can create a Film Simulation Recipe that mimics a certain look—usually a particular film stock, but occasionally the aesthetic of a certain photographer. These recipes began as an attempt to recreate the look of a certain photographer. Unfortunately, despite much effort, I wasn’t successful. When I say “much effort” I mean that I went as far as having conversations with this photographer (which is pretty cool, because he’s well known and respected) to try and find out what he does to get his signature aesthetic. I tried some pretty unconventional tactics to get his look straight out of camera, but in the end I determined that it’s not possible with Fujifilm’s current JPEG options. Still, I really liked one of the recipes that I created while trying (and failing) to mimic the look, so I began using it.
Right around this same time someone asked if I could create a recipe that better mimics the Kodak Ektar 100 aesthetic from a particular photographer (as one film can produce many different looks depending on a host of factors). When I saw the images, my first thought is that it looked a lot like this new recipe, except with the color turned way up. So I turned Color up from -4 to +4, and the results were surprisingly similar to Ektar. An exact match? No, but definitely in the ballpark, and certainly close enough that if one is looking for an alternative Kodak Ektar 100 recipe, this is one to consider.
Red Bench – Tonto Natural Bridge SP, AZ – Fujifilm X100V – “KodaNeg VC”
I stated that I did something unconventional to create this recipe: I used a 1/4 Black Pro Mist diffusion filter, and I did so because it has a slight reddish-brown color cast. Normally I prefer CineBloom filters because they don’t have a color cast, but for this recipe it was necessary. If you have a 10% CineBloom you can use that instead; however, it will be slightly less warm. If Fujifilm allowed .5 adjustments to White Balance Shift, you could move a half-point towards red and achieve basically the same thing, but they don’t. I find that +7 Red is too strong when not using a Black Pro Mist, so I would definitely stick with +6, even though it is less warm. After creating the Black Pro Mist version, I set out to make an alternate version that does not use a diffusion filter, yet produces a similar look (albeit slightly less warm due to the lack of Black Pro Mist filter). So there are four Film Simulation Recipes in total here: two low-saturation options (with a without a Black Pro Mist filter), and two high-saturation options (also with and without a Black Pro Mist filter).
When Kodak introduced Portra, it initially came in two varieties: VC (“vivid color”) and NC (“neutral color”). The VC emulsion was more optimized for landscape photography and the NC emulsion was more optimized for portrait photography. These recipes aren’t intended to mimic Kodak Portra, but I decided to barrow the VC and NC abbreviations anyway—the two VC recipes are optimized for landscapes, while the two NC recipes are optimized for portraits. You can clearly see this in the two sets of images below.
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
I named these recipes “KodaNeg” because they have warm Kodak-like colors… maybe like Kodak color negative film paired with an 81A or 81B warming filter—color correction filters were fairly commonly used back in the film days, and 81A was probably the most popular among landscape photographers. Which Kodak color negative film? I didn’t model these after any specific film, so they don’t closely resemble any; however, the NC recipes are slightly Portra-like, and the VC recipes are slightly Ektar-like, but are not exact match to either.
If you have a 1/4 Black Pro Mist diffusion filter, I invite you to try the two KodaNeg recipes below that are intended for use with a diffusion filter. If you don’t have a Black Pro Mist—no worries—use the two recipes that are intended to be used without a diffusion filter. Unfortunately, because these require Clarity and Color Chrome Effect, they’re not compatible with the X-T30 and X-T3. Those with X-Trans V cameras should be able to use these recipes, but I do not have any personal experience to know for certain.
