Are You A Better Photographer Than A Middle Schooler? — Photography Challenge

Jonathan capturing pictures for his middle school art project.

Do you remember the television gameshow hosted by comedian Jeff Foxworthy called Are You Smarter Than a 5th Grader? If not, the premise was pretty simple: answer questions from elementary school textbooks, with the most difficult questions taken from the fifth grade. Actual fifth grade students were on hand to offer help if the contestants should need it (and they always did). It turns out that most adults don’t remember the things they learned in elementary school—only two people ever won the million dollar grand prize. Those who lost had to admit on camera that they were not smarter than a fifth grader.

My 12-year-old son, Jon, is taking an art class in school, and one unit of this class is on photography. A project that he had to complete for this was to capture 10 photographs, each using a different and specific element of art. I let Jon use my Fujifilm X-E4 with a Fujinon 27mm f/2.8 lens attached. I did this same project right along side him, and I used a Fujifilm X-T30 with a Fujinon 35mm f/2 lens attached. Were my pictures going to be better than a middle schooler’s? How about you—are your pictures better than a middle schooler’s?

Let’s do this challenge together! There’s no prize, but it will be fun.

Note: this was a Creative Collective article, but now it’s available to everyone.

The “Are You A Better Photographer Than A Middle Schooler?” photography challenge is this:
– Capture 10 pictures
– Each picture needs to incorporate a different element of art
– The 10 “elements of art” for this project are:
1. Balance
2. Color
3. Contrast
4. Framing
5. Line
6. Movement
7. Pattern
8. Shape
9. Space
10. Texture

For this challenge, Jonathan and I went to a small downtown in Bountiful, Utah. The location for this project doesn’t matter, but I chose this spot for us because I thought we’d encounter a good variety of subjects that might make things a bit easier. We spent maybe an hour doing this, all during the “golden hour” because that’s when good light is most commonly plentiful, and good light is often a prerequisite to good photographs. If you are looking for advice to improve your photography, let me offer this: concentrate capturing pictures during the hour immediately following sunrise and the hour immediately before sunset. I programmed the Fujicolor Superia 1600 recipe into the X-E4 because that’s what Jon chose (via the Fuji X Weekly App). I used my Porto 200 and Cross Process recipes on my X-T30.

Now, to the pictures!

Element of Art: Balance

Jon’s photo:

My photo:

This was a more challenging “element of art” to capture photographically than I expected. Maybe my creative mind wasn’t running on all cylinders for this particular image, or perhaps there just wasn’t a lot of opportunities for a “balance” picture. For my image, I was trying to find where the bench balanced between the vertical, horizontal, and diagonal lines. I don’t think I was particularly successful. This image would have worked better in black-and-white, and definitely if there had been a person sitting on the bench. Jon said of his picture, “I was balancing the door with the trashcans.”

Element of Art: Color

Jon’s photo:

My photo:

Color was a much more obvious and easier element of art to incorporate. Jon found a vibrant jacket in a store to photograph, while I used the Cross Process recipe to make the colors in my image stand out.

Element of Art: Contrast

Jon’s photo:

My photo:

Contrast can be tackled a number of different ways—I took it more literally. The building (which was partly in the sun and partly not) was reflected in the car window, which made it appear more contrasty, and the Cross Process recipe helped accentuate that. Jon said of his picture, “I saw the white sign with black writing on a black pole.”

Element of Art: Framing

Jon’s photo:

My photo:

Jon framed his subject (the monument) with flowers. I framed my subject (the words “Studio 10” twice) with a window frame. Framing is easy, framing effectively isn’t always easy. My picture for Color was probably a better example of framing, but I was thinking of color and not framing when I captured it.

Element of Art: Line

Jon’s photo:

My photo:

I used the stair’s railing as leading lines to the door. Jon said of his picture, “I used the lines on the sidewalk to take you to the vertical lines of the poles.” Having lines run from the corners of the picture to the subject is an effective way to guide the viewer through an image.

Element of Art: Movement

Jon’s photo:

My photo:

Jon did some panning with a slow shutter speed to incorporate this element of art into his photograph. I used a slow shutter speed, too, but kept the camera still and let the moving objects blur as they passed through the frame.

Element of Art: Pattern

Jon’s photo:

My photo:

What drew my attention to this photo opportunity was the Albert Einstein quote in the window situated above the trashcans, and I thought of the potential commentary of it. How does the picture fulfill the Pattern element? Obviously the bricks are a repeated pattern, but what I saw was the trashcans and the electrical box with a similar shape. Perhaps this picture is a stretch for this element. The natural patterns in Jon’s picture are a little more obvious.

Element of Art: Shape

Jon’s photo:

My photo:

Jon and I both photographed circles, although much differently. I think there’s a lot of opportunity with this element for creativity, but we didn’t do much to explore it. Mine was captured near the very beginning of our outing (before the creative juices were flowing), and Jon’s at the very end (when he was looking for anything to fulfill the Shape element).

Element of Art: Space

Jon’s picture:

My pictures:

For this element of art, Jon photographed a large empty room that looked even bigger because of a mirror running across the back wall. The small streak of light leads to a barely visible stool, and perhaps a ballet shoe sits on the floor. I photographed a largely empty room for this element, too, although not nearly as spacious-looking. Jon makes an appearance in both pictures. I think this element would be easier in a rural environment.

Element of Art: Texture

Jon’s photo:

My photo:

Jon was really unsure of how to capture Texture, so I suggested to him that we do some double-exposure photography for this. It worked out pretty well, although this is certainly not the only way to tackle this element of the challenge.

Conclusion

This challenge was actually more difficult than I thought it was going to be. It’s not necessarily hard to photograph these 10 elements of art by happenstance throughout time, but to purposefully seek these things out and create an interesting photograph of them is a whole different story. It’s definitely something that I want to try again!

Doing challenges like this are good because they keep you in photographic shape. Musicians constantly practice. Athletes constantly train. Photographers need to continuously practice their art, but it’s easy to get in a rut. Challenges like this help you to get out of your rut and stay in photographic shape, even if none of your images from this challenge are particularly compelling.

How do you think that I did? Am I a better photographer than a middle schooler? Or do I need to say that I’m not? Let me know in the comments who did better with each Element of Art! I think Jon beat me in at least a few of them.

This challenge is for you, too! Below is a Word document that you can download—print it and take it with you! I had the 10 elements of art typed out on a note on my phone, and that worked well enough. Whatever helps you to remember the elements and keep track of what you’ve captured is what you should do. The Word document may or may not be helpful, but it is available to you if you want it, and I’m hoping that at least a few of you find it useful.

I hope that you try this challenge. If you do, let me know! Even better, try it with a friend. If you post the pictures somewhere on the web, leave a link to it in the comments, because I’d love to see them.

Why I Love The Fujinon 27mm F/2.8

As I was getting ready to write this article, I was looking around my gear cabinet for this lens and I couldn’t locate it. When I did find it, the lens was attached to my wife’s X-T4! It turns out that the Fujinon XF 27mm f/2.8 R WR is her favorite lens. It seems that whenever I want to use it, the lens is attached to her camera. This is the only lens that we fight over.

That first paragraph could be the entirety of this article. It says everything that you need to know (although my full review of the 27mm f/2.8 lens can be read here). If there could only be one lens in our household, it would be this one! But why? What makes this lens special?

The technical specs for this lens don’t stand out. A maximum aperture of f/2.8 isn’t eye-popping. The stats seem kind of ho-hum—in fact, that is why I hesitated to buy this lens in the first place. But stats don’t tell the whole story. What’s most important are the pictures, and the Fujinon XF 27mm f/2.8 R WR captures wonderful photographs!

Why does this lens capture such good images? It’s the sharpness, the micro-contrast, and the bokeh, which are all excellent. Perhaps, above all that, it’s the very useful focal-length, as 27mm is full-frame-equivalent to 40.5mm, which is pretty close to “normal” and very similar to what the eyes see. You can use this focal-length for most genres of photography. Useful and excellent—that’s the best summery of why I (we, actually) love this lens so much.

