Fujifilm X-Trans IV Film Simulation Recipe: Super HG Astia (Part 3 of 3)

Cacti Wall – Scottsdale, AZ – Fujifilm X-E4 – “Super HG Astia”

When Thomas Schwab shared with me his Fujicolor Super HG film simulation recipe, he also sent me an alternative recipe that uses Astia instead of Classic Negative. I gave it a try and thought that it worked quite well for landscape photography, particularly in sunny conditions. It can produce interesting results indoors or on cloudy days, but I think it really shines in sunshine. It’s called “Super HG Astia” because it is a modification of the Super HG recipe, but with Astia.

This “Super HG Astia” recipe wasn’t intended to mimic any particular film; however, it does have some resemblance to Fujichrome Provia 100F. For whatever reason, Fujifilm programmed the Provia film simulation to look more like Astia film, and the Astia film simulation to look more like Provia film, although neither are an exact match. This recipe brings the Astia film simulation closer to resembling Provia film (albeit unintentionally). It’s definitely not a perfect facsimile, but it does nonetheless produce a very nice Fuji color-reversal film aesthetic.

Green Pines – McCall, ID – Fujifilm X-E4 – “Super HG Astia”

This recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, and X-E4 cameras. I accidentally used Large grain for some of my pictures, and the results were fine, but Small grain is better in my opinion—feel free to use whichever Grain size you’d prefer. For the X-T3 and X-T30, you can use this recipe by ignoring Grain size, Clarity and Color Chrome FX Blue—the results will be slightly different, but pretty close. For X-Trans III cameras, you’ll have to additionally ignore Color Chrome Effect; again, the results will be a little different but still very similar. If you’ve got an X-Trans III or newer camera, I invite you to try this recipe. I want to give a special “Thank you!” to Thomas for creating and sharing this recipe!

Astia
Dynamic Range: DR400
Highlight: +2
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: -1
Clarity: +2
Grain Effect: Weak, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Fluorescent 2, -3 Red & -1 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Super HG Astia film simulation recipe on my Fujifilm X-E4:

Blue Dumpsters – Phoenix, AZ – Fujifilm X-E4
This Sucker’s Electrical – Phoenix, AZ – Fujifilm X-E4
Gas Pipe – Phoenix, AZ – Fujifilm X-E4
Ms Pac-Man – Phoenix, AZ – Fujifilm X-E4
Pen – Phoenix, AZ – Fujifilm X-E4
Missing Boxer – Phoenix, AZ – Fujifilm X-E4
Watching A Two-Screen Movie – Scottsdale, AZ – Fujifilm X-E4
Lake Harbor – McCall, ID – Fujifilm X-E4
Lake Payette – McCall, ID – Fujifilm X-E4
Lake Log – McCall, ID – Fujifilm X-E4

Part 1 – Fujicolor Super HG Film Simulation Recipe
Part 2 -Fujicolor Super HG v2 Film Simulation Recipe

Find these film simulation recipes and many more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Fujifilm X-Trans IV Film Simulation Recipe: Fujicolor Super HG v2 (Part 2 of 3)

Lilac Sun – McCall, ID – Fujifilm X-E4 – “Fujicolor Super HG v2”

When Thomas Schwab sent me his settings that would later be called Fujicolor Super HG, he asked me if there were any changes that I would make. I tried his recipe, and then created a couple of alternate versions. I concluded that I liked his recipe as-is with no changes; however, I thought that one variation I created was interesting, so I shot with it, too, and turned it into its own recipe. I call it Fujicolor Super HG v2. While it’s a collaboration between Thomas and I, he contributed the most to it.

Fujifilm introduced the Super HG line in 1986, with versions in ISOs between 100 and 1600. It saw several iterations and improvements before being replaced by the Superia line is 1998. Thomas Schwab’s Fujicolor Super HG recipe and this Fujicolor Super HG v2 recipe are more similar to Super HG 100 or Super HG 200 film. One film can have many different looks depending on how it was shot, developed, printed or scanned. The differences between the Fujicolor Super HG and Fujicolor Super HG v2 recipes might be like the differences produced by using different film scanners.

Joshua Wall – Scottsdale, AZ – Fujifilm X-E4 – “Fujicolor Super HG v2”

While both Super HG recipes look great, I prefer the Fujicolor Super HG recipe for natural light photography, and I prefer the Fujicolor Super HG v2 recipe for artificial light photography. I invite you to try both, and see which version you like better. You might find that you prefer one in a certain situation and the other in a different situation. Because this recipe uses the new Auto White Priority white balance, it’s only compatible (as of this writing) with the Fujifilm X-T4, X-S10 and X-E4 cameras (and maybe the GFX100S?). If you have the X-Pro3 or X100V, you can use Auto white balance instead, and in natural light you’ll get identical results, although in artificial light it won’t look quite the same.