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X100V:
Dead Tree & Four Peaks – Fort McDowell, AZ – Fujifilm X100V
Red Rock – Tonto Natural Bridge SP, AZ – Fujifilm X100V
Sunlight Sky & Golden Trees – Pine, AZ – Fujifilm X100V
Barely Autumn – Pine, AZ – Fujifilm X100V
Handcrafted – Pine, AZ – Fujifilm X100V
Back of Sign – Pine, AZ – Fujifilm X100V
I is for Ice – Pine, AZ – Fujifilm X100V
Window Wash Bucket – Payson, AZ – Fujifilm X100V
KodaNeg NC (with Diffusion Filter)
X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II
Fujifilm X70 on a Bed – Pine, AZ – Fujifilm X100V – “KodaNeg NC”
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X100V:
Power Pole – Pine, AZ – Fujifilm X100V
Lamp Sky – Pine, AZ – Fujifilm X100V
Pines & Oaks – Pine, AZ – Fujifilm X100V
Water Dripping Over Cliff – Tonto Natural Bridge SP, AZ – Fujifilm X100V
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X-E4:
Saguaro & Four Peaks – Fort McDowell, AZ – Fujifilm X-E4
Pine Creek Trail – Tonto Natural BridgeSP, AZ – Fujifilm X-E4
Cactus Rock – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Red Hills – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Blooms in the Forest – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Oak Autumn – Pine, AZ – Fujifilm X-E4
Yellow Tree in the Forest – Pine, AZ – Fujifilm X-E4
Touch of Autumn – Pine, AZ – Fujifilm X-E4
Forestscape – Pine, AZ – Fujifilm X-E4
KodaNeg NC (without filter)
X-T4, X-S10, X-E4, & X-T30 II)
Desert Storm – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X-E4:
Clouds Over Trees – Pine, AZ – Fujifilm X-E4
Rural Elk – Pine, AZ – Fujifilm X-E4
Hidden Elk – Pine, AZ – Fujifilm X-E4
Electric Forest Rain – Pine, AZ – Fujifilm X-E4
Eave Drops – Pine, AZ – Fujiifilm X-E4
White Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Storm Behind Trees – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Red Berries & Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Smoke Stack – Pine, AZ – Fujifilm X-E4
Mountain Trees – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
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I just got back from a quick road trip to see the world’s largest travertine natural bridge. Located right in the center of Arizona in the Mazatzal Mountains, Tonto Natural Bridge is an under-appreciated natural wonder. While winding through the evergreen forest along Highway 87 between Payson and Pine, you’d never guess that the place was even there. An unassuming side road steeply descends into a canyon, which is where the park is located; however, even after parking it’s not obvious what you’ll find. Only after a very short hike is the natural bridge revealed. A longer hike will take you right up to it, and even through it if you want.
The actual reason for the trip was more than just a chance to experience this Arizona State Park. Even though it is now autumn, it is still hot like summer in the Phoenix desert, but the higher elevations offer a reprieve from the heat. The temperature at our cabin was 30 degrees Fahrenheit cooler than in the valley where we live. Also, we hoped to photograph some fall colors, which isn’t something commonly found in the desert.
So we (myself and my family) found ourselves among the pines in Pine, experiencing cooler temperatures, looking for autumn leaves, and visiting the largest travertine natural bridge in the world. It was great! I wish it could have lasted longer than just one weekend, but, alas, we could only stay but for a short time.
My wife, Amanda, using RitchieCam on her iPhone.
Upon returning, I realized that all six of us—myself, my wife, and my four kids—had all done some photography on this adventure. I mostly used my Fujifilm X100V, X-E4, and X70, while my wife used her X-T4. The two of us also at times used the RitchieCam camera app on our iPhones, as did each of our four kids.
As it turns out (and just as it was intended to be), RitchieCam is great for the whole family! It’s super easy—even my five-year-old had no problems figuring it out—yet robust enough that we felt comfortable using it to capture more serious photographic moments (as well as the silly ones sometimes). RitchieCam is an app for everyone, including kids, and is especially well suited for family adventures.
I thought it would be fun to share with you some of the photographs that each of us captured with RitchieCam on our trip. I used it specifically for the 65:24 XPan aspect ratio. I found it interesting to see what the rest of my family had captured with the App on this short trip to the mountains.
The Fuji X Weekly App now has Widgets! This can transform how you use the Fuji X Weekly App, turning your home screen into a Film Simulation Recipe launchpad!
If you have an iOS device, you now have this new feature—if your iPhone or iPad didn’t update automatically, be sure to manually do it now. Those with Android devices don’t fret, as Widgets are in the works for Android, too.