Fujifilm X-E4 & Fujinon 27mm f/2.8 with Positive Film

This is speaking nothing of the compact-size and lightweightness (I don’t think that’s a word) of this pancake lens, which makes it a joy to carry. Your gear is better when it doesn’t get in the way of itself, and this one—the smallest lens in the Fujinon lineup—certainly stays out of the way.

Ask anyone who owns this lens (or even the original 27mm f/2.8, which is optically identical), and they’ll tell you that it’s one of their favorites. On paper it shouldn’t be, but it is, because “on paper” is much different than real world use. The Fujinon XF 27mm f/2.8 R WR is an easy lens to recommend to anyone. However, if there’s one issue, it’s that this lens is really difficult to find right now, so if you are shopping for it, I wish you the best of luck.

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

Buy the Fujinon 27mm f/2.8 lens here:
B&H Amazon

Fujifilm X-E4 & Fujinon 27mm f/2.8 with “Scanned Superia
Fujifilm X-E4 & Fujinon 27mm f/2.8 with “Fujicolor C200
Fujifilm X-E4 & Fujinon 27mm f/2.8 with AgfaChrome RS 100
Fujifilm X-E4 & Fujinon 27mm f/2.8 with “Super HG Astia
Fujifilm X-E4 & Fujinon 27mm f/2.8 with “Fujicolor Super HG v2

SOOC – SE01E05 – Agfa Optima 200

Episode 05 of SOOC was yesterday—I had a great time, and I hope you did, too. I want to give a big “Thank You” to everyone who tuned in and participated—you are the ones who make these episodes great! If you missed it when it was live, you can still watch it (above). We had some technical difficulties (related to a power outage) at the beginning, so (as of this moment) the show doesn’t start until about the 8-minute-mark. We’ll get this cleaned up shortly, but for now, just skip ahead a few minutes. Despite the problems at the start, a hundreds of you tuned in—I hope you learned something, that you were inspired, and/or that it was entertaining enough to make it worthwhile. Asking for nearly two hours of your time is a lot, and we really appreciate everyone who journeyed along with us!

For those who may not 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.

In this month’s episode we discussed my Agfa Optima 200 film simulation recipe, and viewed the wonderful pictures that you captured with this recipe. We also introduced the next recipe: Cross ProcessUpload your pictures here to be featured in the next video! Episode 06 will be on December 9th, so mark your calendars, and I look forward to seeing you then!

If you haven’t watched the previous episodes, then get yourself comfortable, grab a beverage of choice, and click the links below!

Episode 01: Introduction

Episode 02: Kodachrome II

Episode 03: Fujicolor C200

Episode 04: Kodacolor

Episode 05: Agfa Optima 200

Also, be sure to check out the Viewer’s Images slideshows!

Viewer’s Images: Kodachrome II

Viewer’s Images: Fujicolor C200

Viewer’s Images: Kodacolor

SOOC Season 01 Episode 05 Is Today!

Episode 05 of SOOC is live today! The time has been changed to 11 AM Pacific, 2 PM Eastern (7 PM UTC).

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. This is an interactive show, so we not only need you to tune in, but your participation is essential to making the episode great.

In this month’s episode we will discuss the Agfa Optima 200 recipe, and we’ll take a look at your pictures captured with this recipe. We’ll also introduce the next recipe. We have a lot of great things planned, and I know you’ll appreciate this episode. See you soon!

M is for Macro, T is for Train

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Ilford HP5 Plus recipe.

If you have kids (or grandkids), chances are that at least one of them loves trains. I mean, most kids do, right? All of my kids liked trains when they were little, and so far only my oldest daughter has outgrown them. If you have a little ferroequinologist in your midst, chances are at some point you’ll end up at a model train show. Can this be an opportunity for the creative photographer? Do picture opportunities exist at the exhibit?

This might initially seem like a silly endeavor for a Creative Collective article. Toys, really? Are we actually going to do photography at a model train show? What could possibly be learned from this exercise? I think there are several great lessons to be experienced, and we’ll discuss each. Now let’s take our Fujifilm X camera—with a macro lens attached—to a local train show. Let’s go!

Note: this was a Creative Collective article, but now it is available to everyone.

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Eterna recipe.

Yes, I said “with a macro lens attached” in the sentence above. You will need a macro lens. Fujifilm makes two: the Fujinon 60mm f/2.4 and Fujinon 80mm f/2.8. Either one will work for this project, but, if you don’t already own one, they aren’t necessarily cheap; however, there are budget options available. You can backwards-mount a lens you already own using a cheap adapter. This isn’t my favorite option, but it works. Or you could use extension tubes, which can be effective and inexpensive. Or you can buy a vintage macro lens and adapter, which is what I’ve done, but this can be a little more expensive (although not nearly as much as a new Fujinon lens!). Pick your path. By the way, if you want a recommendation between the two Fujinon options, I’d go with the 80mm f/2.8.

The reason why you need a macro lens is because you’ll be photographing miniature worlds. There are many different scales of model trains, and the larger ones might not require a macro lens, but the smaller ones definitely will. If you have no interest in using a macro lens but still want to try this project, simply spend more time capturing the larger scale dioramas, and less time on the miniature models.

Light will be your biggest challenge, for three reasons. First, in my experience, the buildings don’t ever seem to be well-lit. You’ll be using high-ISOs. Ideally, you’d use a tripod, but, since these events are often crowded, a tripod isn’t practical, and might be considered rude to use. Second, the light is artificial, and often mixed. It’s easy to get a weird color cast, especially if you are using a recipe that calls for Daylight or any sort of warm white balance. Recipes that use Auto white balance tend to do better, although it really depends on the exact lighting situation. Third, when using a macro lens, the depth-of-field is often razor thin, so ideally you’d prefer small apertures, but that requires a lot of light or a long shutter speed, neither of which you’re likely going to have available to you, so you’re just going to have to deal with the super thin depth-of-field.

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Eterna recipe.

You’re going to be pushing the envelope of your gear with regard to shutter speed, ISO, and aperture. Let’s look at each!

You’ll be using slow shutter speeds, but make sure that it is not too slow, because most likely you’ll be hand-holding the camera. If your shutter speed is too slow, you’ll get a lot of blurry pictures. For those with an X-T4 or X-S10, which have IBIS, you’re in a little better position; otherwise, you’ll want to set the shutter to the slowest speed that you can get away with. Typically, you don’t want to go any slower than the most similar number to the focal-length of the lens. I’m using a 50mm lens, so that means 1/60—but don’t forget about the crop-factor, which makes the lens full-frame equivalent to 75mm, and means that 1/80 is the slowest that I want to go with the 50mm lens. A shutter speed of 1/125 is even better, if the light allows. No matter what, be sure to use good technique when holding your camera, and keep a steady hand.

Another note regarding slow shutter speeds: there will be blur from movement if the train is rolling down the line. The picture at the top of this article is a good example of this. You are going to have a difficult time freezing motion, and even a slow movement will be a little blurry. You can accept that there’s a slight blur (like the picture above), or use the blur creatively (maybe panning?), or avoid photographing moving objects, and focus on the things that are still.

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Eterna recipe.

Going into this project you have to know that you will be using high ISOs. How high? As high as you are comfortable with. If you find some decent light, you might be able to get away with ISO 1600, but if the light isn’t great you might have to go as high as ISO 12800—I find that most typically I’m using between 3200 and 6400. It is what it is.

The lens that I used has a maximum aperture of f/4, and I used that aperture for all of the pictures here. The closer you are focused to the end of the lens, the more narrow the depth-of-field will be. You can see that it’s razor-thin in these pictures. You have to be precise with your focus—even one millimeter off and your picture might be ruined. Whenever possible, you’ll want to use the narrow depth-of-field creatively. Typically in macro photography, you want to use smaller apertures, but that will require a tripod in this scenario.

Even though you are at a train show, there’s a lot more than trains to photograph. Typically these dioramas have towns, roads, houses, bridges, trees, people, animals, and most other things you’d find in real life, except miniaturized and carefully staged. Look for interesting scenes, or even uninteresting scenes that can be captured in a compelling way.

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Eterna recipe.

