Acros | FUJI X WEEKLY

Kodak T-Max P3200 — A Fujifilm Film Simulation Recipe for X-Trans IV & V

A grainy high-contrast B&W Film Simulation Recipe for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2, X-H2s, X-T5, and X-S20.

*Courthouse Butte* – Sedona, AZ – Fujifilm X-T5 – Kodak T-Max P3200 Recipe

“Stop the presses!”

That was the subject of an email I recently received from Anders Lindborg. Longtime Fuji X Weekly readers will immediately recognize Anders, since he invented the Kodak Tri-X 400, Ilford HP5 Plus 400, Ilford Pan F Plus 50, and Ilford FP4 Plus 125 (plus co-created Kodak T-Max 400) black-and-white Film Simulation Recipes—he is, in my opinion, the guru on Fujifilm B&W Recipes. Kodak Tri-X 400 is my all-time favorite Recipe, period. Anders also created the Kodak Gold v2 Recipe, seven Fujicolor Pro 160NS Recipes, seven Fujicolor Pro 400H Recipes, and made an important D-Range Priority discovery. When Anders Lindborg says to stop the presses, I knew to stop the presses!

The story that I found in that email was absolutely incredible! Whether or not you ever use the Film Simulation Recipe that Anders sent to me, the story itself makes this article a worthwhile read. I was (and still am) just blown away by it! It’s funny how life comes full circle in surprising ways sometimes.

*Closed Umbrella* – Phoenix, AZ – Fujifilm X100V – Kodak T-Max P3200 Recipe

“Some years back,” Anders Lindborg wrote me, “I found myself being totally photographically stuck. People liked my photos, but I could feel there was something missing from them and I thought they were still too amateurish. By chance, a photography magazine published an article called Learning How to See in which they mentioned a photographer named John Sevigny, an art teacher at a university in Mexico City. The magazine referenced Mr. Sevigny because he often talked with his students—and had also written some papers—about the subject of the article. Anyway, I started searching the internet and found many articles about him and his work. I also found some of his papers on the subject. Afterwards, I noticed that something gradually happened to my photos, and I realized that I could often see a deeper meaning in random ordinary things, people’s expressions and behavior. It really helped me, and I swore to never forget about this guy.”

“Life is funny,” Anders continued, “and I think I’m slowly starting to believe in this karma stuff. As it happens, awhile back I was contacted out of the blue by no other than John Sevigny himself! He had apparently found my stuff published on Fuji X Weekly very interesting and asked very kindly if I could help him out with the final touches on his upcoming book. The project that he had been working on was really heavy stuff, so he was temporarily burned out and needed some technical assistance, which I gladly provided. After the material for the book was finished, we continued chatting and I’m now proud to call him my friend.”

“After weeks of talking about photography, John mentioned that he really missed shooting with Kodak T-Max P3200 that he used to use all of the time while working as a news photographer. So, he said, how about making a recipe for it? I couldn’t resist, so we started developing it immediately. John provided me with all the information about the emulsion that I could possibly need, including a bunch of his own 25-year-old scans, but most important was his experience of shooting it daily for years. According to John, anytime there was a request for something that was going to be an article inside the newspaper, that’s the film they used since the available light would almost always be ranging from bad to worse. It didn’t matter if it was a sports event or a murder, they used Kodak T-Max P3200. After reading up about it (since I never shot it myself, sadly), I understood why: it was optimized to create sharp and (reasonably) detailed photos in generally bad light.”

*Now Serving Bacon* – Buckeye, AZ – Fujifilm X-E4 – Kodak T-Max P3200 Recipe

“Much care and testing has been put into this recipe by both John and myself,” Anders concluded, “and since John had all this experienced with the film, he had to be the one to officially approve it, which he did. I couldn’t be happier with the results we got from the tests! I actually put his scans in a photo album together with my test shots and the only thing revealing was the lens quality. When using the recipe with a vintage lens, I promise that you’ll have a really hard time telling your photos apart from the real film! Even some of the film’s tell-tale quirks have been replicated.”

Wow! Thank you, Anders Lindborg and John Sevigny, for creating this Kodak T-Max P3200 Film Simulation Recipe and allowing me to share it with the Fujifilm community on Fuji X Weekly—your work is much appreciated! I really love how Fujifilm cameras and Film Simulation Recipes are bringing people together across the world—it’s truly amazing! As great as this Recipe is—and it is great—the story behind it is even better.