What are Widgets? Larger than app icons, Widgets give you quick access to information or provide a different way to interact with the app. Specifically to Fuji X Weekly, you now have six Widgets to choose from: Newest Recipes (one recipe), Newest Recipes (two recipes), Recipe of the Day, Selected Recipe, Recipe Detail, and The Big X.
For Newest Recipe Widget, you have two options: small and medium. The small Widget is a shortcut to the newest recipe, and displays the lead photo of the recipe, which, when tapped, will take you right to it in the Fuji X Weekly App. The medium Widget is a shortcut to the two newest recipes, displaying the lead photo of each, and will take you to whichever of the two recipes that you tap. These Widgets are excellent for those who don’t always visit the Fuji X Weekly Blog, yet want to know when a new recipe is released.
The Recipe of the Day Widget is for when you’re not sure which recipe to use. Each day a new Film Simulation Recipe is provided, and the exact recipe will be different for each user. Between this and the Random Recipe selector, you should be able to find a recipe to use whenever you find yourself stuck for one. This Widget could be incorporated into an interesting project, such as using a different recipe each day for 30 days, or something like that. Today, on my iPhone, Kodak Portra 400 v2 is my Recipe of the Day.
Next is Selected Recipe, which is my personal favorite Widget. You can have quick access to any of the over 250 recipes right on your home screen! In order to use this, you have to tap-and-hold on the Widget, then select Edit Widget, then choose the recipe you want. Tap the Widget to open the recipe in the Fuji X Weekly App.
Recipe Detail displays the parameters of a recipe in a medium-sized Widget. To set it up, you have to tap-and-hold on the Widget, then select Edit Widget, then choose the recipe you want to display. Tap the Widget to see the recipe in the App.
Finally, there’s the Big X, which is just a four-times-size Fuji X Weekly App icon, should you find the regular-sized one to be too small.
The wonderful thing about these Widgets is that you can have as many as you’d like. If you want just one, or seven, or 20—there’s no limit! My iPhone has literally been taken over by Fuji X Weekly Widgets, and it’s transformed how I interact with the App, turning my home screen into a Film Simulation Recipe launchpad.
How do you add Widgets to your iPhone? Tap-and-hold anywhere on your home screen (except directly over an app icon), which will make all of your icons wiggle. Tap the plus in the top-left corner, which opens the Widget menu. You can either scroll down to find the Fuji X Weekly App in the app list and tap on it, or simply search for Fuji X Weekly in the search bar at the top. Find the Fuji X Weekly App Widget that you want to add to your home screen, and tap Add Widget. You can move the Widget to wherever you want on your home screen. I have several pages that are nothing but Fuji X Weekly Widgets! You can also add Fuji X Weekly Widgets to the Today View screen.
Don’t have the Fuji X Weekly App? Download it for free today (Apple here, Android here)! Consider becoming a Patron to unlock the best App experience and to help support this website.
Sunlit Table Corner – Avondale, AZ – Fujifilm X100V – “Kodak Royal Gold 400”
You might have a favorite Film Simulation Recipe, but when the light changes you’re disappointed with the results. This is a pretty common problem, and not unique to Fujifilm or even a new issue to photography. This happens because many of my recipes are modeled after or are inspired by analog film, and this is a long-time film problem.
With a few rare exceptions, film is either daylight balanced (usually around 5500K) or tungsten balanced (typically 3200K)—one for use in daylight, and the other for use in artificial light. If you encountered light outside of the temperature that the film was intended to be shot in, you would either accept the results or use a color correction filter (described in this article) to fix the imbalance. Many Film Simulation Recipes have this same issue: they’re intended to be used in a specific light condition, and outside of that they might not produce the best results.
When shooting film, your best option is to use the correct film for the situation; with recipes, I think this is also the best solution. Sometimes this isn’t practical, and so you could use color correction filters (both with film and film simulations), although carrying around a bag full of filters isn’t an especially convenient option. With digital, you have an added solution: adjust the white balance, which is essentially the digital equivalent of using color correction filters. For the sake of this article, we’ll focus on the first option, which is selecting a Film Simulation Recipe that does well in the light situation that you find yourself shooting in.