Another thing to consider is your angle. While “drone shots” (photographing from high above) might be good sometimes, most often you’ll want to get down low, and put the camera lens near eye-level of a scale person. That’s not always practical or possible, but using a low perspective will often produce the best results. This might be the best practical advice for this project in this whole article.

Occasionally, if a model railroad is realistically detailed, you might be able to capture an image that could fool people into thinking it’s a real scene and not a model, but don’t count on that. Most likely your model train pictures will look like models and not the real thing. That’s ok. What’s more important is storytelling. A compelling image of a model is just as interesting as a compelling image of the real thing. Ansel Adams said, “There’s nothing worse than a sharp image of a fuzzy concept.” The point being: avoid having fuzzy concepts, no matter the subject. A solid concept for your model train photography will produce a compelling photograph. This, obviously, is just as big of a challenge, if not more so, than the technical issues you will face.

You are likely with your child or grandchild (or maybe nieces and nephews or friends), so don’t forget to have fun. While this is certainly a challenging circumstance photographically, it should be an enjoyable situation. Slow down. Make it a memorable time with whoever you are with.

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Kodachrome II recipe.

To summarize, model train shows are challenging photographic exercises. There’s the technical problems, namely slow shutter speeds, high ISOs, narrow depth-of-field, and strange lighting. You’ll be technically doing macro photography, although most likely you’ll be trying to make the pictures not appear to be macro. There’s also the creative problems of capturing a compelling picture. If you come away with one or two frames that you like, that’s a good day. This will be one of the more difficult photographic experiences you’re likely to encounter. You’ll have to push your gear and yourself to the limit to be successful.

If there’s a train show near you, take your kids or grandkids (or go by yourself or with a friend), grab your camera on the way out the door, and try to snap a good picture or two. I guarantee that this challenge will help your photography improve, because that’s what difficult situations do.

If you are looking to increase the challenge of this project, try stacking diffusion filters or double exposure photography! Now that would be interesting!

Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Kodak Tri-X Push-Process recipe.
Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Kodak Tri-X Push-Process recipe.
Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Ilford HP5 Plus recipe.
Fujifilm X-T30 with Asahi SMC Macro Takumar 50mm f/4 lens using the Ilford HP5 Plus recipe.

SOOC Episode 05 Rescheduled Slightly

SOOC Episode 05 is tomorrow, but it has been rescheduled slightly. It was announced to be 10 AM Pacific, 1 PM Eastern, but it has been pushed back an hour, and will now be 11 AM Pacific and 2 PM Eastern. I hope this isn’t too much of an inconvenience for you.

The delay is actually two hours in South Africa (due to a scheduled power outage), but since South Africa, like Arizona, doesn’t observe Daylight Savings, the delay will be only one hour for those who moved their clocks back an hour (and two hours for those who didn’t). It’s actually a good thing that this delay happened, or else I would have been an hour late for the broadcast tomorrow, which would have started before I expected it to—yikes! So it’s a blessing in disguise.

I hope to see you tomorrow!

Fujifilm X-Trans III + X-T3 & X-T30 Patron Early-Access Film Simulation Recipe: Ektachrome E100GX

Pink Rose Blossom – Ogden, UT – Fujifilm X-T30

I wanted to make another recipe that uses the Fluorescent 2 (or “warm white fluorescent”) white balance. Why? Because this is a very underutilized and under appreciated option. I have only four other recipes that use it—Provia 400, Fujicolor Super HG, Super HG Astia, and Fujichrome Sensia 100—and those are all very good recipes. I didn’t have any specific film in mind when I made this, I was simply attempting something that looked good.

After shooting with it awhile, and looking at the pictures, the results looked familiar, but I couldn’t put a finger on it. I started digging through my old pictures, and wasn’t finding anything. Then I stumbled on a few Kodak Ektachrome E100GX frames, and the results were similar.

Ektachrome E100GX was a color transparency film made by Kodak from 2001-2009, and is what replaced E100SW. It was known for vibrant saturation, a warm color cast, and fine grain. It wasn’t quite as warm, vibrant, or sharp as E100SW, but overall very similar, yet with finer grain. Some people thought it was better than E100SW, some people thought it was worse. I liked E100SW a bit better, but E100GX was still a good film, particularly if you wanted something warm, colorful, and contrasty, but not overly so.

Intelligent Children – Bountiful, UT – Fujifilm X-T30 – “Ektachrome E100GX”

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 recipe is compatible with Fujifilm X-Trans III, X-T3 and X-T30 cameras. 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 “Ektachrome E100GX” film simulation recipe on my Fujifilm X-T30:

Yellow Glow of Iowa – Bountiful, UT – Fujifilm X-T30
Sunlight Reflected on Window – Bountiful, UT – Fujifilm X-T30
Dark Red Tree & Partly Cloudy Sky – Ogden, UT – Fujifilm X-T30
Dead Leaves in a Dry Drinking Fountain – Bountiful, UT – Fujifilm X-T30
Small Waterfall – Ogden, UT – Fujifilm X-T30
Forest Graffiti – Ogden, UT – Fujifilm X-T30
Growing Out of the Side – Ogden, UT – Fujifilm X-T30
Two Boys Going Down a Trail – Ogden, UT – Fujifilm X-T30
Autumn Trunks – Ogden, UT – Fujifilm X-T30 – “Ektachrome E100GX”
Backlit Yellow Leaf – Ogden, UT – Fujifilm X-T30
Rose in the Garden – Ogden, UT – Fujifilm X-T30
Bright Bloom – Ogden, UT – Fujifilm X-T30 –
Rose Clump – Ogden, UT – Fujifilm X-T30
Wagon Duty – Ogden, UT – Fujifilm X-T30
Pines in Autumn – Ogden, UT – Fujifilm X-T30
Reflection in the River – Ogden, UT – Fujifilm X-T30
Left – Bountiful, UT – Fujifilm X-T30

Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe: Porto 200

Yellow Bike – Farmington, UT – Fujifilm X-T30 – “Porto 200”

The name of this recipe is not a typo. Awhile back I was asked to make a film simulation recipe for Fujifilm X-Trans II cameras that mimic the aesthetic of photographer João Falcão. I was able to create an X-Trans II recipe that was fairly close, although perhaps not exact. Certainly if you like João’s aesthetic, you’ll appreciate those settings. I called that recipe Porto 200 because Porto is the city in Portugal where João is from. While Porto means “port” I think it has a nice film-stock-like name, similar to “Portra” for example. While there is no film called Porto 200, I decided to use the name anyway.

This Porto 200 recipe is an adaptation of the X-Trans II settings for X-Trans III, plus X-T3 and X-T30, cameras. It’s got a great Kodak-like print-film analog aesthetic. If you have a Fujifilm X-Trans III camera, or the X-T3 or X-T30, I invite you to give it a try. This recipe was one of the original Patron Early-Access recipes on the Fuji X Weekly App, but now it is available to everyone, since a different Early-Access recipe has replaced it—if you are a Patron, be sure to look for it on the App!

Winter Trees – Layton, UT – Fujifilm X-T30 – “Porto 200”

PRO Neg. Std
Dynamic Range: DR200
Highlight: -1
Shadow: 0
Color: 0
Color Chrome Effect: Off or N/A
Sharpness: 0
Noise Reduction: -4
Grain Effect: Weak
White Balance: Shade, 0 Red & -4 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Sample photographs, all camera-made JPEGs, captured with a Fujifilm X-T30 using this Porto 200 film simulation recipe:

Monumental – Bountiful, UT – Fujifilm X-T30
Bike in Waiting – Bountiful, UT – Fujifilm X-T30
Yellow Jacket – Bountiful, UT – Fujifilm X-T30
Studio 10 – Bountiful, UT – Fujifilm X-T30
Brick Reflections – Bountiful, UT – Fujifilm X-T30
Opposite Directions – Bountiful, UT – Fujifilm X-T30
Reflecting on Empty Spaces – Bountiful, UT – Fujifilm X-T30
Windshield Bokeh – Farmington, UT – Fujifilm X-T30
Do Not McEnter – Roy, UT – Fujifilm X-T30
Night Train – Clinton, UT – Fujifilm X-T30

Find this film simulation recipe and nearly 200 more on the Fuji X Weekly — Film Recipes App!