Classic Negative
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: 0
Clarity: +2
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Strong
White Balance: Auto White Priority, -3 Red & -1 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor Super HG v2 film simulation recipe on my Fujifilm X-E4:

Crocodile – Scottsdale, AZ – Fujifilm X-E4
Library Lamp – Scottsdale, AZ – Fujifilm X-E4
Books on a Table – Scottsdale, AZ – Fujifilm X-E4
Wood Workshop – Scottsdale, AZ – Fujifilm X-E4
33 RPM – Scottsdale, AZ – Fujifilm X-E4
Tired Lake Water – McCall, ID – Fujifilm X-E4
Children Playing With Sand – McCall, ID – Fujifilm X-E4
Pink Blooms – Scottsdale, AZ – Fujifilm X-E4
American Renovation – McCall, ID – Fujifilm X-E4
Sisters – McCall, ID – Fujifilm X-E4

Part 1 – Fujicolor Super HG Film Simulation Recipe
Part 3 – Super HG Astia Film Simulation Recipe

Find these film simulation recipes and many more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Fujifilm X-Trans IV Film Simulation Recipe: Fujicolor Super HG (Part 1 of 3)

Suburban Home – Scottsdale, AZ – Fujifilm X-E4 – “Fujicolor Super HG”

This Fujicolor Super HG recipe was created by Thomas Schwab, who has made several film simulation recipes published on this website, including Fujicolor NPS 160 PulledSuperia Xtra 400Urban Vintage ChromeKodachrome IIKodak Portra 800 v2Classic MonochromeB&W Superia, and Monochrome Kodachrome. Thomas has also collaborated on other recipes, playing an important role in getting them right, including Kodak Portra 800Kodak Ektar 100Kodachrome 1Kodak Portra 400, and Kodak T-Max 400. Whenever Thomas sends me a new recipe idea, I’m always eager to try it out!

Thomas was photographing using the Provia 400 film simulation recipe, which requires a Fluorescent 2 (also called “Warm White Fluorescent” or “Neon 2”) White Balance. He wanted to see how that not-often-used White Balance would look with some other film simulations, and, after several adjustments, came up with this recipe. He shared it with me, and I shot with it and really liked the results! We wondered if it closely resembled any particular film—it seemed to be in the general ballpark of several Fujifilm emulsions without matching any. After digging a little deeper, and after a chance encounter with a box of prints from 1992, it was determined that Fujicolor Super HG, which is a predecessor to the Superia line, was a surprisingly close match. This recipe wasn’t intended to resemble Fujicolor Super HG film, but fortunately it does!

Smokey Sunrise – Farmington, UT – Fujifilm X-E4 – “Fujicolor Super HG”

I thoroughly enjoyed shooting with this recipe, as it produces some great analogue-like results! Because it requires Classic Negative, Color Chrome FX Blue, and Clarity, it is only compatible with (as of this writing) the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4 cameras. I want to give a big “Thank you!” to Thomas Schwab for creating this great recipe and allowing me to share it with you—thanks, Thomas!

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: 0
Clarity: -3
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Strong
White Balance: Fluorescent 2, -3 Red & -1 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor Super HG film simulation recipe on my Fujifilm X-E4:

Hole in the Wall – Scottsdale, AZ – Fujifilm X-E4
Locked Bike – Scottsdale, AZ – Fujifilm X-E4
Free College – Scottsdale, AZ – Fujifilm X-E4
College Hunks – Scottsdale, AZ – Fujifilm X-E4
Arizona Neighborhood – Scottsdale, AZ – Fujifilm X-E4
Hidden Home – Scottsdale, AZ – Fujifilm X-E4
Window Desk – Scottsdale, AZ – Fujifilm X-E4
Suburban Patriotism – Farmington, UT – Fujifilm X-E4
Ceiling Lights – Scottsdale, AZ – Fujifilm X-E4
Carousel Top – Scottsdale, AZ – Fujifilm X-E4
Super Shock Control – Scottsdale, AZ – Fujifilm X-E4
Giant Metal Gorilla – Scottsdale, AZ – Fujifilm X-E4

Part 2 – Fujicolor Super HG v2
Part 3 – Super HG Astia

Find these film simulation recipes and many more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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3 Ways To Use Film Simulation Recipes

Suburban Home – Scottsdale, AZ – Fujifilm X-E4
Free College – Scottsdale, AZ – Fujifilm X-E4
Hole in the Wall – Scottsdale, AZ – Fujifilm X-E4
33 RPM – Scottsdale, AZ – Fujifilm X-E4
Joshua Wall – Scottsdale, AZ – Fujifilm X-E4

There’s no right or wrong way to do photography. One technique or method might work for one person but not another. Whatever works for you is what you should do. With that in mind, I can think of three ways that you can approach using film simulation recipes on your Fujifilm camera.

The SOOC live video series that Nathalie Boucry and I are doing focuses on one of those approaches: straight-out-of-camera JPEGs. Shoot JPEG (or RAW+JPEG) with your recipe of choice, and use the unedited or lightly edited pictures (crops and very minor adjustments) that come out of the camera (which is one-step photography). This is probably the most common way to use film simulation recipes, and this is the method that works for me, as it saves me a lot of time (which allows me to be more productive), and I find it to be more fun. Shooting RAW and using X RAW Studio is a similar approach, although it does add a step to the process.

The photographs at the top of this article, which I captured over the last two days, are straight-out-of-camera JPEGs (aside from some minor cropping on a couple). The recipes that I used for those pictures (the top three are one, the bottom two are another) are future recipes that will be published on this website (and the app) soon. The entirety of my post-processing workflow was simply this: 1) transfer the pictures from the camera to my phone, 2) crop the pictures that needed to be cropped, 3) upload them to my online storage. Done.

Another option is to shoot RAW with a recipe and post-process the pictures using a software like Lightroom, Capture One, RAW Power, Exposure, etc., etc.—the software will apply its interpretation of many (but not all) of the JPEG settings to the RAW file (obviously each program is a little different). This gives you a head start with your editing, as you’re already 70% “there” when you start, and you just need to finish it. This is a great way to speed up your workflow without losing the flexibility of RAW.

