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Fujifilm X-Trans IV Film Simulation Recipe: Moody Monochrome

Posted on April 5, 2022 by Ritchie Roesch

*Apocalyptic Pavillion* – Layton, UT – Fujifilm X100V – “Moody Monochrome”

Of the different faux filter options for Acros, +Y is the one I use the least. I think it goes back to my film days when I used color filters with B&W film. I would select Orange or Red before Yellow, because Yellow is fairly subtle, but the advantage of the Yellow filter is that it doesn’t block as much light. Of course, the faux filters on Fujifilm cameras don’t affect the exposure like real filters with film. Anyway, recognizing that I infrequently use Acros+Y, I set out to make a Film Simulation Recipe that uses +Y and produces an aesthetic that I like. I think it is important to challenge myself sometimes, so if there’s some setting or gear or option that I don’t use often, forcing myself to use it helps me to grow as a photographer. That’s why I made this recipe.

I wanted something with an overall darker curve, so that it would produce a moody look. Maybe deep blacks reminiscent of Tri-X, and maybe a push-process feel. I didn’t have any specific film in mind, but I’m reminded of this time that I push-processed a roll of Ilford Delta 400, but inadvertently got it wrong—I underexposed two stops, and only had the lab push it by one stop, so the pictures were largely underexposed, and they were darker and moodier (yet less contrasty and grainy) than I had intended. This isn’t exactly the same as that, but not too dissimilar, either, so that’s why I call this recipe Moody Monochrome.

*Early Blossoms* – Farmington, UT – Fujifilm X100V – “Moody Monochrome”

Because this film simulation recipe uses Clarity, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. If you have an X-T3 or X-T30 or X-Trans III camera, ignore Clarity and Grain size, and use a diffusion filter, like a 10% CineBloom or 1/4 Black Pro Mist, to get similar results.

Acros+Y
Dynamic Range: DR400
Highlight: -1
Shadow: +4
Noise Reduction: -4
Sharpness: -2
Clarity: -3
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: Fluorescent 3, -4 Red & -9 Blue
ISO: 3200
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Moody Monochrome” Film Simulation Recipe on my Fujifilm X100V:

*Stop West* – Farmington, UT – Fujifilm X100V

*Watch For Falling Bikes* – Farmington, UT – Fujifilm X100V

*Sun Beams* – Layton, UT – Fujifilm X100V

*Tower in the Middle of Nowhere* – Layton, UT – Fujifilm X100V

*Path Through The Grass* – Layton, UT – Fujifilm X100V

*Wetland Boardwalk* – Layton, UT – Fujifilm X100V

*Wetland Grass* – Layton, UT – Fujifilm X100V

*Creek in the Trees* – Farmington, UT – Fujifilm X100V

*Creek, Stick & Vines* – Farmington, UT – Fujifilm X100V

*Log Above The Water* – Farmington, UT – Fujifilm X100V

*Grey Brush* – Farmington, UT – Fujifilm X100V

*Cat on a Log* – Farmington, UT – Fujifilm X100V

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Fujifilm X-H1 (X-Trans III + X-T3 & X-T30) Film Simulation Recipe: Analog Monochrome

Posted on January 5, 2022 by Ritchie Roesch

*Old Tractor 15* – Farmington, UT – Fujifilm X-H1 – “Analog Monochrome”

This film simulation recipe began as an attempt to fulfill a need. You see, there are many Fujifilm cameras (like the X-H1) that are not capable of saving the White Balance Shift within Custom Presets, but there’s a solution: if each Custom Preset uses a different White Balance type, the camera will remember one White Balance Shift per type, and you won’t have to remember to adjust the shift when switching presets. This makes the camera experience more enjoyable.

The problem is that most film simulation recipes use the Auto, Daylight, or Kelvin White Balance types, and you have seven Custom Preset slots. The remaining White Balance types have a limited number of choices. Prior to this recipe, Incandescent had only one option: Eterna Bleach Bypass. Now, if you are using this solution, you can choose either this Analog Monochrome recipe or the Eterna Bleach Bypass recipe—one color and one B&W—for one of your C1-C7 slots.

*Doll* – Bountiful, UT – Fujifilm X-H1 – “Analog Monochrome”

I didn’t model this Analog Monochrome recipe after any specific film. Instead, I simply set out to create some settings that look good. This recipe has nice contrast with deep blacks, and whites that are bright yet don’t easily clip. I set Grain to Weak for a clean look, but feel free to try Strong for a grittier look. I feel that it has a very nice classic B&W film aesthetic that some of you will really appreciate.