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Sneak Peek: Fuji X Weekly App Update

The Fuji X Weekly App is a free mobile film simulation recipe library containing over 175 recipes for Fujifilm cameras! It’s available on both Apple and Android. This is an essential tool to accompany Fujifilm X cameras, so if you don’t have the App, you should go download it now.

Coming very soon is a large update to the Fuji X Weekly App, and I want to give you a sneak peek of what’s in store for you!

Before I begin, however, I want to talk briefly about the benefits of a becoming an App Patron. The Fuji X Weekly App is free, but advanced features are unlocked for Patrons, including Filtering, Favoriting, and early-access to some new recipes. The best App experience is reserved for Patrons.

There are two reasons why I bring this up. First, many of the App update improvements apply to Patron features, and those using the App for free won’t have access to these. The update is big for Patrons, and small for those who are not. Second, I’ve had several people tell me that I need to do a better job selling the Patron subscription because they were unaware of how much better the App is when you become a Patron. “I didn’t know what I was missing,” a couple people recently told me. If you want to get the most out of the Fuji X Weekly App, including the things we’re going to talk about below, you should become a Patron today!

That’s the entirety of my sales pitch (I’m a terrible salesman). Now to the App update sneak peek!

Favoriting & Filtering

One really great upgrade that’s coming is Favoriting on steroids. Before, when you tapped the Star to Favorite a recipe, it came in one color (yellow). But very soon you will be able to choose between five different colors: yellow, red, green, blue, and purple.

The benefit of this is that you can use colored Stars to organize recipes. Maybe yellow represents the recipes currently loaded into your camera, red represents the recipes you want to try next, and green represents the ones you tried in the past and really liked. Or maybe yellow is your favorite portrait recipes, green your favorite landscape recipes, and blue your favorite street recipes. Use the colored Stars to categorize the recipes however is meaningful to you. This will be a great organizational tool, and, for some, this is going to make the App a significantly better experience.

Another awesome App improvement that’s coming is Filter by White Balance. For many, this will be a game-changer. This is going to be the feature for some that makes the Patron subscription worthwhile! Why? Because if your Fujifilm camera is older than the X-Pro3, you cannot save White Balance Shift within C1-C7 Custom Presets, and each time you change Presets, you have to remember to adjust the WB Shift. It can be a little annoying. However, for each White Balance type, the camera will remember one WB Shift, so if each of your C1-C7 presets uses a different White Balance type, when you switch Presets, you won’t have to adjust the WB Shift.

In the App, select Filter by Camera and choose your model—let’s say you have an X-H1. Then Filter by White Balance. Start with Auto, and choose one of those recipes to be your C1 Custom Preset. There are a couple of these recipes that share the same WB Shift, so you could, if you wanted, use more than one, just as long as the WB Shift is the same. Then choose Daylight, and pick one of those recipes to be C2. Again, there are a couple that share the same WB Shift, so you could pick more than one, just as long as the WB Shift is the same. Next is Shade, and there’s just one recipe (right now, anyway) to choose from, so that could be C3. Then select Kelvin, and pick one of those recipes to be C4. Fluorescent 1 is next, and there’s only one recipe to choose from, so that could be C5. Same for Fluorescent 2, and that could be C6. Ditto for Incandescent, and that could be C7. If you picked two Auto and two Daylight recipes (that shared the same WB Shift), then you could skip two of the White Balance options that only have one recipe.

Using Filter by White Balance to help you select recipes for your C1-C7 Custom Presets will make your shooting experience more enjoyable because you won’t have to remember to adjust the WB Shift each time you change to a different Custom Preset.

Custom Recipe (Blank Recipe Cards)

If you’ve ever created your own film simulation recipe, or if you’ve found some elsewhere that you like (perhaps on the Fuji X Weekly Community Recipes page), you will soon be able to add them to your App! A new feature will be blank recipe cards that you fill out. You will even be able to add your own pictures from your camera roll! At some point down the road the idea is that you’ll be able to export, import, and share these custom recipes (that ability won’t be in this update). Several of you have asked for blank recipe cards, and soon you’ll have them! This will be a fun new feature that some of you will really appreciate.

There are, of course, a number of other smaller improvements that are coming with the App update—this is just a sneak peek at three of the bigger ones. With any luck, the update should be out before the end of the month. Oh, and we’ve already begun working on the following update (for sometime next year) that will include a number of other great new features and improvements.

Fujifilm Instax Link Wide Printer

Fujifilm recently released the new Instax Link Wide instant film printer. This is the first printer for larger Instax film, called Wide Instant Film. For those who shoot Instax, this is pretty big news!

A lot of people never print their pictures, and most images are quickly forgotten. A fun way to get tangible photographs is to print them on Instax film. Keep them in a photo book. Display them on a cork-board or refrigerator. Give them to friends and family. You can even print the pictures with a QR-code on them, and turn your images into unique business cards!

A great thing that you can do with this printer is use film simulation recipes on your Fujifilm X camera, and then print those pictures on Instax film. Fujifilm X-Photographer Nathalie Boucry did just that (which you can see in the image below)—she used my Agfa Optima 200 recipe on her Fujifilm X camera, and then, using the Instax Link Wide printer, made instant film prints from the images that she captured with the recipe. Amazing!

Photo by Nathalie Boucry

Some of you might be surprised to learn that I have an Instax Mini 40 that I occasionally use. Instant film photography is fun, but I don’t consider it a “serious” endeavor; however, the Wide printer does make for the intriguing union between recipes and instant film. There’s certainly the prospect of a compelling art project.

Nathalie and I discussed the Instax Link Wide printer in SOOC Episode 04. A short excerpt of this segment can be found in the video below. If you are interested in this printer, be sure to watch the video!

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

The Fujifilm Instax Link Wide Printer retails for $150.
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How To: In-Camera RAW Reprocessing on Fujifilm Cameras

In the above video, I (Ritchie Roesch, Fuji X Weekly) walk Nathalie Boucry (Tame Your Fujifilm) through reprocessing a RAW file in-camera on a Fujifilm X-T3. If you’ve ever wondered how to do it, this clip is for you! The film simulation recipe demonstrated in the video is the Eterna recipe.

This is actually an excerpt (“SoundBite” is what we’re calling it) from SOOC Episode 04. In addition to film simulation recipes, this is the kind of stuff that we discuss during our live broadcast. If you haven’t yet tuned in—well, you’ve got a lot of catching up to do! They’re long videos, but hopefully there’s something, perhaps even multiple somethings, in each episode that make it worth your time. Nathalie and I do this for your benefit—something positive for the community, with the goal of simply helping other photographers. Whether you are new or experienced, I hope that each episode of SOOC has something for you.

Also, SOOC Episode 05 is this Thursday (November 18th) at 10 AM Pacific Time, 1 PM Eastern Time. This is an interactive program, so, in addition to tuning in, we need you to participate. Mark your calendar now, and I’ll see you on Thursday!

SOOC Episode 04 Viewer Images

I want to give a big “Thank You” to everyone who tuned in to Episode 04 of SOOC, a collaboration between myself and Fuji X-Photographer Nathalie Boucry. This video series is live and interactive, so I’m especially grateful to all who participated! You are the ones who make these episodes great!

In the video above are the viewer’s photographs, captured using the Kodacolor film simulation recipe, that were shown during the show. It’s a short clip, so be sure to watch! I love seeing your pictures, and I’m honored that you submitted them for us to view.

The SOOC Episode 05 “recipe of the month” is Agfa Optima 200. Shoot with that recipe, and upload your pictures here to be featured in the next video! Episode 05 will be on November 18 (this Thursday!), so mark your calendars, and I look forward to seeing you then!

If you missed Episode 04, you can find it below. Also, below that, I’ve included Episode 05, so that you can set a reminder to ensure that you don’t miss it.