Another approach is a mix of the first two: shoot JPEG (or RAW+JPEG) and edit the JPEGs using a software like Lightroom, Capture One, VSCO, Exposure, etc. This might sound like an odd approach at first (why not just shoot RAW if you’re going to edit?); however, if you like the way the straight-out-of-camera JPEGs look, and feel only minor refinements are required to achieve the exact aesthetic you desire, this is a good option. The JPEG is 90% “there” and just needs small adjustments to finish. This is my wife, Amanda’s, preferred approach. This is also what Vuhlandes describes in the video below.

Whether you rely strictly on straight-out-of-camera JPEGs, or you edit your JPEGs, or you post-process your RAW files, film simulation recipes can be used on your Fujifilm camera to help you get the look that you want. There’s not one path that is right for everyone. What’s important is that you find the method that works for you. Hopefully, no matter your preferred process, there’s something on this website that you have found helpful in some way to your photography. If so, let me know in the comments! Also, tell me how you use film simulation recipes—which of the three method works best for you. Or, if you have a different approach that I didn’t mention, I’d love to hear it.

Comparing Classic Negative Recipes

Classic Negative is one of my favorite film simulations, if not my favorite. There’s something special and unique about it that separates it from the other film simulations. It produces a very Superia film-like look, but can be made to have all sorts of different aesthetics. I thought it would be fun to compare the different film simulation recipes that use Classic Negative. I did this experiment a couple of months ago (I meant to post it back then), so some of the most recent Classic Negative recipes didn’t make this list, including Fujicolor C200, Fujicolor Pro 400H, Fujicolor NPS 160 Pulled, and Positive Film. And more Classic Negative recipes are in the works right now!

My hope is that one of the pictures below will inspire you to try a recipe that you haven’t yet tried. Maybe one of them stands out to you as more interesting than the rest. If so, let me know! Also, be sure to let me know in the comments which Classic Negative recipe is your favorite!

These pictures were captured in Yosemite National Park with a Fujifilm X-E4 and Fujinon 18mm f/2 lens.

Kodachrome II Recipe + Submit Your Pictures!

In Season 01 Episode 01 of the new live collaborative video series SOOC with Fuji X Weekly and Tame Your Fujifilm, Fujifilm X Photography Nathalie Boucry and I, Ritchie Roesch, discussed the Kodachrome II film simulation recipe. If you missed it, be sure to check it out! I had a fun time, and I hope that you found it helpful, interesting, or entertaining—or all three! I appreciate all those who tuned in and participated.

The Kodachrome II recipe is intended to mimic the aesthetic of the second era of Kodachrome color reversal film. It’s actually closer to Kodachrome-X than Kodachrome-II film, but in the ballpark of both. Kodak produced those versions of Kodachrome from 1961 to 1974, when they replaced them with Kodachrome 25 and Kodachrome 64. Ernst HaasLuigi Ghirri, and William Eggleston are three well-known photographers who used this era of Kodachrome, at least for some of their images.

One of my all-time favorite recipes that I’ve created is Kodachrome II. I made it three years ago, and used it extensively for awhile, and still use it sometimes now. It was created for Fujifilm X-Trans III cameras, although it is fully compatible with the X-T3 and X-T30 (set Color Chrome Effect to Off). Newer X-Trans IV cameras can also use it (set Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0), simply select Grain size Small; however, there are two new Kodachrome II options (aside from this one) for those cameras. There’s also a Kodachrome II recipe for X-Trans II cameras. You have a lot of options! The Kodachrome II recipe discussed in the video is the original one for X-Trans III.

This new video series is interactive. One way to participate in Season 01 Episode 02 of SOOC (on August 12th) is to submit a picture that you’ve captured using the Kodachrome II film simulation recipe (click here). We’ll show some of your pictures live in the next video! By submitting a photo (by the way, this isn’t a contest), you’ll have a chance to win a one-year Patron subscription for the Fuji X Weekly App. I look forward to seeing your images!

Below are some recent pictures that I made using the Kodachrome II film simulation recipe:

Thank You For Joining Me On SOOC Live!

I want to give a big “Thank You” to all those who tuned into SOOC, a new live video series with myself and Fujifilm X Photography Nathalie Boucry. I appreciate your participation and kindness! I’d love to know what you thought of it.

If you missed the show, you can watch it above. It takes a couple of minutes for it to start. It’s an hour-and-a-half long, and I hope there’s something interesting or helpful in there that you’ll appreciate. Tune in next month, August 12, for the next episode!

Fuji X Weekly Live Tomorrow!

As a reminder, the live interactive collaborative event with Fuji X Weekly and Tame Your Fujifilm is tomorrow! It’s at 11 am Mountain Time, which is 7 pm South African Time. Hopefully, wherever you are, you can calculate when the broadcast is in your time zone, and tune in. I hope you’ll join me, Ritchie Roesch, and Fujifilm X Photography Nathalie Boucry, as we discuss Fujifilm camera settings and the Kodachrome II film simulation recipe, among other things. It’ll be a great time—also educational—so set a timer, and I look forward to hearing from you tomorrow!