Acros+G
Dynamic Range: DR400
Highlight: +1
Shadow: +3
Noise Reduction: -4
Sharpening: -1
Grain Effect: Weak
White Balance: Incandescent, -8 Red & -8 Blue
ISO: Auto up to ISO 12800
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Analog Monochrome” film simulation recipe on my Fujifilm X-H1:

*Minolta SRT303b* – Farmington, UT – Fujifilm X-H1

*Car Console* – Farmington, UT – Fujifilm X-H1

*Jon Smiling for the Camera* – Farmington, UT – Fujifilm X-H1

*Joy Laughing at a Funny Message* – Farmington, UT – Fujifilm X-H1

*Horse Close Up* – Farmington, UT – Fujifilm X-H1

*You Shall Not Pass* – Layton, UT – Fujifilm X-H1

*Jesus Loves You!* – Farmington, UT – Fujifilm X-H1

*Friendly Neighborhood Snowman* – Farmington, UT – Fujifilm X-H1

*Winter Walking Path* – Farmington, UT – Fujifilm X-H1

*Farmington Creek in Winter* – Farmington, UT – Fujifilm X-H1

*Three Ducks in the Creek* – Farmington, UT – Fujifilm X-H1

*Snow and Creek* – Farmington, UT – Fujifilm X-H1

*Winter Tree* – Farmington, UT – Fujifilm X-H1

*Stump In Snow* – Farmington, UT – Fujifilm X-H1

*Wild Grass in Snow* – Farmington, UT – Fujifilm X-H1

*Melting Snow In The Tall Grass* – Farmington, UT – Fujifilm X-H1

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Fujifilm X-H1 (X-Trans III) Film Simulation Recipe: Ilford XP2 Super 400

Posted on December 11, 2021 by Ritchie Roesch

*Freightliner* – Farmington, UT – Fujifilm X-H1 – “Ilford XP2 Super 400”

I was asked to create a film simulation recipe for Ilford XP2 Super 400 monochrome film. This is a currently-available black-and-white negative film that’s designed to be in developed in color negative (C41) chemistry. While this is unusual it’s definitely not unique. I’ve shot with some of these films before (namely Kodak BW400CN), and they’re surprisingly good, but a disadvantage is their archival characteristics. While I’ve used many Ilford films in the past (Delta 100 and Delta 400 were my two favorites back in the day), I’ve never shot with XP2 Super, and so I have no firsthand experience with it. Thankfully, I was able to find some good sample images (and other information) to help with the process. The film is somewhat contrasty and bright with fairly fine grain. It can be shot anywhere from ISO 50 to ISO 800, although ISO 400 is what Ilford suggests to shoot it at; whatever ISO you choose will affect the exact outcome.

I wasn’t having good luck with this recipe at first, but as I experimented, I stumbled into what I believe is a fairly accurate facsimile to the film. The White Balance settings (combined with Acros+R) turned out to be the key. Getting the exposure correct can sometimes be tricky, depending on the light and scene, so that’s why the “typical” exposure compensation is such a wide range.

*Farmington Train Station* – Farmington, UT – Fujifilm X-H1 – “Ilford XP2 Super 400”

This “Ilford XP2 Super 400” film simulation recipe is compatible with all X-Trans III cameras, plus the X-T3 and X-T30. If you have a newer X-Trans IV camera, you can use this recipe, but you’ll have to decide on the Grain size (I suggest Small).

Acros+R
Dynamic Range: DR400
Highlight: -1
Shadow: +4
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
White Balance: 10000K, +7 Red & +7 Blue
ISO: Auto up to ISO 12800
Exposure Compensation: -2/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Ilford XP2 Super 400” film simulation recipe on my Fujifilm X-H1:

*Francis Peak on a Sunny Day* – Farmington, UT – Fujifilm X-H1

*Waterway* – Farmington, UT – Fujifilm X-H1

*Reed by the Lake* – Farmington, UT – Fujifilm X-H1

*Swan Season Closed* – Farmington, UT – Fujifilm X-H1

*Do Not Block Access* – Farmington, UT – Fujifilm X-H1

*Boat Launch Area* – Farmington, UT – Fujifilm X-H1

*Littering Prohibited* – Farmington, UT – Fujifilm X-H1

*Long Road to Nowhere* – Farmington, UT – Fujifilm X-H1

*Rural Tractor* – Farmington, UT – Fujifilm X-H1

*Cat & Honey Bucket* – Farmington, UT – Fujifilm X-H1

*Caterpillar* – Farmington, UT – Fujifilm X-H1

*Tractor* – Farmington, UT – Fujifilm X-H1

*Lamp & Side Mirrors* – Farmington, UT – Fujifilm X-H1

*Empty Benches* – Farmington, UT – Fujifilm X-H1

*Tracks with no Train* – Farmington, UT – Fujifilm X-H1

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Fujifilm X100V (X-Trans III + X-Trans IV) Film Simulation Recipe: Monochrome Negative

Posted on August 25, 2021 by Ritchie Roesch

*Windows Within Windows* – Salt Lake City, UT – Fujifilm X100V – “Monochrome Negative”

It’s been awhile since I created a black-and-white film simulation recipe. Part of it is that my favorite recipe is Kodak Tri-X 400, and I often choose to shoot with that. Another factor is that the differences between monochrome recipes are often much more subtle than color. For this, I didn’t start out with the intention of making a black-and-white recipe—in fact, it began with Classic Negative—and I wasn’t satisfied with the look, so I switched to Acros, and immediately liked what I saw. A few small changes later, and this recipe was born. It’s not modeled after any specific film, so I named it Monochrome Negative, as it does have a nice film-like quality to it.

