A couple of weeks ago Fujifilm announced the GFX100RF Fragment Edition, a limited-edition version of the GFX100RF, which will only be available in Japan. The camera was modified by fashion designer, producer, and artist Hiroshi Fujiwara, the founder of Fragment. Interestingly, it comes preloaded with a Film Simulation Recipe by Hiroshi called FRGMT B&W, which is in the Film Simulation menu in lieu of the Monochrome Film Simulation. This is the first official Fujifilm Recipe, and the first (as far as I’m aware) by Hiroshi Fujiwara. Fujifilm published the details of this Recipe within the GFX100RF Fragment Edition announcement, which means that anyone can use it, and not just those in Japan who purchase the limited-edition camera.
When I saw this, I knew that some of you would want to try the FRGMT B&W Recipe, so I shared it. I wasn’t going to make it an “official” Fuji X Weekly Recipe or include it in the Fuji X Weekly App unless I had permission to do so from those involved. I reached out to Fujifilm and asked for permission, but I knew it was a long shot. My request was forwarded up the chain all the way to Japan. I didn’t think the odds were very good, but, perhaps as a Christmas miracle, the answer came back pretty quickly. To my shock, yes, I do have permission, both from Fujifilm and from Fragment, to publish this Recipe. Wow!
It’s such an honor to get this permission, not only because it’s the first Recipe included in any of Fujifilm’s cameras, but also because it was created by Hiroshi Fujiwara. For those unaware, that’s a really big deal. Hiroshi has collaborated with Eric Clapton twice. He appeared on the big screen in Lost in Translation. If someone like Pharrell Williams created a Film Simulation Recipe and then gave me permission to include it on this website and in the Fuji X Weekly App, that would be fairly equivalent to this (obviously, there is only one Hiroshi Fujiwara).
The FRGMT B&W Recipe produces a contrasty and grainy black-and-white aesthetic. It reminds me of Ilford Delta 400 pushed one stop. I didn’t study or research that; it’s more of a “memory color” (as Fujifilm puts it) of using Ilford Delta 400 and push-processing it 25 years ago or so. I don’t believe this Recipe was intended to resemble any specific film or process, but if you were to ask me what film this Recipe most closely mimics, it’s Ilford Delta 400 pushed one stop. Again, that’s not based on research, but just what I remember from way back in my film days.
With the exception of the X-T3 and X-T30, this FRGMT B&W Recipe is compatible with all of the fourth and fifth generation models: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the GFX100S, GFX100 II, GFX100S II, and GFX100RF. Because this Recipe uses Clarity set to something other than 0, there is a short storing pause after capturing a photo, with a similar delay as advancing to the next frame on a film camera. I want to give a big shoutout to both Fujifilm and Fragment for allowing me to publish this, and also to Hiroshi Fujiwara for creating it. Thank you!
Film Simulation: Acros (including +Ye, +R, or +G)
Monochromatic Color (Toning): WC 0 & MG 0 (Off)
Dynamic Range: DR-Auto
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, 0 Red & 0 Blue
Highlight: +4
Shadow: +2
Sharpness: -4
High ISO NR: -4
Clarity: +5
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically) — Hiroshi says +1/3
Example photographs, all camera-made JPEGs captured using this FRGMT B&W Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100S II:
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Real monochrome. Pure ’60s. Love it. Wallow in it.
Proper slap around the face with a wet haddock.
Blacks to swim in, clean highlights and crisp drawing.
With our baby sensors, for me, a tad less grain and sharpness -3.
Thank you so much for posting.
You are very welcome 😀
Whats the differnce between the kodal trix400 push process recipe amd this??
There are some similarities (both are contrasty), but also notable differences.
Some differences:
– Kodak Tri-X Push Process is for X-Trans III + X-T3/X-T30; FRGMT B&W is for cameras that are newer than that.
– Kodak Tri-X Push Process has Grain set to Off, utilizing the built-in Acros Grain combined with high-ISO to achieve a grainy look; FRGMT B&W uses Strong/Large Grain and can be used at lower ISOs.
– Kodak Tri-X Push Process has slightly lower highlights and slightly deeper shadows than FRGMT B&W; however, they both have a similar amount of overall contrast.