New Fujifilm X-Trans IV Patron Early-Access Film Simulation Recipe: Silver Summer

Wrong Way Shadow – Farmington, UT – Fujifilm X-E4 – “Silver Summer”

The Fuji X Weekly app is free, yet becoming a Fuji X Weekly Patron unlocks the best app experience! One benefit of being a Patron is you get early access to some new film simulation recipes. These early-access recipes will eventually become available free to everyone in time, including this new one. In fact, many early-access recipes have already been publicly published on this blog and the app, so now everyone can use them. Patrons help support Fuji X Weekly and, really, without them there would be no app. So I want to give a special “thank you” to all of the Patrons!

This new Patron early-access recipe is called “Silver Summer” and is compatible with the Fujifilm X-T4, X-S10, and X-E4 X-Trans IV cameras. It’s not modeled after any specific film, but it definitely has an analog aesthetic. It does have some unintentional similarities to Lomography Cine 200, but it’s definitely not an exact match. I really like how this one looks, and I think some of you will really appreciate it, too!

If you are a Fuji X Weekly Patron, it’s available to you right now on the app!

Example photographs, all camera-made JPEGs captured using this “Silver Summer” film simulation recipe:

Bee on a Thistle – Farmington, UT – Fujifilm X-E4
Lily – Sundance, UT – Fujifilm X-E4
Tree Branch and Creek – Sundance, UT – Fujifilm X-E4
Mountain Sky – Sundance, UT – Fujifilm X-E4
Zigzag Sky – Farmington, UT – Fujifilm X-E4
Concessions – Farmington, UT – Fujifilm X-E4
Summer Slide – Farmington, UT – Fujifilm X-E4
Wood Coaster – Farmington, UT – Fujifilm X-E4
Don’t Stand – Farmington, UT – Fujifilm X-E4
Summer Swing – Farmington, UT – Fujifilm X-E4
Chains – Farmington, UT – Fujifilm X-E4

Fujifilm X-Trans IV Film Simulation Recipe: Kodak Portra 400 Warm

Old Trolley Building – Salt Lake City, UT – Fujifilm X100V – “Kodak Portra 400 Warm”

This Kodak Portra 400 Warm recipe came about after the Kyle McDougall Portra-Style comparison article. These settings are an attempt to get closer to Kyle’s preset aesthetic. Some film simulation recipes are good for everyday use, while some are good only in the right situations. This is one falls into the latter category, I think. This recipe isn’t for everyone or every situation, but for some people in the right situations, this recipe will be greatly loved! I think it looks best in sunny daylight, but can produce interesting results occasionally in other lighting situations, too. Thank you to Ryan for helping out with this!

One film can have many different looks depending on how it’s shot, developed, and scanned or printed. This Kodak Portra 400 Warm film simulation recipe is an alternative aesthetic. Portra 400 was introduced by Kodak in 1998, and was redesigned in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made.

Evening Chair – Farmington, UT – Fujifilm X100V – “Kodak Portra 400 Warm”

If you like my other Portra recipes, you might like this one, too. It uses Clarity, which slows down the camera considerably—I hope that Fujifilm speeds this up with a firmware update at some point. This recipe is only compatible with the latest Fujifilm X-Trans IV cameras: the X-Pro3, X100V, X-T4, X-S10, and X-E4. This was a Patron early-access recipe on the Fuji X Weekly App, so if you are a Patron you’ve had access to this Kodak Portra 400 Warm recipe for awhile—there’s now a new early-access recipe in its place, so be sure to check that out!

Classic Chrome
Dynamic Range: DR400
Highlight: -1
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpening: -2
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 5500K, 0 Red & -7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Portra 400 Warm” film simulation recipe:

Dumpster, Truck – Layton, UT – Fujifilm X100V
Beer & Wings – Salt Lake City, UT – Fujifilm X100V
Bright Yellow House – Farmington, UT – Fujifilm X100V
Western Structure – Farmington, UT – Fujifilm X-E4
Turn of the Century – Farmington, UT – Fujifilm X-E4
Train Bridge – Farmington, UT – Fujifilm X-E4
New Holland – Farmington, UT – Fujifilm X-E4
Food Field – Farmington, UT – Fujifilm X-E4
Sunlight in the Forest – Sundance, UT – Fujifilm X-E4
Leaves Below Tree – Sundance, UT – Fujifilm X-E4
Wispy Grass – Sundance, UT – Fujifilm X-E4
Pond Creek – Sundance, UT – Fujifilm X-E4

Find these film simulation recipes and many more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

$2.00

Live From South Africa: SOOC – A Fuji X Weekly Collaboration with Tame Your Fujifilm

Join Ritchie Roesch (Fuji X Weekly) and Nathalie Boucry (Tame Your Fujifilm) this Thursday (7/8/21) at 11:00 am Mountain Standard Time for a live interactive broadcast called SOOC where we’ll talk about Fujifilm camera settings and film simulation recipes! In Season 01 Episode 01 we’ll discuss the Kodachrome II film simulation recipe.

Nathalie Boucry is an official Fujifilm-X Photographer from Johannesburg, South Africa, who specializes in corporate event, portraiture, and lifestyle photography. She’s also an official Instax Ambassador. Nathalie is the creator and host of the Tame Your Fujifilm educational series.

SOOC is a collaboration between Tame Your Fujifilm and Fuji X Weekly. It will be a monthly live video series, with each episode focused on a different film simulation recipe. It will be a fun and educational experience where we will not only talk about Fujifilm camera settings, but also answer your questions. This is an interactive program, which means that we need your participation! Mark your calendar and be sure to tune in!