Why I Love the Fujinon 90mm f/2

Fujifilm X-E4 & Fujinon 90mm f/2 — “Ferrania Solaris FG 400

One of my absolute favorite lenses is the Fujinon 90mm f/2! It’s super sharp, plenty bright, great bokeh, and just lovely image quality. Technically speaking, the lens is near perfection, and practically speaking, it does nothing but produce lovely pictures. You can read my full review of the Fujinon 90mm f/2 lens here. I don’t want to rehash what I’ve already said, but instead convey why this is one of my absolute favorite lenses.

I purchased my Fujinon 90mm f/2 about three years ago. I had read that it was one of Fujifilm’s best portrait lenses, and I was going to be doing some portrait photography, so I bought it for that purpose. I had intended to sell it afterwards, but after I used it there was no way that I was going to sell it—it was love at first click! All of the great things that I read about it turned out to be completely true.

90mm is full-frame-equivalent to 135mm, which once was a very common focal-length, but it’s not really in vogue anymore. It’s not quite long enough for sports and wildlife photographers, and it’s too long for a lot of other purposes. Even portrait photographers might prefer a shorter focal-length with a larger maximum aperture. 135mm can be a bit challenging to use, but also very rewarding.

Robert Capa coined the phrase, “If your pictures aren’t good enough, you’re not close enough.” Robert probably wasn’t advocating the use of longer lenses, but actually taking a few steps closer; however, the Fujinon 90mm lens allows you to get closer without actually getting closer. It forces you to remove unnecessary elements from the frame, because they simply won’t fit—you can’t get it all in, so you have to be more purposeful with what you do and don’t include. That’s the challenge, but better pictures are the reward.

Fujifilm X-T4 & Fujinon 90mm f/2 — Photo by Amanda Roesch

When Fujifilm introduced the 90mm f/2 in 2015, they likely had in mind that it would be popular among portrait photographers, and for sure it is! But I’m not a portrait photographer—at least not usually. While the lens is optimized for portrait photography, it is great for still-life, nature, urban, and many other circumstances. I use it most frequently for landscape photography.

The only negative comment that I have to say against the Fujinon 90mm f/2 is that it is a little hefty. It balances better on a camera like the X-T4 than X-E4, but I still use it frequently on smaller bodies. It’s not comfortable to carry around all day long. Aside from that, the 90mm lens is the epitome of the Fujinon quality that Fujifilm is renown for. I cannot imagine anyone being disappointed with the images captured through this glass.

Fujifilm X-T4 & Fujinon 90mm f/2 — Photo by Amanda Roesch

The Fujinon 90mm f/2 can be challenging to use because of its focal-length, but if you take on that challenge you will be rewarded with wonderful photographs. That’s why I love it! If you are not a portrait photographer, this lens might not be on your radar, but it is worth owning anyway, as it is useful in many circumstances, and not just portraits. If you are a portrait photographer, this should be one of your top considerations. It retails for $950.

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

Buy the Fujinon 90mm f/2 lens here:
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Fujifilm X-E4 & Fujinon 90mm f/2 — “Ferrania Solaris FG 400”
Fujifilm X-E4 & Fujinon 90mm f/2 — “Ferrania Solaris FG 400”
Fujifilm X-E4 & Fujinon 90mm f/2 — “Ferrania Solaris FG 400”
Fujifilm X-E4 & Fujinon 90mm f/2 — “Elite Chrome 200
Fujifilm X-E4 & Fujinon 90mm f/2 — “Elite Chrome 200”
Fujifilm X-E4 & Fujinon 90mm f/2 — “Elite Chrome 200”

FUJIFILM GFX 2021 Challenge Grant Program

I got an email from Fujifilm, detailing a new program called GFX 2021 Challenge Grant Program. This is how they describe it:

The GFX Challenge Grant Program, sponsored by FUJIFILM, is a grant program that awards 5 Global Grant Award and 10 Regional Grant Award to help aspiring creatives bring their imaging projects to life. It is designed to nurture and develop the skills of emerging/promising content creators, giving them the opportunity to create content on topics that have significant meaning to them, while gaining experience using FUJIFILM GFX System gear. Proposed projects may be submitted as still photography or in a movie format. At the conclusion of the production period in August 2022, the award recipients’ final content will be showcased on the fujifilm-x.com website. 

This video explains it a little more:

Good luck to any of you who might participate in this! Click here for all of the details.

Introducing The Fuji X Weekly Creative Collective!

The Fuji X Weekly Creative Collective is a new aspect of this website that begun just a couple days ago, and it’s something that you might have noticed but don’t know what it is. I’ve been asked several times now, “What exactly is the Creative Collective?” Here’s my explanation of it…

The Creative Collective is a bonus-content subscription, where you get access to extra articles. What kind of content is a part of the Creative Collective? These articles are largely exercises in creativity. They’re experiments, focused on trying new things, and they’re invitations for you to do it, too. We dive deeper into settings and techniques. We go down some rabbit holes just to see where they go. This is a journey, and it will be interesting to see what we discover together. Whether you are an experienced Fujifilm shooter or brand-new to photography, there is something for everyone. If you want to adventure with me on this, the Fuji X Weekly Creative Collective is only $2 (USD) per month.

I usually post between 15 and 25 articles each month that are free to everyone—this includes film simulation recipes. I’m not sponsored by anyone. Fujifilm doesn’t sponsor this website, nor does B&H, KEH, or anybody else. I don’t get paid for the content that I publish, other than a little ad revenue, which isn’t much and barely covers the expenses of web hosting and such. These additional articles are bonus content for Creative Collective subscribers, and are in addition to the regular 15 to 25 articles that I will continue to publish each month. If you subscribe, there’s even more Fuji X Weekly articles for you to enjoy!

The main hub of the Fuji X Weekly Creative Collective is the Creative Collective Corner. That’s where you’ll find all of the Creative Collective articles. So far, because I just launched this, there are three articles: Stacking Diffusion Filters, When Film Simulation Bracket is Actually Useful, and Double Exposure Art — A Simple Method. Obviously there will be more and more added as time goes on.

To join the Fuji X Weekly Creative Collective, simply click on any of the Creative Collective articles and select Subscribe. If this sounds interesting to you, I hope that you’ll join me on this journey!

Double Exposure Art — A Simple Method

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

I love double exposure photography! If done right, you can cleverly create exceptionally artful pictures. But how do you do it on your Fujifilm camera? What are some easy techniques that give good results? In this article I’ll discuss this topic in detail and provide some useful tips to help you make your own artistic double-exposure photographs.

Note: this was a Creative Collective article that required a subscription, but it is now available to everyone!

Many Fujifilm X cameras have the option to shoot “Multiple Exposure” photography (an old camera trick where two or more exposures are combined into one frame for artistic effect), although on most Fujifilm cameras it is actually “double exposure” photography, as you can only combine two exposures; however, some newer models are capable of combining up to nine exposures. For this, we’ll be doing double exposures, and not more.

You access (depending on the model) Multiple Exposure through a knob on the top plate or through the Drive button on the back. If you are not sure, check your user manual. For the X-Pro3 and newer models, you’ll also have to go into the Shooting Setting Menu, select Multiple Exposure CTRL, and choose one of four options: Additive, Average, Bright, or Dark. Additive or Average are the two options you’ll want to consider for this project. Bright and Dark work well for making color images from toned black-and-white, but otherwise are tricky, and I don’t recommend them for this.

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

How are Additive and Average different? Additive is literally adding one exposure onto the next, so you have to significantly underexpose both frames or else get an overexposed image. Average mixes both frames together by averaging the difference. Additive tends to produce brighter pictures (although it depends on the two exposures), while Average tends to produce flatter images. I find that Additive often delivers results that I prefer, but Average is easier to use. There’s no right or wrong choice, but the way that you use each is different. For cameras older than the X-Pro3 that don’t have these options, what you get is the same thing as Average.