With over 250 Film Simulation Recipes on this website (and the Fuji X Weekly App), it can be hard to know which ones perform best in which light. In this article (and hopefully additional articles in the future), we’re going to compare how 10 recipes perform in various light conditions. It should be enlightening, and hopefully you’ll have a better understanding of when to use which recipes.
Same picture, different recipes
Before we jump into it, I think it’s important to briefly discuss Kelvin. The measurement of the temperature (warm or cold) of light is called Kelvin, and the scale is pretty large, ranging from 0 to 20000—the lower the number, the warmer the light, and the higher the number, the cooler the light. The typical temperature of a candle flame is 1900K. Artificial light (incandescent lights, halogen bulbs, fluorescent tubes, etc.) is usually between 2800K and 4300K, depending on the specific bulbs being used. “Golden Hour” light (sunrise and sunset) is around 3500K. Morning and afternoon sunlight (outside of golden hour) is typically between 4500K and 5000K, while midday sunlight is typically 5600K. Overcast sky often ranges from 6000K to 9000K, and shade can be 8000K to 10000K. Your camera’s white balance is designed to “balance” these temperatures so that white is white—a warm light will need a cool white balance, and a cool light will need a warm white balance.
With that prerequisite understanding, let’s take a look at how 10 different Film Simulation Recipes handle various Kelvin temperature light conditions.
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Berry Behind the Baseball Diamond – Farmington, UT – Fujifilm X100V – “Fujichrome Provia 100F”
This Film Simulation Recipe is called “Fujichrome Provia 100F” after the film that it is intended to mimic. Fujifilm introduced Provia 100, a color reversal film, in 1994, and replaced it with the much improved Provia 100F in 2001. I’ve only shot a couple of rolls of Provia 100F. I remember that it had a cool color cast (especially when compared to Kodak films), it had a fair amount of contrast, moderate saturation, and tended to render blues strongly. This recipe has been in the works for awhile, with a lot of failed attempts. I think it does pretty well at reproducing the aesthetic of the film, but there are definitely a few compromises—more of the “memory color” that Fujifilm talks about than perhaps a 100% accurate rendition. Still, I believe that it turned out pretty well overall.
You might be surprised that this recipe doesn’t use the Provia film simulation as its base, but instead uses Classic Chrome. The Provia film simulation doesn’t actually resemble very well the film that it was named after—Fujifilm used it more as a marketing name on the X series than anything else. Velvia was the Fuji slide film that I most often shot with, but Provia was probably their most popular because it wasn’t nearly as wild as Velvia, and produced more true-to-life (yet still fairly vibrant) colors.
Actual Fujicolor Provia 100F 35mm film. Chicago, 2005.
This Fujicolor Provia 100F Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App since January, but it has been replaced by a new Early-Access Recipe, so now it’s available to everyone. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should be fully compatible with X-Trans V cameras, but I’ve yet to be able to test it to know if it renders the same or not. Those with newer GFX cameras can use this recipe, too, but it will render slightly different.
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: +4 Noise Reduction: -4 Sharpening: -1 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -2 Red & +5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs captured using this “Fujichrome Provia 100F” film simulation recipe on my Fujifilm X100V and Fujifilm X-E4 cameras:
Mushos for 5$ – Buckeye, AZ – Fujifilm X-E4
Truck Dodging the Sunlight – Buckeye, AZ – Fujifilm X-E4
Sunlight Pouring on Leaves in Early Autumn – Buckeye, AZ – Fujifilm X-E4
Wasatch Front – Farmington, UT – Fujifilm X100V
Blue Sky Reeds – Farmington, UT – Fujifilm X100V
Branch Berries – Farmington, UT – Fujifilm X100V
Baseball Sky – Farmington, UT – Fujifilm X100V
Windsock – Farmington, UT – Fujifilm X100V
Field 3 – Farmington, UT – Fujifilm X100V
Skateboard & Runner – Farmington, UT – Fujifilm X100V
Creek Under Branches – Farmington, UT – Fujifilm X100V
Trail Through the Trees – Farmington, UT – Fujifilm X100V
Fence Along Path – Farmington, UT – Fujifilm X100V
Josh at the Court – Farmington, UT – Fujifilm X100V
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!