You can find Episode 01 below, but in order to interact, you’ll want to jump onto YouTube or Facebook, where you can leave comments, some of which will be incorporated into the show. The broadcast will begin at 10 am Pacific Time, 11 am Mountain Time, 12 pm Central Time, and 1 pm Eastern Time. Wherever you are in the world, I hope that you can join us. See you this Thursday!

Help us get the word out, and share this post or the video above on your social media channels! I appreciate your support, and I look forward to hearing from you on Thursday!

Some Big Things Are Coming!

I can’t tell you the details yet, but a number of big things are in the works here at Fuji X Weekly! They’ll be announced in the coming days, weeks, and months. I’m extremely excited about all of these different “things” that are coming. I wish that I could provide you with more details, but just know that I am working very diligently behind the scenes to get them finished, and as soon as I’m able I will be making the announcements of what they are. Each will unfold differently, but I think you’ll really appreciate them, and they’ll be very beneficial to the Fujifilm and photographic community.

While I’m here, I want to say “thank you” to you! This community is something special. Really, the photographic continuum is being shaped by you, much more than you likely realize. I’m honored to be a part of it, and it’s really a privilege to be able to facilitate it whenever and however I can.

If you don’t already, I encourage you to follow Fuji X Weekly on Facebook, Instagram, and YouTube. Because I’m so busy, I don’t always get to post as frequently as I’d like, but I will definitely share these different new things with you when they’re ready—you won’t want to miss when they’re announced!

Fuji Features: X RAW Studio

Fujifilm offers a free RAW photo editing software that’s unique called X RAW Studio. What’s unusual about X RAW Studio is that it relies on the camera that captured the image to do the editing. It’s like in-camera RAW editing, but on your computer, and the camera must be tethered. I wrote about it back in 2017. I don’t use X RAW Studio very much myself, but some of you use it regularly and it’s an important part of your workflow process. It’s an interesting tool that Fujifilm provides at no cost, so it’s definitely worth trying if you’ve never done so before.

Below are some articles and videos that I found on the internet that discuss X RAW Studio. Hopefully something here will be helpful or interesting to you. If you know of an article or video that I missed, feel free to post it in the comments. Enjoy!

Alik Griffin

The Online Photographer

John Peltier Photography

The Kiechle Family

Gauravonomics

Nikon Copying Fujifilm?

Photo’s via NikonRumors.com

Nikon is about to announce a new retro-SLR-styled APS-C mirrorless camera: the Zfc. It has some similarities to the Fujifilm X-T30, X-T4, and X-T200 (and also the Olympus OM-D), while not being exactly like any of them. According to NikonRumors, this camera is the Nikon Z50, just in a retro body inspired by the Nikon FM and Df cameras. The Z50 has a 20-megapixel sensor, and, as far as I know, is well regarded yet unexciting. This new body design will certainly create some excitement!

You might notice the Zfc has a shutter knob, exposure compensation knob, and ISO knob on the top of the body (much like the X-T4). There’s also a PASM switch. I can’t help but wonder, if Nikon had included an aperture ring around the lens, would the PASM switch even be necessary? I feel like Nikon went 90% there, but just didn’t push themselves all the way. Of course, they know their audience far better than I do, and they have far more experience in camera design than I.

With this camera, I believe that Nikon is specifically targeting the Fujifilm market. I’m not sure if they’re trying to lure Fujifilm photographers to Nikon, or simply attempting to stop Nikon shooter from leaving for Fujifilm, or maybe both, or perhaps those moving on from Micro 4/3. I have no idea how successful they’ll be at this, but I do think the Zfc will get some attention, something Nikon desperately needs. It seems like they’ve produced a lot of rather ho-hum products as their customers have jumped ship for other brands.

What Nikon doesn’t have that Fujifilm does are Film Simulations and Film Simulation Recipes. That’s not to say that Nikon’s JPEGs are junk (because I’m sure they’re not), but there’s nothing in the photographic world that rivals what Fujifilm and Fujifilm shooters (that’s you and me!) have created. While Nikon’s new exterior camera design is great, if they really want to compete against Fujifilm they need to recommit to the camera-made JPEG and do something just as radical inside as they did with the body. After all, photography is both about the picture and the experience, and I think the Zfc is an attempt to improve the latter (for certain people) while not addressing the former. I like this step that Nikon is taking, and I think it would be great if they continued down that path, but I’d be surprised if they did. We’ll see. Nevertheless, the Nikon Zfc is indeed a lovely looking camera.

The Journey is the Destination, Part 3: Lodging Locations

Campground – Montrose, CO – Fujifilm X-Pro2 – “Kodachrome II” – 7/25/2018

Part 1: Getting Gas Part 2: Time to Eat

I love road trips! Given the choice to drive or fly, I’ll pick drive every time. Unfortunately, when I’m trying to get somewhere by car, I’m often trying to get there, wherever “there” is, and I don’t spend enough time enjoying the in-between. Ralph Waldo Emerson famously stated, “It’s not the destination, it’s the journey.” Dan Eldon shortened it to, “The journey is the destination.” What makes a road trip special is not where you’re going, but the experiences along the way.

This photoessay series is entitled The Journey is the Destination, and includes pictures of those in-between places. Each article in this series will have a different theme. This one is called Lodging Locations, and it features photographs captured at sleep stops while on some adventure somewhere. I’m usually pretty eager to photograph when on road trips, so even moments of rest get the attention of my camera lens.