Like Anders, I have also (sadly) never shot with Kodak T-Max P3200 black-and-white negative film (I went with Ilford Delta 3200 instead). Originally released in 1988 (the ISO 100 and ISO 400 versions were released two years prior), Kodak discontinued T-Max P3200 in 2012, but reintroduced it (with an “improved” emulsion) in 2018. It’s actually an ISO 800 (some say ISO 1000) film that labs automatically develop with two stops of push-processing, unless you tell them otherwise. But you can shoot it at ISO 800 and not push or ISO 400 and pull one stop (for less contrast) or ISO 1600 and push one stop. Some (brave? crazy? desperate?) photographers even shot it at ISO 6400 and pushed it three stops! Kodak T-Max P3200 can basically be anywhere from an ISO 400 to an ISO 6400 film, and it can go from a fairly flat and fine-grained emulsion to a punchy and gritty film, just depending on how you shot and developed it.

*Yucca Flowers* – Sedona, AZ – Fujifilm X100V – Kodak T-Max P3200 Recipe

With this Kodak T-Max P3200 Film Simulation Recipe, the higher the ISO you shoot with, the more it will resemble shooting the film at a higher ISO and push-processing, and the lower the ISO it will more resemble shooting at ISO 800 and not pushing in development. In other words, you are going to get somewhat different results at ISO 640 than ISO 6400; I especially appreciate how this Recipe looks from ISO 3200 to ISO 12800. You will need to consider if you want a cleaner or more grainy aesthetic, and choose an ISO that will produce those results.

If you have a Fujifilm X-Trans IV camera (X-Pro3, X100V, X-T4, X-S10, X-E4, X-S10, X-T30 II) or X-Trans V (X-H2, X-H2s, X-T5, X-S20, and any other released after publication), I invite you to give this Kodak T-Max P3200 Film Simulation Recipe a try! It’s not compatible with the X-T3 or X-T30 or X-Trans III, unfortunately; however, if you ignore Toning, Grain size, and Clarity, it should still produce good results, so don’t be afraid to give it a try. This Recipe should also work with GFX cameras, although I haven’t tested it and have no firsthand experience if it will look similar or not.

Film Simulation: Acros (or Acros+Y, Acros+R, Acros+G)
Monochromatic Color (Toning): WC -1 & MG -1
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: 5500K, +4 Red & +7 Blue
Dynamic Range: DR400
Highlight: +1
Shadow: +3
Sharpness: +2
High ISO NR: -4
Clarity: +1
ISO: up to ISO 12800
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak T-Max P3200 Film Simulation Recipe on my Fujifilm X-T5, X-E4 and X100V cameras:

*Tall Flower Vine* – Buckeye, AZ – Fujifilm X-E4

*Tiny White Blooms* – Phoenix, AZ – Fujifilm X100V

*Garden Bulb* – Buckeye, AZ – Fujifilm X-E4

*Forest Stream* – Sedona, AZ – Fujifilm X-T5

*38th Way* – Phoenix, AZ – Fujifilm X100V

*Palm in the Contrail Sky* – Phoenix, AZ – Fujifilm X100V

*Tall Cactus* – Phoenix, AZ – Fujifilm X100V

*Highlight & Shadow Leaves* – Buckeye, AZ – Fujifilm X-E4

*Backyard Barrel* – Phoenix, AZ – Fujifilm X100V

*Water Wheel* – Sedona, AZ – Fujifilm X-T5

*Castle Rock* – Sedona, AZ – Fujifilm X-T5

*Jet Above the Rocks* – Buckeye, AZ – Fujifilm X-T5

*Cloud Above the Desert* – Sedona, AZ – Fujifilm X-T5

*Arizona’s High Desert* – Sedona, AZ – Fujifilm X100V

*Oak Creek & Cathedral Rock* – Sedona, AZ – Fujifilm X-E4

*Rocks & Big Sky* – Sedona, AZ – Fujifilm X-E4

*Busy Parking Lot* – Sedona, AZ – Fujifilm X100V

*Sunlit Suburban Tree Branch* – Buckeye, AZ – Fujifilm X100V

*Peaceful Pool* – Phoenix, AZ – Fujifilm X100V

*Josh by the Pool* – Phoenix, AZ – Fujifilm X100V

*Closed Umbrella 2* – Phoenix, AZ – Fujifilm X100V

*Towel on Chair* – Phoenix, AZ – Fujifilm X100V

*Empty Bench* – Phoenix, AZ – Fujifilm X100V

*Please Don’t Litter* – Phoenix, AZ – Fujifilom X100V

*Hoop & Pine* – Phoenix, AZ – Fujifilm X100V

*Bus Rider* – Sedona, AZ – Fujifilm X100V

*Camera Fight 1* – Sedona, AZ – Fujifilm X100V

*Camera Fight 2* – Sedona, AZ – Fujifilm X100V

*Sisters in the Back of the Bus* – Sedona, AZ – Fujifilm X100V

*Lady with Paw-Print Earring* – Phoenix, AZ – Fujifilm X100V

*Joy’s Smile* – Buckeye, AZ – Fujifilm X100V

*Girl Along a Wall* – Phoenix, AZ – Fujifilm X100V

*Preparing Hands* – Phoenix, AZ – Fujifilm X100V

*Sink Full of Dirty Dishes* – Phoenix, AZ – Fujifilm X100V

*Fake Plant* – Phoenix, AZ – Fujifilm X100V

*Table Lamp* – Phoenix, AZ – Fujifilm X100V

*Outdoor Patio Lights* – Phoenix, AZ – Fujifilm X100V

*Betty Elyse* – Phoenix, AZ – Fujifilm X100V

ISO 640 vs ISO 12800:

Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Fujifilm X-E4 in black: Amazon   B&H  Moment
Fujifilm X-E4 in silver:  Amazon B&H  Moment
Fujifilm X100V in black: Amazon   B&H  Moment
Fujifilm X100V in silver: Amazon B&H  Moment

Pentax Has A Monochrome Camera — Fujifilm Should, too!

Posted on April 16 by Ritchie Roesch

Pentax just announced the K3 III Monochrome DSLR. Yes, a black-and-white only camera!

I find a few things intriguing by this. First, a lot of people say that there’s no market for such a camera, that only the Leica enthusiasts with Leica-like budgets will buy a monochrome-only camera. Yet Pentax apparently disagrees. I hope they’re right. It’s certainly a risk that they’re taking, but I think it will do well enough simply based on all the initial hype, which there’s quite a bit of.

The Pentax K3 III Monochrome (such an uninspired name, right?) has a 26-megapixel APS-C sensor inside. Sound familiar? My guess is that it’s the same Sony sensor that’s found in Fujifilm X-Trans IV models, just with the color filter array removed. I could be wrong about that. Perhaps more importantly, this monochrome sensor is clearly available for camera makers to buy, because Pentax is doing so, which means Fujifilm could, too.

The price difference that Pentax is charging for the monochrome vs the regular model is $500. That seems pretty steep, but it’s a niche product, so a premium should be expected. I suspect that Fujifilm would likely charge a similar amount—$300 to $500—for a monochrome version of one of their models, if they were to make one.

I’ve been suggesting for years that Fujifilm should make a dedicated black-and-white camera, and call it the Acros Edition. Why? With an X-Trans sensor, 55% of the light-sensitive sensor elements are recording luminosity information while 45% are recording color information. With a monochrome sensor, 100% of the light-sensitive sensor elements are recording luminosity information. Because of this, you get higher perceived resolution, as pictures will appear more richly detailed, and there’s more shadow latitude, which improves dynamic range and high-ISO capabilities. You can also use color filters just like with black-and-white film. It’s definitely not a camera that everyone will want, but some—myself included—will line up for it the day it is announced.

Basically, it will have only the Acros film simulation, and the same JPEG options as other X-Trans cameras (except no Color or White Balance). I can imagine Fujifilm offering a stronger Grain option than what’s currently available on the other models, and perhaps an Acros Hi and Acros Low, for higher or lower contrast rendering. I’d also like to see a lifted shadow option for a faded look. The X-Pan aspect ratio should absolutely be included. Otherwise, I don’t think too many modifications will be required to the menu.

Hopefully Fujifilm is already working on this. They should be, anyway, but they’re probably not. Ideally, it would be an X-Pro or X100 model, but at this point I’d take any, except for the X-S or X-H lines. Seriously, a Fujifilm X-Pro3 Acros Edition or X100V Acros Edition would be simply incredible! It would definitely catch people’s attention. If Fujifilm wants a WOW product, this is it right here.

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

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

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

Find this film simulation recipes and over 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!

$2.00

Fujifilm Noir

Posted on September 9, 2020 by Ritchie Roesch

Photographer Omar Gonzales made a video about turning your Fujifilm X camera into the Fujifilm Noir, a dedicated black-and-white camera. This post will make much more sense if you watch the video first, so take a moment to do that right now if you haven’t already done so.

Did you watch it? Don’t read anything below until the video is finished!

Done? Okay, let’s move on.

I made my own Fujifilm Noir camera using my X-T30. I have the silver version, so gaffer tape didn’t make a whole lot of sense for the new label that I wanted to attach to the front. I asked my daughter to create something using paper and pencils that might better match the camera. For those wondering, these labels are available for $25 each (only kidding, of course). And, yes, gluing a paper label to a camera is much less heart-stopping than sandpapering a camera.