No matter your camera, with Multiple Exposure activated (through the top plate or Drive button on back, depending on your model), you capture the first exposure. The camera will ask if you want to keep it and move on or reshoot—if you didn’t get it quite right, you have this chance to try again. Once you are happy with your first exposure, you’ll hit “OK” and move onto the second exposure. The camera will show you the two exposures, which is a great benefit of doing this on a digital mirrorless camera. Line up the frame as you’d like it, adjust the exposure as you wish, and capture the second image. The camera will show you the double exposure, and it will ask you if you want to keep it or reshoot the second exposure—if you didn’t get it quite right, you have a chance to try again. If you are satisfied, select “Back” and you’re done!

You can use any film simulation recipe that you’d like. For these pictures, I used Ferrania Solaris FG 400. Recipes that have more contrast often work better than ones with less contrast. If you want to get really creative, you can even change recipes in-between exposures, and have two different recipes in one image—I didn’t do that here. Clarity is disabled for cameras with the Clarity feature. If you shoot RAW+JPEG, I’m not certain if older cameras will keep a RAW file for each exposure, but newer cameras will; however, the double exposure itself will not have a RAW file, you only get a JPEG.

Once your camera is all set up, and you’re ready to go capture some pictures, you’ll have to find some interesting subjects to photograph. The easy way to get artful double exposure images is to photograph two opposing things. For example, the picture at the very top of this article combines leaves and metal. You can look for smooth and rough. Manmade and natural. Cool and warm. Soft and hard. Bright and dark. Find two things that don’t seem like they should belong together, and use those for your double exposure image. You certainly don’t have to limit yourself to that—it’s simply a starting point. Not all of your ideas will work well, but some will—keep experimenting, and you’ll get some good pictures. I like to think of one exposure as being the main image, and the other as texture.

Average

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

Let’s look closer at some techniques if you are using an X-Pro3 or newer camera and select Average, or a camera that’s older than the X-Pro3 (which uses Average). What I like about Average is that you can achieve a more painterly effect with it—almost impressionist.

In my experience, the main image of the two exposures needs to be exposed brighter than the secondary exposure. For example, in the picture above, the leaves (first exposure) were exposed more than the road (second exposure). The camera will produce a fairly flat photograph, so to make the main subject stand out more you will want to consider making it a little brighter than the background, adjusting exposure compensation between shots. Thankfully, the camera will show you exactly what you’ll get, and you can adjust the exposure compensation to be exactly as you want before you even capture the second exposure. The Ferrania Solaris FG 400 film simulation recipe that I used for these pictures has only moderate contrast, and using a more contrasty recipe will produce a less flat photo. Best case scenario is a contrasty scene captured with a contrasty recipe.

Using Average is the easiest way to get good double exposure results. It still can be tricky, but it is more obvious what you need to do with each of the two exposures to get what you want. Let’s look at some examples:

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.
In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.
In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

The top image is a combination of a wild plant of some sort and a large stone (which filled the entire frame). The middle image is a combination of a stump with autumn leaves on it and a flowing creek (looking down from a bridge). The elements in the last image are a little more obvious, and is more of an example of mediocre results. In my experience, it’s more common to get mediocre results than great pictures, but if you keep trying and keep creating, you’ll definitely get some double exposure photographs that you’ll love.

Below is an example of two exposures that made a final double exposure image using Average. You can see that the leaves are brighter in the first exposure (not overexposed, though), and the rusted metal is darker in the second exposure (slightly underexposed). In the double exposure picture, the two images are combined into a lower contrast photograph that’s almost painterly. If the first picture had been exposed 1/3 stop brighter, the leaves would have been slightly brighter in the double exposure image (but not by a 1/3 stop). When you carefully select the subjects to combine, you can make them more compelling together than they are as separate images.

First exposure.
Second exposure.
In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

Additive

In-Camera Double-Exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

Additive is an option only found on X-Pro3 and newer cameras. I like Additive because you can get brighter, slightly less flat images than using Average, yet the results are fairly similar. I find it to be less painterly, and more like double exposure images on film.

Additive is trickier to use. Since each exposure is added onto the previous ones, two correctly exposed images will make one very overexposed double exposure picture, which means that both exposures need to be underexposed significantly—one to two stops, sometimes more. The camera will not show you exactly how bright the double exposure image will be until after both images are captured, so you’ll have a lot more failures with Additive than Average. Like Average, you’ll likely want the main exposure to be a little brighter than the secondary exposure. There’s certainly a lot of potential for creative concepts with Additive, but be sure to give yourself more grace. I guess you could say that Additive has more potential for greatness and failure simultaneously. Let’s look at some examples:

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.
In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.
In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

The top picture in this group was an early attempt. Maybe I’d title it The Nature of Music but I don’t think it’s anything profound. What I like about the second picture is that it is fairly dark, yet the flowers really stand out. The third photo is a simple cinderblock wall and a tree stump, which could have some metaphoric meaning.

Below is an example of two exposures that made a final double exposure image using Additive. You’ll notice that both exposures are pretty dark, especially the second one, yet the double exposure image is fairly bright, bordering overexposure. I probably should have reduced the exposure of one or maybe both images by 1/3 stop. The method to achieve good results is definitely different and more difficult with Additive, and the trick is to underexpose.

In-camera double exposure using Fujifilm X-E4 & Ferrania Solaris FG 400 recipe.

Conclusion

The quick and easy way to get artful double exposure photographs from your Fujifilm camera:
– Use a film simulation recipe. Often higher-contrast recipes do better than lower-contrast ones.
– If your camera is newer—no older than the X-Pro3—choose either Average or Additive. Average is easier. For Additive, be sure to underexpose.
– Set the camera to Multiple Exposure, which you access via the top plate or Drive button, depending on your model.
– Choose two subjects that are opposing in some way.
– Expose the “main” image more (brighter) than the “secondary” image.
– Don’t be afraid to retry if the results aren’t as good as you’d like them to be.
– Don’t be afraid to really experiment and try things just to see what happens.

Double exposure photography can be a fun and rewarding experience. It doesn’t have to be difficult to achieve good results—in fact, Fujifilm cameras make it pretty easy, no matter your model. I believe that anyone can do it, and whether you are experienced or a beginner, it’s worth trying. If you’ve never done it before, try double exposure photography the next time you are out with your camera.

Fujifilm X-Trans III + X-T30 & X-T3 Film Simulation Recipe: Eterna Bleach Bypass

Flowing Stream – Layton, UT – Fujifilm X-T30 – “Eterna Bleach Bypass”

Lately I’ve been really enjoying the new Eterna Bleach Bypass film simulation found on the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. It occurred to me that those with “older” cameras, like X-Trans III and the X-T30 and X-T3, are missing out, so I wanted to do something about it. Now back in May I created a recipe for these cameras called Chrome Bypass that sort of fulfills this, but it wasn’t an attempt necessarily at mimicking the Eterna Bleach Bypass film simulation; however, I used it as a starting point for this recipe. After much adjusting and experimenting, I decided that this was the closest that I could get to Eterna Bleach Bypass for those without it.

The Eterna Bleach Bypass film simulation is intended to resemble cinematic film that’s had the bleach skipped during development. It has low-saturation and high-contrast, and almost a silvery aesthetic. This recipe isn’t a 100% match to the film simulation, but it’s as close as you’re likely to get. And it produces some really nice results—I very much enjoyed using it!

Sunset Snow – Farmington, UT – Fujifilm X-T30 – “Eterna Bleach Bypass”

This recipe is intended for those who have a Fujifilm X-Pro2, X100F, X-E3, X-H1, X-T2, X-T20, X-T30, or X-T3 camera. If you have an X-Pro3 or X100V, you can use this recipe, too, but you’ll have to decide what Grain size you want (either Small or Large). Those with an X-T4, X-S10, X-E4, or X-T30 II can also use this recipe (after deciding on Grain size), but I would recommend the Ferrania Solaris FG 400, Muted Color, Silver Summer, or LomoChrome Metropolis recipes instead, which use the Eterna Bleach Bypass film simulation.