One challenge with this particular article is that it includes hotels, campgrounds, family houses, and AirBnBs. With such diverse sleeping arrangements, it’s difficult to create a consistent set (not to mention that I used many different film simulation recipes to capture these over several years). Each of the images in the post were captured while at a lodging location of some sort. I don’t like this set as much as the first two, but nonetheless I hope that you find some enjoyment or inspiration from it.

Color:

Daisies at the Dock – Big Arm, MT – Fujifilm X100V – “Agfa Vista 100” – 7/8/2020
Boy, Fishing – Big Arm, MT – Fujifilm X100V – “Agfa Vista 100” – 7/8/2020
Hebgen Lakeshore – West Yellowstone, MT – Fujifilm X100F – “Classic Chrome” – 9/17/2017
Playground at the Edge of Nowhere – Island Park, ID – Fujifilm X100V – “The Rockwell” – 7/2/2020
Putting Practice – Phoenix, AZ – Fujifilm X100V – “Color Negative 400” – 3/11/2021
Yellow House & Blue Sky – Phoenix, AZ – Fujifilm X-E4 – “Kodak Portra 400 v2” – 3/9/2021
Pigeons Over A Roof – Surprise, AZ – Fujifilm X-T30 – “Kodachrome 64” – 11/23/2019
Metal Pool Flowers – Phoenix, AZ – Fujifilm X100V – “Creamy Color” – 3/11/2021
Campfire – Custer City, SD – Fujifilm X-Pro2 – “Dramatic Classic Chrome” (I think) – 5/14/2018
Lakeshore & Dock – Flathead Lake, MT – Fujifilm X100V – “Kodak Portra 400 v2” – 10/11/2020
String of Lightbulbs – Flathead Lake, MT – Fujifilm X100V – “Kodak Portra 400 v2” – 10/12/2020
Hanging Light Bulb – Phoenix, AZ – Fujifilm X-E4 – “LomoChrome Metropolis” – 3/11/2021

B&W:

Open – Big Arm, MT – Fujifilm X100V – “Kodak Tri-X 400” – 7/7/2020
299 RV Park – Coalville, UT – Fujifilm X-T30 – “Acros” – 6/21/2019
Redrum – Williams, AZ – Fujifilm X100F – “Acros” – 3/14/2018
Curtain Abstract – Mesquite, NV – Fujifilm X100V – “Acros Push-Process” – 12/21/2017

New GFX-50S II Coming Soon

Original GFX-50S

According to Fujirumors, Fujifilm will be releasing a new GFX-50S II medium-format camera in the second half of 2021 (most likely, sometime in the fall). Fujifilm loaned me the original GFX-50S camera earlier this year, and at that time I said Fujifilm would likely be replacing the GFX-50S with a new model soon. Sure enough, they are!

What Fujirumors has so far reported on the new version is that it will be in the same body as the GFX100S, which means that it will also have IBIS, it will have the same sensor as the GFX-50S and GFX-50R, and it will cost only $4,000 (and $4,500 when bundled with the upcoming GF35-70mm lens). That’s stunning!

Even though it’s an older sensor, I really appreciate how the GFX-50S renders pictures, particularly in shadows. I don’t mind that the camera won’t include a brand-new sensor. What I hope is that it includes a new processor, preferably the one inside the GFX100S. If the GFX-50S is a GFX100S, except with an “old” 50-megapixel sensor instead of a new 100-megapixel sensor, for only four thousand dollars, that’s unbelievable! It will be a hit, I have no doubts about it. I might have to get one myself.

It should be mentioned that, for most people, there’s not a big advantage of GFX over Fujifilm X. Yes, GFX produces lovely pictures that are a pixel-peeper’s dream, but unless you print very large, crop really deeply, and/or need that extra dynamic range in the shadows, Fujifilm X cameras will serve you very well for a whole lot less money.

Fuji Features: Fujinon 90mm F/2

I love my Fujinon 90mm f/2 lens! It’s nothing short of incredible. From an image quality point-of-view, it’s my favorite Fujinon lens (granted, I haven’t tried them all), although the focal length can be a bit challenging. It’s also somewhat big and heavy. I love the lens nevertheless, and really appreciate the images captured with it.

I noticed that the majority of the Fujinon 90mm f/2 reviews are older. Most were published four, five or six years ago. My review is almost two years old. For this Fuji Features article I thought that I’d share some more recent reviews and videos for the lens, which I found with a simple Google search. If you are considering it, maybe this will be helpful. Also, if you know of an article or video that I should have included, feel free to share it in the comments.

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujinon 90mm f/2  Amazon
Fujinon 90mm f/2  B&H 

Cultured Kiwi Photography

Philip Sutton Photography

John Platt

What Will the Next Fujifilm Sensor Be?

According to Fujirumors, the next Fujifilm APS-C camera will be the X-H2, which won’t be released until early 2022, and it will have a new sensor that’s capable of 8K video. Not a whole lot else is known about it at this point. What will the new sensor be? What specs will it have? Absolutely nobody outside of Fujifilm has any idea, so it’s a fun opportunity to wildly speculate. To be clear, I have no inside information. This isn’t a rumor. What I’ll discuss below is a bad guess at best. I just thought it would be fun to talk about the possibilities.