My Fujifilm Noir is an X-T30 with an Asahi Super-Takumar 55mm f/2 attached to the front. I screwed an 1/2 Black Pro Mist filter to the lens (not pictured, sorry) to further enhance the film-like aesthetic. I shot the camera in manual mode using a black-and-white film simulation recipe that I created just for this project. What’s the film simulation recipe? Well, you’ll find it below!

Acros+G
Dynamic Range: DR200
Highlight: +4
Shadow: +1
Grain: Strong
Color Chrome Effect: Off
Toning: 0
Sharpening: -4
Noise Reduction: -4
White Balance: 2500K, +9 Red & +9 Blue
Exposure Compensation: -2/3 to +2/3 (typically)
ISO 3200

This film simulation recipe was actually an experiment (from when I was creating my B&W IR recipe) that I didn’t love, but I thought it was good enough to use here. I won’t make it an official recipe, this is simply a bonus for you. Feel free to use it in your own photography, as it’s compatible with all X-Trans III and IV cameras. It reminds me of Kodak BW400CN, a black-and-white film that used the C-41 (color) development process. These settings weren’t intended to look like that film, but that’s what it reminds me of.

Kodak BW400CN was not likely ever a popular choice for Noir photography. Noir is French for Black, and Noir photographs are often dark and moody, inspired by 1940’s through 1960’s monochrome crime movies. This recipe isn’t especially Noir, but I used it anyway. There are probably ten different film simulation recipes that are more appropriate for Noir than this one.

I didn’t follow all of Omar’s rules. I shot RAW+JPEG, but only because I used a 2GB memory card, which has enough space for 27 exposures. On a 24-exposure roll of film, you could typically get 25 or 26 frames on it if you were careful. 27 exposures was possible but not commonly achieved (outside of disposable cameras). To make this more of a film-like experience, I used the 2GB SD Card to limit myself to a maximum of 27 exposures, and I refused to change the “film” (recipe) until I had exposed the card. I deleted the RAW files and just used the out-of-camera JPEGs. I got the memory card idea from Fuji X Weekly reader Josh Gagnon.

All of the pictures below were from the first 27-exposure “roll” of “Kodak BW400CN” that I captured using my “Fujifilm Noir” camera. Yes, they’re all camera-made JPEGs, unedited except for some minor cropping here and there.

*Smile* – Farmington, UT – Fujifilm Noir

*Lamp Top* – Farmington, UT – Fujifilm Noir

*Girl, Drawing* – Farmington, UT – Fujifilm Noir

*Tortilla Flour* – Farmington, UT – Fujifilm Noir

*Drink* – Farmington, UT – Fujifilm Noir

*Top Ten* – Salt Lake City, UT – Fujifilm Noir

*Building Stack* – Salt Lake City, UT – Fujifilm Noir

*Building Tree* – Salt Lake City, UT – Fujifilm Noir

*The* *Nature of Structure* – Salt Lake City, UT – Fujifilm Noir

*Campus Skateboarder* – Salt Lake City, UT – Fujifilm Noir

*One of You* – Salt Lake City, UT – Fujifilm Noir

*$5 Pizza Bus* – Salt Lake City, UT – Fujifilm Noir

*Fallen Tree at the Capital* – Salt Lake City, UT – Fujifilm Noir

*Fallen Tree* – Salt Lake City, UT – Fujifilm Noir

*Tree & Stormy Mountain* – Farmington, UT – Fujifilm Noir

Not bad for one “roll” of “film” on my “Noir” camera, right?

Now the ball is in your court! Turn your Fujifilm X camera into a Fujifilm Noir camera and shoot some black-and-white pictures with it! I don’t have any specific rules, but try to give yourself some limitations because limitations improve art. I enjoyed the 2GB card thing. Share with me your Noir pictures using #fujixweekly on Instagram. Let me know in the comments if you like this project and what you think of this “Kodak BW400CN” film simulation recipe!

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!

$5.00

Fujifilm X100V Film Simulation Recipe: Black & White Infrared

Posted on August 11, 2020 by Ritchie Roesch

Stop Here on Infrared – Yellowstone NP, WY – Fujifilm X100V – “Black & White Infrared”

Infrared photographing is capturing light beyond the visible spectrum. It requires special film, or a digital sensor that has had the infrared filter removed. Any digital camera has the potential to be infrared sensitive, but the process isn’t easy or cheap. Full spectrum photography is similar to infrared, but also includes ultraviolet and visible light (not just infrared light). With full spectrum photography you can choose by the use of filters which light you want to capture. You can use filters with infrared, too, to control what light comes through, but not to the extent of full-spectrum. A characteristic of both infrared and full-spectrum in black-and-white is deep contrast, with dark skies and white foliage. One of my favorite photographers is Mitch Dobrowner, who converted his Canon cameras to full-spectrum for dramatic monochrome storm photography.