PRO Neg. Std
Dynamic Range: DR400
Highlight: +3
Shadow: +3
Color: -4
Color Chrome Effect: Off or N/A
Sharpness: 0
Noise Reduction: -4
Grain Effect: Weak
White Balance: Incandescent, +8 Red & -9 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Sample photographs, all camera-made JPEGs, captured with a Fujifilm X-T30 using this “Eterna Bleach Bypass” film simulation recipe:

Warning Falling Bike – Farmington, UT – Fujifilm X-T30
Lost Mouse Hat – Layton, UT – Fujifilm X-T30
November Leaves – Fruit Heights, UT – Fujifilm X-T30
Leaves Along the Autumn Path – Fruit Heights, UT – Fujifilm X-T30
Path Covered in Autumn Leaves – Fruit Heights, UT – Fujifilm X-T30
Fallen Tree Across the Gap – Fruit Heights, UT – Fujifilm X-T30
Yellow Leaves in the Forest – Fruit Heights, UT – Fujifilm X-T30
Red Leaves in the Forest – Fruit Heights, UT – Fujifilm X-T30
Little Red Berries Dangling – Layton, UT – Fujifilm X-T30
Last to Go – Layton, UT – Fujifilm X-T30

Find this film simulation recipe and nearly 200 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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Fuji X Weekly will be Live with Fujifilm Today!

I am the special guest today on Fujifilm’s Live Weekly Tech Webinar! If you have some free time today at 5PM Eastern, 2PM Pacific, please join us as we “talk shop” about Fujifilm cameras and settings. They describe the program as informal yet informative nerdiness for your photographic soul. If you are interested, click here for more information. I hope to see you in a few hours!

If the terms “analog” or “SOOC” make your ears perk up, you’ve found the right edition of Tech Talk Weekly Webinar. This week the Fujifilm tech team is joined by Ritchie Roesch of Fuji X Weekly. If you aren’t familiar check out the website https://fujixweekly.com or find the app available on Android and IOS. Join us to hear about this awesome community based project, built around Fujifilm cameras and designed to allow for some amazing in camera creativity. Bring your camera, your questions, and join us for this informal yet informative photo nerd session.

Best Fujifilm Cameras For Beginners

If you are looking for your first Fujifilm camera, it can be difficult to know which one to buy. Perhaps this will be your first “serious” camera. Or maybe you’ve had a different brand of camera for awhile, but you don’t use it all of the time, and you’re not all that experienced with it. It could be that you’re interested in a Fujifilm camera because you want to try my film simulation recipes. This article is intended to help you with your buying decision.

I’m making a few assumptions with this post: you’re in the market for a new camera, you want a camera that’s easy-to-use yet you can grow with, and you’re on a limited budget. Maybe those assumptions are incorrect for you, but I bet they’re true for many of the people who this article was intended for. My hope is that this post will give you some clarity.

So let’s look at a few Fujifilm cameras!

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Fujifilm X-S10

The X-S10 is a mid-range mirrorless offering from Fujifilm that’s great for both still photography and video. It doesn’t have all the typical retro stylings and controls that most Fujifilm cameras are known for, but if you have some experience (even if just a little) shooting DSLRs or mirrorless cameras from other brands, this camera will likely feel more natural to you, and the learning curve will be just a little easier. It’s an extraordinarily capable model, and will keep up with you as you become a better photographer. If you are looking for the best budget Fujifilm camera for video, look no further, as the video-centric X-S10 is well-regarded for it’s cinematic capabilities. The camera retails body-only for $1,000, or $1,500 bundled with the Fujinon 16-80mm lens.

I recommendation the Fujifilm X-S10 camera if:
– You have some experience with a different brand and want the easiest transition to Fujifilm.
– You will be doing a lot of videography.

I don’t recommend the Fujifilm X-S10 camera if:
– You want the full Fujifilm retro experience.
– You are on a tight budget.

Buy the Fujifilm X-S10 here:
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Fujifilm X-T30

The Fujifilm X-T30 is a great retro-styled mid-range mirrorless camera, but it is a couple years old now. Despite having the same X-Trans IV sensor and processor as all of the other models in this list, it is more like a previous generation camera. Don’t get me wrong: the X-T30 is an excellent option. I have this camera and use it frequently (you can read my review of the X-T30 here). Of all the cameras in this list, the X-T30 is the one I recommend the least, but I do still recommend it. It’s a solid option for both stills and video, but it is beginning to feel slightly dated. The camera retails body-only for $900, or $1,300 bundled with the Fujinon 35mm f/2 lens or Fujinon 18-55mm lens; however, it might be possible to find it discounted.

I recommendation the Fujifilm X-T30 camera if:
– You like the retro-styling.
– You can find it on sale.

I don’t recommend the Fujifilm X-T30 camera if:
– Having the latest and greatest is important to you.
– You’ll be primarily using it for video.

Buy the Fujifilm X-T30 here:
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Fujifilm X-T30 II

The Fujifilm X-T30 II is a minor update to the X-T30, but if you plan to use film simulation recipes and/or use the camera for video, the new model has some important features that make it worth choosing. The X-T30 and X-T30 II share the same sensor and processor, but are basically two different camera generations. Not surprising, the new version is better. The camera retails body-only for $900, or $1,000 bundled with the Fujinon 15-45mm lens, and $1,300 bundled with the Fujinon 18-55mm lens; however, the X-T30 II isn’t out just yet, but it is available for preorder.

I recommendation the Fujifilm X-T30 II camera if:
– You want the best mid-range retro-styled Fujifilm model.
– You will be doing both still photography and videography.

I don’t recommend the Fujifilm X-T30 II camera if:
– You need a camera right away.
– You can find the original X-T30 on sale for significantly cheaper.

Buy the Fujifilm X-T30 II here:
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Fujifilm X-E4

Fujifilm doesn’t currently have any low-budget entry-level models—the Bayer-sensor cameras, which serve this purpose, have all been discontinued, at least for now—so the X-E4 currently sits at the bottom of the roster, but, make no mistake, this is a mid-tier camera, similar to the ones above, and not low-end. While the X-E4 sits at the bottom, it is actually my top recommendation, with one exceptions: If you will be doing a lot of video, the X-E4 has some limitations that the X-T30 II and (especially) the X-S10 do not. Otherwise, my best suggestion for those in the market for their first Fujifilm camera is the X-E4. The camera isn’t perfect (you can read my review of the X-E4 here), and perhaps Fujifilm went slightly too minimalistic with it, but it is a pretty darn good option, and an excellent choice for someone wanting an uncomplicated camera that will grow with them as they become better and more experienced. The X-E4 retails body-only for $850, or $1,050 when bundled with the Fujinon 27mm lens.

I recommendation the Fujifilm X-E4 camera if:
– You want the cheapest mid-range retro-styled Fujifilm model.
– You want an uncomplicated option.

I don’t recommend the Fujifilm X-E4 camera if:
– You will be primarily using it for video.
– You think you’ll want a lot of programable buttons and dials.

Buy the Fujifilm X-E4 here:
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Additional Thoughts

Obviously, if this will be your first Fujifilm camera and you are on a tight budget, you are going to need a lens—a body-only option won’t likely be your best bet, as you will want a lens bundle. Unfortunately, the X-T30 II bundled with the 15-45mm is the only option if you don’t want to spend more than $1,000. The 15-45mm lens is decent enough for a cheap zoom, but there’s a reason it only costs $100 (when bundled). Also, the X-T30 II isn’t out yet, although you can preorder it if you don’t mind waiting. Your next best bet is the X-E4 bundled with the (excellent) 27mm f/2.8, which is $1,050. The rest of the bundles are $1,300-$1,500, which very well might be above your budget.

If these prices are outside of what you can afford, you might consider a used camera, perhaps an X-Trans II or X-Trans III model. Something like the X-T1, X100F, X-E3, X-T20, or a number of other older cameras are good options. The used route is a good way to get into the system without breaking the bank.

If, by chance, you can afford a $1,400 camera, I have one more recommendation for you.

Fujifilm X100V

The Fujifilm X100V is my “desert island” model—if I could only have one camera, it would be this! I love mine (you can read my review of the X100V here), as it’s such an excellent camera. The X100V has a fixed lens, so you don’t need to go out and buy one, although the lack of interchangeable capability is a limitation you’ll have to consider carefully. Of all of the cameras in this list, the X100V would be considered the most “premium” of the group. The camera retails for $1,400.