The assumption is that the next sensor will be X-Trans (X-Trans V), which is logical—most likely it will be. I don’t know what would differentiate X-Trans V from X-Trans IV. The theory is that because Fujifilm has been developing sharper lenses with more resolving power, they’re preparing for a higher-resolution sensor (in fact, they’ve said as much). But how much more? 28-megapixel? 30? 32? 36? 50? Nobody knows, but don’t be surprised if it’s 36-megapixels. Unless you crop steeply or print largely, that extra resolution won’t do much for you. I personally wish that Fujifilm would focus less on megapixels and focus more on other advancements, but that’s just my opinion.

It’s possible that the new sensor inside the X-H2 won’t be X-Trans, or at least not a Sony X-Trans. Fujifilm has partnered with Samsung to create the ISOCELL technology that Samsung uses in their cellphone cameras. In an oversimplified explanation, ISOCELL allows pixels to more accurately capture light, which means that smaller pixels act more like larger pixels. Samsung uses ISOCELL in conjunction with Pixel Binning (“Tetracell”), a technology that uses a group of pixels to act as a singular larger pixel for improved dynamic range and high-ISO performance. This technology allows tiny cellphone sensors to perform better than they should. Why can’t this be applied to larger sensors? Remember when Samsung used to have a highly-acclaimed 28-megapixel APS-C sensor before their NX camera line went suddenly defunct? Maybe Fujifilm and Samsung will partner to bring some of Samsung’s innovative sensor technology to Fujifilm cameras.

I’d be surprised if Fujifilm included a Sony Bayer sensor in the X-H2, but it’s possible. Anything is possible. More likely, if Fujifilm were to move on from X-Trans, the sensor would have to have some unique marketing aspect to it. Fujifilm X cameras are the only cameras with X-Trans sensors, and all other current cameras use Bayer (except for some Sigma models). X-Trans has some advantages and disadvantages, but more importantly it’s unique, which Fujifilm takes advantage of, both in terms of technology and marketing. There’d have to be something especially special about a non-X-Trans sensor for Fujifilm to suddenly abandon what has brought them this far.

Now imagine this: a Fujifilm X-H2 with a 144-megapixel ISOCELL and Pixel Binning sensor, that “normally” captures 36-megapixel images, with the option to capture 144-megapixel images in good light and 9-megapixel images in very low light. That would stir a lot more attention than an ordinary 36-megapixel Bayer sensor, and would also have some advantages over it. It would certainly make headlines!

The way it would work is that under most conditions the camera would capture a 36-megapixel image that would perform, in dynamic range and high-ISO, similar to the 26-megapixel X-Trans IV sensor. When the ISO is set to 320 or lower, the camera would have the option to capture a full 144-megapixel image (with the limitation of DR400 not available). Of course, Fujifilm lenses, while exceptionally sharp, cannot resolve that much detail, so you’d likely get details more in line with 50-megapixel cameras (maybe more, maybe less, depending on the lens). The camera would also have the option at higher ISOs—perhaps ISO 3200 and above—to capture extraordinarily clean 9-megapixel images (and perhaps 1080p video). I know that 9-megapixels are hardly anything to get excited over, but think of this as being sort of like the Sony A7S, which has only 12-megapixels, but is highly regarded for its low-light capabilities. So, yeah, the picture might only have 9-megapixels of resolution, but it was captured at ISO 25,600 and looks as clean as ISO 800. Maybe pixel-shift could even be incorporated into this somehow.

There would be a whole host of issues if Fujifilm incorporated Samsung’s technology into the X-H2, most notably the RAW files. I don’t think my suggestion is likely, but since anything is possible, I thought that I’d wildly speculate, and this is as wild of a speculation as you’ll likely find on this topic. It will definitely be interesting to see what Fujifilm comes up with, and as soon as I know something, I’ll be sure to share it and my ideas about it with you.

Two Fujifilm X-Trans IV Film Simulation Recipes: Expired Slide + Expired Slide v2

United Carrier – Salt Lake City, UT – Fujifilm X-E4 – “Expired Slide”
United Carrier – Salt Lake City, UT – Fujifilm X-E4 – “Expired Slide v2”

I set out to recreate the look of expired slide film. Perhaps expired is the wrong term, because the aesthetic that I was after is more like mishandled slide film—not stored correctly or developed promptly. Maybe it passed its expiration date because it sat in a drawer for so long, or maybe it was in a hot car for a couple of hours, but, whatever the reason, it definitely doesn’t look right.

Why would I want to create this look? Because it’s an interesting vintage aesthetic that was somewhat common in the film era. While most people would not want this outcome, interestingly enough, there are some film photographers (a.k.a. Lomographers) who do this kind of thing on purpose specifically because they want this look. The two film simulation recipes below are for those people seeking something different. Neither of these will likely be anyone’s “go-to” recipe, but if you want something that’s a bit unusual, these are ones to try.

The film simulation recipe called Expired Slide was actually the second one, as I created (what I now call) Expired Slide v2 first. I liked the original settings, but thought that it might be a bit too much, so I toned it back slightly. I posted examples of both recipes to Instagram and let you guys decide which one was best. The Expired Slide recipe won hands-down, but there were some who passionately preferred Expired Slide v2, so I’m posting both. The only difference is the white balance (and shift), otherwise they’re identical. Expired Slide has more of a red-orange cast while Expired Slide v2 has more of a red-purple cast. Both recipes (as of this writing) are only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4 cameras.