When I purchased my Fujifilm X-T1, I had the intentions of converting it to full-spectrum, but the cost of the conversion has prevented me from doing it. I still hope to do so, maybe later this year or perhaps next year. We’ll see. But I figured out a way to simulate something that’s in the neighborhood of infrared or full-spectrum on my Fujifilm X100V without any conversions. In the right light and with the right subject, it can be quite convincing! Even though you are only using the visible spectrum of light, it can appear as though you are actually doing infrared photography. Amazing!

Even in situations where this recipe doesn’t resemble infrared or full-spectrum, it will still produce a dramatic, high-contrast look that you might find appealing. Those who have said that Acros+R doesn’t actually resemble the use of a red filter on black-and-white film will appreciate these settings. Many landscape photographers, including Ansel Adams, employed a red filter to achieve a dark sky (for example, Moonrise Over Hernandez).

White Tree Black Sky – West Valley City, UT – Fujifilm X100V – “Black & White Infrared”

The trick is to use a low Kelvin white balance in conjunction with a dramatic white balance shift when using Acros+R. I got the idea from Fuji X Weekly reader James Clinich, who uses between 3800K and 4500K with a 0 Red & +8 shift to achieve a darker sky, which is something you can apply to other B&W recipes if you’d like to better mimic the use of a red filter. I just took his idea a step further to make it even more dramatic for this recipe.

My Black & White Infrared film simulation recipe can be difficult to use. I find that it doesn’t always work well. It can be very tough to gauge the best exposure, and I’ve had to go anywhere from -1 to +3 on the exposure compensation dial to get it right. It’s one of the more difficult to use recipes that I’ve created, yet it is highly rewarding. If you like dramatic black and white photographs, you’ll want to give this one a try! As of this writing, it’s only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: +3
B&W Toning: 0
Noise Reduction: -4
Sharpening: -4
Clarity: +5
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: 2750K, -5 Red & +9 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Black & White Infrared film simulation recipe on my Fujifilm X100V:

Crafts & Hobbies – West Valley City, UT – Fujifilm X100V

Cloud Above The Wall – Draper, UT – Fujifilm X100V

Flags Over IKEA Infrared – Draper, UT – Fujifilm X100V

Pinnacle – Farmington, UT – Fujifilm X100V

Suburban Abstract – Farmington, UT – Fujifilm X100V

Suites – West Valley City, UT – Fujifilm X100V

Paved Paradise – West Valley City, UT – Fujifilm X100V

Accessible Parking – West Valley City, UT – Fujifilm X100V

Done Shopping – West Valley City, UT – Fujifilm X100V

Soda Glass – West Valley City, UT – Fujifilm X100V

Couch Stripes – Farmington, UT – Fujifilm X100V

Flowers in the Sky – Big Sky, MT – Fujifilm X100V

Grey Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned Dream Infrared – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned House by the Hill IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Henry’s Fork River – Island Park, ID – Fujifilm X100V

Upper Red Rock Lake IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Red Rock Road Monochrome – Red Rock Lakes NWR, MT – Fujifilm X100V

Aspen Leaves Infrared – Farmington, UT – Fujifilm X100V

Illuminated Tree – West Valley City, UT – Fujifilm X100V

Infrared Tree – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

Help Fuji X Weekly

$5.00

Making Color Pictures Using Acros, B&W Toning & Multiple Exposures

Posted on June 19, 2020 by Ritchie Roesch

This is a combination of 8 B&W Exposures with different color toning applied to each.

The Fujifilm X100V, X-Pro3 and X-T4 cameras have a new tool for toning black-and-white pictures in-camera. I mentioned in my article about this new toning feature that there’s the potential to get creative with it, especially when combined with multiple exposure photography. I thought that it might be possible to create color pictures using the Acros film simulation, B&W toning and multiple exposures. This is certainly an unusual use of those tools! A sturdy tripod is a requirement for this experiment.

On my X100V, there are 1,368 possible colors to tone B&W pictures, but I concentrated on the more bold options. To make this work, the best results are found in the +/- 15-18 range. My camera has four multiple exposure options: Additive, Average, Bright and Dark. Additive and Average won’t work for this project because it muddies the colors. Bright and Dark will work, and they work similarly. For Bright, the camera compares the exposures and chooses only the brightest pixel at each location; for Dark, it chooses the darkest pixel. I found that one option typically works better than the other, depending on the scene. You could get creative and adjust the exposure of each image to control which colors are chosen; however, I didn’t do that for these pictures.