The trick to this film simulation recipe is underexposure. I found myself most often lowering the exposure by 1/3 or 2/3 stops (many of my recipes often call for the opposite). Highlight set to +3 will keep the image bright, while the underexposure will deepen the shadows and provide good contrast. Obviously each exposure should be judged individually, so don’t be afraid to deviate from this advice.

*Happy Birthday Glasses* – Farmington, UT – Fujifilm X100V – “Monochrome Negative”

This recipe was designed on and intended for the Fujifilm X100V, which has a newer X-Trans IV sensor, but because I didn’t use any of the new tools, such as Clarity and the Color Chrome Effects, this recipe is compatible with all X-Trans III & IV cameras. On X-Pro3 and newer, choose Grain size Small; on all other cameras, which don’t have Grain size as an option, simply select Grain Strong. If your camera has the Acros film simulation, you can use this recipe!

Acros (+Y, +R, +G)
Dynamic Range: DR400
Highlight: +3
Shadow: 0
Noise Reduction: -4
Sharpening: -2
Clarity: 0
Grain Effect: Strong, Small (Strong for those cameras without Grain Size)
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: Daylight, 0 Red & 0 Blue
ISO: Auto, up to ISO 12800
Exposure Compensation: 0 to -2/3 (typically)

Example photographs, all camera-made JPEGs using this “Monochrome Negative” film simulation recipe on my Fujifilm X100V:

*1104B* – Salt Lake City, UT – Fujifilm X100V

*Withering Flowers Along a Wall* – Farmington, UT – Fujifilm X100V

*City Roses* – Farmington, UT – Fujifilm X100V

*Backlit Turning Leaves* – Farmington, UT – Fujifilm X100V

*Pikachu is a Little Hungry* – Farmington, UT – Fujifilm X100V

*Space Fish* – Farmington, UT – Fujifilm X100V

*Release* – Farmington, UT – Fujifilm X100V

*Geese by a Tackle Box* – Farmington, UT – Fujifilm X100V

*Do or Don’t Follow the Crowd* – Farmington, UT – Fujifilm X100V

*Approaching Storm* – Antelope Island SP, UT – Fujifilm X100V

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Film Simulation Review: Changing Light, Part 2: Ilford HP5 Plus

Posted on May 26, 2020 by Ritchie Roesch

Clouds On Top – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

Changing Light, Part 1: Velvia

I get asked sometimes how do I decide between color and black-and-white. I don’t remember where I heard this, but a long time ago somebody told me that if color is important to the scene then it should be a color picture, and if it’s not it should be black-and-white. Back then you had to make this decision before loading your camera with 24 or 36 exposures. Nowadays you can wait until after capturing the picture before deciding, although I find it best to choose before making the exposure.

Color pictures are (primarily) about three things: light, shadow and color. Black-and-white pictures are (primarily) about two things: light and shadow. It’s easy to see that if color isn’t an essential element to the picture, then it only serves as a distraction to light and shadow; however, that’s an oversimplified way of looking at it. There are many different color theories, and whether color is important or unimportant is highly subjective. One thing is for certain: black-and-white pictures are about light and shadow and those in-between grays.

Whenever I photograph in monochrome my mentality changes. They way that I look at the scene is different. When I photograph in color, I look for color. When I photograph in black-and-white, I look for tones. That’s why it’s important for me to decide before capturing the picture whether it will be color or not. For the pictures in this article, I decided that they needed to be monochrome. I chose my Ilford HP5 Plus film simulation recipe because I thought it would offer me the right amount of contrast. It’s not my most contrasty black-and-white recipe, but it has a good amount of contrast—not too much or too little. I think it was a great choice for these scenes.

I captured these pictures over the last several days from my house. I didn’t go anywhere. There were a lot of clouds and the light on the mountain was constantly changing. Oftentimes it was rather dull, but sometimes it was amazing! The camera I used was a Fujifilm X-T30. Most often I used a Fujinon 100-400mm lens, but occasionally I used a Fujinon 90mm. These longer focal lengths allowed me to “bring close” the mountain, making it appear as though I was in them, and not at a distance. Sometimes you don’t have to go anywhere to capture interesting pictures. That’s especially true if you have a great view where you are.