Expired Slide:

Forest Flowers – Ponderosa State Park, ID – Fujifilm X-E4

Velvia
Dynamic Range: DR400
Highlight: +2
Shadow: -1
Color: -4
Noise Reduction: -4
Sharpness: -2
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5500K, +7 Red & -2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Limited 4404 – Salt Lake City, UT – Fujifilm X-E4
Free – Boise, ID – Fujifilm X-E4
Free Signs – Boise, ID – Fujifilm X-E4
Construction Crane – Boise, ID – Fujifilm X-E4
10:45 – Boise, ID – Fujifilm X-E4
Red Fence – Salt Lake City, UT – Fujifilm X-E4
Tulip Blooms – Salt Lake City, UT – Fujifilm X-E4
Dark Payette Lake – McCall, ID – Fujifilm X-E4
Mossy Trunk – Ponderosa State Park, ID – Fujifilm X-E4

Expired Slide v2:

Caterpillar – Salt Lake City, UT – Fujifilm X-E4

Velvia
Dynamic Range: DR400
Highlight: +2
Shadow: -1
Color: -4
Noise Reduction: -4
Sharpness: -2
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5000K, +8 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Red Barn – Salt Lake City, UT – Fujifilm X-E4
Jump Pad – Salt Lake City, UT – Fujifilm X-E4
Stack of Buckets – Salt Lake City, UT – Fujifilm X-E4
The Oaks – Ogden Canyon, UT – Fujifilm X-E4
Lake Marina – McCall, ID – Fujifilm X-E4
Two Dogs Swimming – Ponderosa State Park, ID – Fujifilm X-E4
Jon Fishin’ – McCall, ID – Fujifilm X-E4
Log in the Water – McCall, ID – Fujifilm X-E4
Payette Lakeshore – Ponderosa State Park, ID – Fujifilm X-E4

Find these film simulation recipes and many more on the Fuji X Weekly — Film Recipes App!

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The Journey Is The Destination, Part 2: Time to Eat

Empty Diner – Reno, NV – Fujifilm X100V – “Xpro ’62” – 4/21/2021

Part 1: Getting Gas Part 3: Lodging Locations

I love road trips! Given the choice to drive or fly, I’ll pick drive every time. Unfortunately, when I’m trying to get somewhere by car, I’m often trying to get there, wherever “there” is, and I don’t spend enough time enjoying the in-between. Ralph Waldo Emerson famously stated, “It’s not the destination, it’s the journey.” Dan Eldon shortened it to, “The journey is the destination.” What makes a road trip special is not where you’re going, but the experiences along the way.

This photoessay series is entitled The Journey is the Destination, and includes pictures of those in-between places. Each article in this series will have a different theme. This one is called Time to Eat, and it features photographs captured at food stops while on some adventure somewhere. I’m usually pretty eager to photograph when on road trips, so even breakfast, lunch or dinner gets the attention of my camera lens.

You won’t see any pictures of my food—that’s not the point of this article—these are simply photographs that I captured at these restaurant stops. If I had started out with this series in mind, I probably would have approached it a little differently. Still, when placed together, these otherwise unrelated images tell a story. I hope that you enjoy!

Color

Rural Diner – Tremonton, UT – Fujifilm X100V – “Fujicolor Superia 1600” – 7/2/2020
Available Building – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100” – 7/2/2020
This Restaurant is Closed – Rexburg, ID – Fujifilm X100V – “Fujicolor Superia 100” – 7/2/2020
Lunch Date – Polson, MT – Fujifilm X100V – “Agfa Vista 100” – 7/8/2020
Cigarettes – Reno, NV – Fujifilm X100V – “Xpro ’62” – 4/21/2021
Wall Harley – Reno, NV – Fujifilm X100V – “Xpro ’62” – 4/21/2021
Kitchen – Waco, TX – Fujifilm X100F – “Cross Process” – 8/2/2018
McTaos – Taos, NM – Fujifilm X-Pro2 – “Kodachrome II” – 7/27/2018
McDiner – Taos, NM – Fujifilm X-Pro2 – “Kodachrome II” – 7/27/2018
Steaks & BBQ – Williams, AZ – Fujifilm X100F – “Classic Chrome” – 3/14/2018
Neon Pink – Glendale, AZ – Fujifilm X-T30 – “Velvia” – 5/11/2019
Grease Work – Rexburg, ID – Fujifilm X100V – “The Rockwell” – 7/2/2020
Drive Thru – Rexburg, ID – Fujifilm X100V – “The Rockwell” – 7/2/2020
Out of Order – Rexburg, ID – Fujifilm X100V – “The Rockwell” – 7/2/2020
Frostor – Ashton, ID – Fujifilm X100F – “Classic Chrome” – 9/13/2017
Lunchtime Rain – Lynnwood, WA – Fujifilm X100F – “Classic Chrome” – 11/16/2017

B&W

9:30 – Tremonton, UT – Fujifilm X100V – “Kodak Tri-X 400” – 7/2/2020
Gamers Cafe – Butte, MT – Fujifilm X100V – “Kodak Tri-X 400” – 7/11/2020
Kitchen Window – Pawhuska, OK – Fujifilm X-Pro2 – “Agfa Scala” – 8/6/2018
Man in the Hat – Polson, MT – Fujifilm X100V – “Kodak Tri-X 400” – 7/10/2020
Knead & Feed Cafe – Coupeville, WA – Fujifilm X100F – “Acros Push-Process” – 11/17/2017