– FRGMT B&W has an unusual combination of minimum Sharpness and maximum Clarity, which produces a soft-yet-punchy result.
Congratulations, Ritchie. Very cool that you’re allowed to share this – and even cooler that it’s the first official Fujifilm recipe and made by Hiroshi Fujiwara.
The FRGMT B&W look is really nice, I love that crisp black-and-white feel with a bit of texture in it. It has a classic vibe without trying too hard.
Thanks for putting it out there. I’m looking forward to trying it myself.
Definitely give it a try when you have a chance. It’s pretty good. I think sometimes it can be a bit too contrasty, but most of the time it seems to work really well. It’s truly an honor to be able to share it with everyone.
Thank you for sharing! It is special!
You are welcome! I’m honored to have the opportunity to share it.
Hey Richie, have you ever spoken about metering modes relating to your recommended exposure compensation? I shoot a lot of portrailts so mostly use spot metering linked to eye autofocus, when available. But I’ve just realised the recipe results would be much different with the other metering modes. Does this matter much in the context of recipes?
I use Multi probably 90% or more of the time, and Spot only sometimes, maybe 10% of the time tops. I don’t use Average or Center.
How does that affect “typical exposure compensation”? I would consider the suggested exposure adjustment as a general guide to help get you in the right direction and not a rule—each frame should be judged individually. Sometimes a test shot may be necessary to figure out what will work best for the exact light situation.
I hope this is somehow helpful.
Will this work to some extent on an X100F? Obviously clarity isn’t an option especially since I daily drive a walkingway retro soft lens filter on my camera 24/7 for that warm soft look. I mixed it with your “analogue monochrome” x-trans III recipe and it looks absolutely phenomenal.
With Clarity set to +5, it’s an important part of the look. But feel free to try it, ignoring the settings that aren’t available on the X100F. You might like how it looks, which is what’s important.
Could you not just adjust clarity in post? I am aware some folks don’t want to do any post and just use JPGs straight out of camera. But I don’t use any clarity adjustment in camera because of the delay. I just do it in post to taste (even on JPGs).
Adjusting Clarity in post with software will not produce the same results as doing it in-camera; however, it might be similar enough for your liking.
When Clarity first came out, Fujifilm’s recommendation was to shoot RAW+JPEG with Clarity set to 0, and reprocess the RAW file in-camera later, adding Clarity at that point. There’s not a right or wrong way, only whatever works best for you.
As for the Clarity storing pause, I personally use it to slow myself down, which is helpful to being more purposeful (for me). It’s about the same amount of time as advancing to the next frame on a film camera.
Wow! Just W O W!
I appreciate your kindness 😀
Have you seen Liza Pukh @elizabeth_ph photos. She was featured in Fujilove Magazine. Can you make a recipe that’s similar to her photos please!!! 🙏 Thank you for your hard work 💕
It’s definitely a warm and light look, with a Classic Chrome vibe. Vibrant Arizona could be a match. Recipes like Kodak Portra 160 v2 and Kodak Portra 800 v3 could potentially be close, too. I would start with those.
Wow Ritchie !!!
That’s amazing 🤩
I’m super happy that Fujifilm and Hiroshi gave you permission. And even more happy for you and the Community.
As we exchanged on a previous post, this is another step in the right direction for Fujifilm.
This is super great and fill super good.
A very nice Christmas present.
I like very much your comparison to the Ilford Delta 400 pushed. In my film days, I used mainly in B&W Ilford film.
I liked very the Ilford Delta 400 and 3200.
When seeing for the first time what the FRGMT B&W recipe could produced, I had a feeling of something familiar but could not spotted clearly.
As you nailed it, I fully agree.
I think with my own Ilford Delta 3200 recipe, this one along the Kodak Tri-X and T-Max will became the most liked and most used for me.
I’ll be glad to test it also for night photography.
It’s really surprising (and a real honor) to receive permission. Neither Fujifilm nor Fragment had any obligations or expectations to do so, and it says a lot about them that they are so willing to share with the community when they certainly didn’t have to. A very nice Christmas present indeed!