I recommendation the Fujifilm X100V camera if:
– You want the most enjoyable Fujifilm experience.
– You want a compact option.

I don’t recommend the Fujifilm X100V camera if:
– You have a limited budget.
– You don’t think you’d like the limitation of a fixed lens.

Buy the Fujifilm X100V here:
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When is Film Simulation Bracket Actually Useful?

All Fujifilm X cameras have a feature called Film Simulation Bracket. Select three different film simulations, and the camera will process each exposure as three different images using whichever film simulations you selected. Unfortunately, with Film Simulation Bracket, you cannot change any other parameter, only the film simulation. This means that the camera will not apply three different Film Simulation Recipes. When Fujifilm designed this feature, I’m sure that they were unaware of how people would be using their cameras, and Film Simulation Bracket definitely demonstrates that. Instead of what it is, it should be Custom Preset Bracket—you pick three different C1-C7 presets, and the camera will generate an image using each with every exposure. That would be amazing! But, sadly, that’s not an option. I’ve never really liked or used Film Simulation Bracket until recently, and I discovered that it can sometimes be a useful tool.

In this article we will look at what Film Simulation Bracket is, how to use it, and when it is a useful feature.

Note: this was a Creative Collective article that required a subscription, but it is now available to everyone!

Every Fujifilm X-series camera has Film Simulation Bracket built-in, but how to access it and set it up is different depending on your model. If your camera has a Drive button, push it, then scroll down to Film Simulation BKT. Next, push the Menu button, go to the Shooting Menu, and find Film Simulation BKT, then select the three film simulations you want to use. If your camera has a Drive Mode Dial on the top plate, select BKT on the dial. Next, push the Menu button, go to the Shooting Menu, choose Drive Setting, then BKT Setting, then BKT Select, then Film Simulation BKT, and then select the three film simulations that you want to use. If you are having trouble, I recommend Googling your camera’s users manual. Fujifilm has made it pretty easy to navigate their digital manuals, and you shouldn’t have much trouble finding it. For example, if you search for the Fujifilm X100V user manual, you’ll quickly locate it. Under The Shooting Menus, you’ll see Shooting Setting, and when you click that you’ll find Film Simulation BKT.

Once your camera is in the Film Simulation Bracket Drive Mode, and you have your three film simulations selected, you’re good to go shoot. Well, sort of. What about all of the other settings? We’ll talk a little more about this in a bit, but I wanted to touch on a few things first.

RAW is only available when using Film Simulation Bracket on X-Trans III and newer. So some cameras, like the X-Pro1 and X-T1, can only record JPEGs when using this function. On newer cameras, you’ll not only get one RAW file, but you’ll get three! That means for every exposure, you’ll have six images recorded to the memory card: three RAW files plus three JPEGs. This is an odd quirk of Film Simulation Bracket.

Another thing to note is that Clarity (for those cameras that have Clarity) is disabled when using Film Simulation Bracket. If you shoot RAW+JPEG, you can reprocess the RAW files in-camera (or using X RAW Studio) to apply Clarity after-the-fact if you’d like.

You can program one film simulation recipe into your camera when you use Film Simulation Bracket, and one image captured will be of that recipe, and the other two images will also be that recipe, but with a different film simulation applied. Sometimes this can produce good results. For example, Kodachrome II and Ektachrome 100SW are essentially the same recipes, just with different film simulations (Classic Chrome and Velvia respectively). Sometimes this can produce not-so-good results, like when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative on the Agfa Vista recipe. Let’s look at a couple of examples of this:

Fujifilm X-Pro1 – Vivid Color recipe – Velvia
Fujifilm X-Pro1 – Vivid Color recipe – Provia
Fujifilm X-Pro1 – Vivid Color recipe – PRO Neg. Hi
Fujifilm X-T1 – Kodacolor 200 recipe – Classic Chrome
Fujifilm X-T1 – Kodacolor 200 recipe – PRO Neg. Std
Fujifilm X-T1 – Kodacolor 200 recipe – Monochrome

In the first set, I used the Vivid Color recipe as the base, setting the three film simulations to bracket as Velvia (which is what the recipe calls for), Provia, and PRO Neg. Hi. In my opinion, Provia and PRO Neg. Hi produced so-so results—not terrible, but not great, either. In the second set, I used the Kodacolor 200 recipe as the base, setting the three film simulations to bracket as Classic Chrome (which is what the recipe calls for), PRO Neg. Std, and Monochrome. I thought that Monochrome looked pretty good, and that is certainly a good companion to the Kodacolor 200 recipe. PRO Neg. Std was alright, and I can see some people liking it. With this experiment, the second set was more of a success than the first.

What’s great about this experiment is that you can accidentally stumble into great looks by simply applying a different film simulation to an already existing recipe. For example, this is how I discovered the Elite Chrome 200 recipe. Using Film Simulation Bracket, I programmed the base with my Fujicolor Superia 800 recipe, which uses Classic Negative, and I set Classic Chrome and Astia as the other two options. I didn’t care for the Astia version, but I really liked the Classic Chrome images, and it quickly became an official recipe. It’s really fun when you get an unexpectedly good result while experimenting with this feature.

Master Master – Clearfield, UT – Fujifilm X-E4 – “Elite Chrome 200”

I really wanted to have three good pictures produced from using Film Simulation Bracket. I wanted each of them to have a unique look. The film simulations aren’t always that much different from each other, and the subtle differences aren’t always immediately obvious. What’s the point in producing three only slightly different images? Since all of the settings (aside from film simulation) were going to be identical, I needed to carefully choose three film simulations that were obviously different. But each also had to look good with those otherwise identical settings.

I knew exactly where to start: Kodak Portra 400 v2. Why? Not only because it is one of my favorite recipes, but because another favorite recipe of mine is identical to it except for the film simulation: Vintage Vibes. Kodak Portra 400 v2 uses Classic Chrome while Vintage Vibes uses Classic Negative, and aside from that they are identical. I just needed to figure out which film simulation would look good with these same settings. I tried a couple, but didn’t care for the results. Then I programmed Eterna Bleach Bypass into my Fujifilm X-E4 as the third film simulation. Bingo! That’s the winner! I call this new recipe Ferrania Solaris FG 400.

The three photos at the very top of this article are examples of using these three recipes with Film Simulation Bracket. The first is Kodak Portra 400 v2, the second is Vintage Vibes, and the third is Ferrania Solaris FG 400. Let’s look at a couple more examples:

Kodak Portra 400 v2
Vintage Vibes
Ferrania Solaris FG 400
Kodak Portra 400 v2
Vintage Vibes
Ferrania Solaris FG 400

Of course, there’s still the issue of Clarity. I have to reprocess the RAW files in-camera to apply Clarity. If I didn’t use Film Simulation Bracket, and simply captured one image using the Kodak Portra 400 v2 recipe, I could just as easily reprocess the RAW in-camera to create a Vintage Vibes and Ferrania Solaris FG 400 version. So what’s the point?

There are two circumstances where I feel that Film Simulation Bracket is actually useful. First, if you have an X-Trans III, X-T3 or X-T30 camera, and if there were three recipes that used different film simulations but were otherwise identical (there’s not currently), this would be a good way to get three different looks from the same exposure—creating these recipes is something that I’ll challenge myself to do. This is also possible with older sensors or Bayer, but it’s maybe just a little less practical. For newer X-Trans IV cameras, ignoring Clarity (or, in the case of the three recipes mentioned above, maybe using a diffusion filter in lieu of Clarity) might be a good strategy. Second, Film Simulation Bracket is great for discovery. The Elite Chrome 200 and Ferrania Solaris FG 400 recipes are direct results from experimenting with this tool. It’s something I’ll definitely do more of in the coming days, weeks, and months, just for the fun of it.

I enjoyed trying Film Simulation Bracket for the serendipity of it. You don’t know what you’ll get when you use a different film simulation with a recipe until you try. A lot of times the results are mediocre. Sometimes the results are terrible. Occasionally the results are great, which makes experimenting with Film Simulation Bracket worth it. I invite you to try it yourself, just to see what you get.