7 Must-Try Recipes for the Fujifilm X-T3 & X-T30

Vintage Sunset – Ogden, UT – Fujifilm X-T30 – Kodacolor

Part 1: 5th-Gen, Part 2: 4th-Gen

This is Part 3 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets.

The list below, which are the seven Recipes for Part 3, is specifically for the Fujifilm X-T3 and X-T30 cameras, the first two X-Trans IV cameras, which are in a category of their own. If you have one of those two cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. Something to note is that with the X-T3 & X-T30, you cannot save a White Balance Shift within C1-C7; however, the camera will remember one WB Shift per WB type. With that in mind, each of these use a different WB type so that you don’t have to remember to adjust the WB Shift when going from one Custom Setting preset to another. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodak Portra 400 v2

Window to the City – Salt Lake City, UT – Fujifilm X-T30 – Kodak Portra 400 v2

Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too. This Recipe uses the Daylight White Balance.

Classic Kodak

Split Saguaro – Buckeye, AZ – Fujifilm X-T30 – Classic Kodak

While Classic Kodak can be used anytime the sun is out, it is a great options for middle-of-the-day situations. This Recipe uses the Shade White Balance.

Kodak Ultramax

Street Lamp Sunset – Farmington, UT – Fujifilm X-T30 – Kodak Ultramax

I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. One of my personal favorites is Kodak Ultramax, which uses Auto White Balance.

Kodak Vision3 250D

Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 – Kodak Vision3 250D

Although each of the first four Recipes have a Kodak-negative-like look, Kodak Vision3 250D produces a notably divergent aesthetic than the three above. This Recipe uses the Fluorescent 1 White Balance.

Fujichrome Sensia 100

Sunrise Lamp – Buckeye, AZ – Fujifilm X-T30 – Fujichrome Sensia 100

Fujichrome Sensia 100 offers a notably different look than the options above. It’s one of my favorite Recipes for sunrise and sunset colors when the sky is pink and purple, but is good for a lot of other situations, too. It uses the Fluorescent 2 White Balance.

Jeff Davenport Night

Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – Jeff Davenport Night

If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use on your X-T3 and X-T30 cameras. Period. It uses a Kelvin White Balance.

Analog Monochrome

Minolta SRT303b – Farmington, UT – Fujifilm X-H1 – Analog Monochrome

Filling out the last slot was tricky because most of the White Balance types have already been used. There are basically three options: choose an X-Trans III Recipe—which are fully compatible with the X-T3 and X-T30—that uses a different WB type (that’s what I’ve done here, as Analog Monochrome utilizes Incandescent); use an Auto WB Recipe—perhaps Ilford Delta Push Process—and disregard the WB Shift, and accept the results for what they are (which will be nearly the same, but not exactly the same); or use a Daylight WB Recipe—perhaps Kodak Tri-X 400—and substitute Daylight with Underwater, which is similar enough that you’re unlikely to notice the difference.

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7 comments

  1. Chris Webb · 1 Day Ago

    I like Analog Monochrome. It reminds me a bit of pushed Ilford HP5.

  2. T. P. Hazard · 23 Hours Ago

    Not being able to save a white balance shift was always problematic when I had a working X-T30. If you use McCurry Kodachrome instead of Classic Kodak (I tended to alternate between those two), you free up Shade, as Jeff Davenport Night has the same white balance shift (just a different Kelvin). Still does not get you to any additional B&W, but it is a start in playing games with the C1-C7 slots. Note, your picture for Kodak Ultramax says The Rockwell for film simulation.

    • Ritchie Roesch · 4 Hours Ago

      Thank you for the tip, and also for pointing out the copy-and-paste mistake. Yikes! It’s been fixed. Much appreciated!

  3. Thomas H · 13 Hours Ago

    I like this series! Minor typo: at the top of this article in the red-orange link to the last two instalments you have numbered both the 5th gen. and 4th gen. as Part 1. Presumably 4th gen. should be Part 2.
    PS. Don’t let those offensive ‘raw or you’re dumb’ posts spoil your day; don’t give them that satisfaction 🙂

    • Ritchie Roesch · 4 Hours Ago

      Thank you! Typo fixed. I reread the entire article three times before posting… and still had two significant typo mistakes. Yikes! I need to lock-in a little better before posting stuff. 🤣

  4. Thomas H · 1 Hour Ago

    Not to worry; easily missed unlike in the old days when you could trace thru a physical copy and annotate with a pen or pencil!

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