At first I tried using just three exposures: one with Toning set to WC -18 MG 0 (Blue), one set to WC +18 MG -18 (Red), and the other set to WC 0 MG +18 (Green). This worked alright, but there are not any in-between colors. The transitions from one color to the next are harsh. Still, I was able to create color pictures this way.

After a little experimenting, I decided that eight exposures worked better (you can combine up to nine). In addition to the Toning described in the previous paragraph, I added one with WC 0 MG -18 (Magenta), WC -18 MG -18 (Purple), WC -18 MG +18 (Teal), WC +18 MG +18 (Yellow), and WC +18 MG 0 (Orange-Red). This made the color transitions a little less harsh, but it’s still not ideal. The pictures look strange and nothing like “normal” color photographs. I also tried reducing some colors to as low as +/- 15 (instead of 18) in an attempt to control the outcome a little, but it’s hard to know what you’ll get until you’ve made all eight exposures.

The results remind me of some cross processing experiments that I did a number of years ago. You can get weird results, depending on the film and process. The toned B&W multiple exposures on my X100V loosely resemble the “worst” cross-processing results from those analog experiments years ago. This isn’t something that I’d want to do all of the time, but it was fun nonetheless. Most people will never try this, but a few of you will. I can see someone doing an abstract photography project using this technique.

I used three exposures for this picture.

Another three exposure picture.

This is an eight exposure image.

Another eight exposure picture.

I used eight exposures for this picture.

Another eight exposure picture.

Eight exposures. The wind moved the grass between exposures.

This is another eight exposure image.

I never really thought that I’d be creating color images from black-and-white in-camera. The results aren’t especially great, so it’s not really a practical thing, more gee-whiz. I do believe, with practice and experimentation, it’s possible to get better results. I hope that you found this article interesting, and perhaps even a few of you were inspired to do your own experiments.

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

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

Fujifilm X100V Film Simulation Recipe: Kodak Tri-X 400

Posted on June 18, 2020 by Ritchie Roesch

Leaves in the Forest – Farmington, UT – Fujifilm X100V – ISO 3200 – “Kodak Tri-X 400”

The number one black-and-white film simulation recipe that I’ve been asked to create is Kodak Tri-X 400, but I’ve never been satisfied with my own attempts. Thankfully for you, Fuji X Weekly reader Anders Lindborg (Instagram) was able to do it! This is brilliant, and I’m sure you’ll love it. It’s the only B&W recipe I’m using on my Fujifilm X100V right now.

Kodak introduced Tri-X in the early 1940’s, and in the 1950’s they began selling it in 35mm format. Ever since, it has been the “standard” high-ISO black-and-white film for photographers. It’s been made in ISO 160, 200, 320 and 400 versions; this recipe is based on Tri-X 400. Kodak re-engineered Tri-X 400 in 2007 with finer grain and lower contrast, but it’s still nearly identical to the old stock.

Anders actually made three recipes in one: low-contrast, mid-contrast, and high-contrast. Tri-X, like most films, can be made more contrasty or less contrasty based on how it’s developed (chemicals used and/or development times) or printed (contrast filters). The recipe further down this article is the mid-contrast version. For low contrast, set Highlight to -1 and Shadow to +2. For high contrast, set Highlight to +1 and Shadow to +4. This film simulation recipe was designed for the X-T3 and X-T30, but I changed a couple of things for the X100V: I set Clarity to +4 (which isn’t available on the X-T3 and X-T30) and Grain to Strong & Large (on the X-T3 and X-T30, Grain is set to Strong). Because it adds contrast, setting Clarity to +4 actually makes this look more like the high-contrast version. If you are using this on the X100V, X-Pro3 or X-T4, feel free to try all three contrast versions, with or without Clarity, to see which you like better. For X-Trans III cameras, which don’t have Color Chrome Effect, you can still use this recipe; while it won’t look exactly the same, it will still look very similar. In other words, even though the title says “Fujifilm X100V Film Simulation Recipe” you can actually use it on any camera with the Acros film simulation—I’ve tried it on an X-T30 and X-T20, and it looks great!

Forest Edge – Fruit Heights, UT – Fujifilm X100V – ISO 1600 – “Kodak Tri-X 400”

I found that this recipe looks best when set to ISO 1600 or higher. From ISO 1600 to 3200, the results more resemble newer Tri-X 400 film. From ISO 6400 to ISO 12800, the results more resemble older Tri-X 400 film. I want to give a big thank-you to Anders Lindborg for creating this recipe, sharing it, and allowing me to publish it here—you are appreciated! Thank you!

Acros (+Y, +R, +G)
Dynamic Range: DR200
Highlight: 0
Shadow: +3
Noise Reduction: -4
Sharpening: +1
Clarity: +4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Daylight,+9 Red & -9 Blue
ISO: ISO 1600 – 12800
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Kodak Tri-X 400 film simulation recipe on my Fujifilm X100V:

Fallen Trunk – Fruit Heights, UT – Fujifilm X100V – ISO 1600

The Forest – Fruit Heights, UT – Fujifilm X100V – ISO 1600

Light in a Dark Canopy – Farmington, UT – Fujifilm X100V – ISO 1600

Sunlight & Leaves – Farmington, UT – Fujifilm X100V – ISO 12800

Monochrome Backlit Leaves – Farmington, UT – Fujifilm X100V – ISO 1600

Drops on a Window – Fruit Heights, UT – Fujifilm X100V – ISO 1600

Half Leaf In The Road – Farmington, UT – Fujifilm X100V – ISO 1600

Footstep – Farmington, UT – Fujifilm X100V – ISO 1600

Barrier – Farmington, UT – Fujifilm X100V – ISO 1600

Corner Benches – Farmington, UT – Fujifilm X100V – ISO 6400

Drinking Fountains – Farmington, UT – Fujifilm X100V – ISO 1600

Feel Like A Kid Again – Farmington, UT – Fujifilm X100V – ISO 1600

Walking at an Amusement Park – Farmington, UT – Fujifilm X100V – ISO 1600

Waiting at the Exit – Farmington, UT – Fujifilm X100V – ISO 3200

Diagonal Light Boy – Farmington, UT – Fujifilm X100V – ISO 12800

FED 5c Film Camera – Farmington, UT – Fujifilm X100V – ISO 3200

Coffee Grounds in a Filter – Farmington, UT – Fujifilm X100V – ISO 3200

Rainbow Feet on the Floor – Farmington, UT – Fujifilm X100V – ISO 3200

Girl in Zebra Shirt – Farmington, UT – Fujifilm X100V – ISO 12800

Rainy Day Siblings – Farmington, UT – Fujifilm X100V – ISO 3200

Level Up – Farmington, UT – Fujifilm X100V – ISO 12800

Wet Leaf in the Grass – Farmington, UT – Fujifilm X100V – ISO 5000

Wet Tree Leaves – Farmington, UT – Fujifilm X100V – ISO 3200

Leaf of a Different Color – Farmington, UT – Fujifilm X100V – ISO 3200

Emptiness – Roy, UT – Fujifilm X100V – ISO 3200

Empty Boxes in an Abandoned Home – Roy, UT – Fujifilm X100V – ISO 12800

Nobody’s Home – Roy, UT – Fujifilm X100V – ISO 3200

White Truck – Roy, UT – Fujifilm X100V – ISO 3200

Dead End Night – Roy, UT – Fujifilm X100V – ISO 12800

Trolley Bus – Farmington, UT – Fujifilm X100V – ISO 12800

Wrong Way – Centerville, UT – Fujifilm X100V – ISO 12800

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

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

Help Fuji X Weekly

$5.00

My Fujifilm X-T30 Cyanotype Film Simulation Recipe

Posted on April 12, 2020 by Ritchie Roesch

Ball Flowers – Farmington, UT – Fujifilm X-T30 “Cyanotype”

Cyanotype is an early photographic process that produces blue prints. It was invented in 1842 by Sir John Herschel, and was popular in Victorian England. The chemicals needed are simple: ferric ammonium citrate and potassium ferricyanid. It’s a contact process, so positives have to be placed right over the paper. Sunlight or UV light is required for the exposure. Cyanotypes are pretty simple, and anyone can do them at home.

I thought it would be fun to make a film simulation recipe to mimic cyanotype prints. Fujifilm X-Trans IV cameras have the ability to tone black-and-white pictures, either warm or cool. By toning the pictures blue, I was able to get in the neighborhood of cyanotype photography. Unfortunately, going all the way cool, which is -9 on toning, is only marginally blue enough to pass for cyanotype. Still, this was a fun experiment. If you are bored, why not give it a try yourself?

Blue Blossom – Farmington, UT – Fujifilm X-T30 “Cyanotype”

Acros
Dynamic Range: DR400
Highlight: +3
Shadow: +3
Noise Reduction: -4
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
Toning: -9
White Balance: Auto
ISO: Auto, up to ISO 12800
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Cyanotype” film simulation recipe on my Fujifilm X-T30:

Orbit – Farmington, UT – Fujifilm X-T30

Caged Bloom – Farmington, UT – Fujifilm X-T30

Blue Bloom – Farmington, UT – Fujifilm X-T30

Succulent Blue – Farmington, UT – Fujifilm X-T30

Light Bulb Blues – Farmington, UT – Fujifilm X-T30

Stems – Farmington, UT – Fujifilm X-T30

Welcome – Farmington, UT – Fujifilm X-T30

Daffodil Blue – Farmington, UT – Fujifilm X-T30

Falling Water – Farmington, UT – Fujifilm X-T30

Post & Wire – Farmington, UT – Fujifilm X-T30

Threatening – Farmington, UT – Fujifilm X-T30

Growth in the Rocky Place – Farmington, UT – Fujifilm X-T30

Studying Blues – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

$5.00

My Fujifilm X-T30 Monochrome Kodachrome Film Simulation Recipe

Posted on March 16, 2020 by Ritchie Roesch

Light on the Wall – Farmington, UT – Fujifilm X-T30 “Monochrome Kodachrome”

Kodachrome was a black-and-white film. No, really, it was! The color dyes were actually added during development. The process to develop Kodachrome color transparencies was complex and toxic. As demand for the film decreased and Kodak experienced financial troubles, both the film and the chemicals to develop it were discontinued. If you still have some undeveloped Kodachrome film sitting around, there’s absolutely no place in the world that can process it; that is, except as black-and-white negatives. It’s true: Kodachrome can be developed to this day as a black-and-white film!

While I think that this recipe does more-or-less mimic the look of Kodachrome developed as black-and-white, that’s not necessarily the intent of it. This recipe began as an experiment by Fuji X Weekly reader Thomas Schwab, who created the Urban Vintage Chrome recipe. He took my Vintage Kodachrome recipe and replaced the Classic Chrome film simulation with Acros, Monochrome and Sepia, and the results were quite interesting! I made a couple of minor adjustments to create this recipe. This is definitely a joint effort, and it wouldn’t exist without Thomas Schwab’s experiments and willingness to share the results. Thank you!

Window & Blinds – Layton, UT – Fujifilm X-T30 “Monochrome Kodachrome”

What I like about this Monochrome Kodachrome film simulation recipe is that it has a great film-like quality to it. This recipe pairs especially well with vintage lenses (I used an Asahi Super-Takumar 28mm for about half of these pictures). Even though it says “Fujifilm X-T30” in the title, it can be used on any X-Trans III & IV camera. You can also use this same recipe with the Monocrome+R film simulation, for a slightly different result.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: -2
Noise Reduction: -4
Sharpening: +1
Grain Effect: Strong
Color Chrome Effect: Off
Toning: 0
White Balance: AWB, 0 Red & +9 Blue
ISO: Auto, ISO 3200 to ISO 12800
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Monochrome Kodachrome film simulation recipe on my Fujifilm X-T30:

Roman – Farmington, UT – Fujifilm X-T30

Cleaning Cart – Farmington, UT – Fujifilm X-T30

Fake Potted Plant – Farmington, UT – Fujifilm X-T30

Tree Shadow on a Brick Wall – Farmington, UT – Fujifilm X-T30

Small Bridge – Farmington, UT – Fujifilm X-T30

Rural Road – Farmington, UT – Fujifilm X-T30

Monochrome Mountain Landscape – Farmington, UT – Fujifilm X-T30

B&W Reeds – Farmington, UT – Fujifilm X-T30

Tennis Swing – Farmington, UT – Fujifilm X-T30

Engaged In Television – Farmington, UT – Fujifilm X-T30

Little Jo – Farmington, UT – Fujifilm X-T30

Hand Washing – Farmington, UT – Fujifilm X-T30

Faceless – Farmington, UT – Fujifilm X-T30

Muffins – Farmington, UT – Fujifilm X-T30

Pronto! – Farmington, UT – Fujifilm X-T30

Daylight Balanced – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

$5.00

My Fujifilm X-T30 Split-Toned B&W Film Simulation Recipe

Posted on February 24, 2020 by Ritchie Roesch

Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30 “Split-Toned B&W”

While creating my “Bleach Bypass” film simulation recipe, which requires double exposures, I also discovered how to split-tone black-and-white pictures in-camera using double exposures. Split toning was originally a darkroom technique where one would give their black-and-white print a bath in two different toning chemicals, which resulted in shadows and highlights having two different colors. There are many different ways to split tone and many different potential results. This Split-Toned B&W recipe loosely mimics the aesthetic of ferrocyanide toning (blue) with diluted sepia (reddish-brown). You can get similar results very easily with software, but it’s fun to achieve a split tone effect straight out of camera.

For this recipe, you’ll capture the first exposure as normal. I find that increasing the exposure by 1/3 to 2/3 stop over what you might normally do produces better results. For the second exposure, photograph blue paper. I used an 8.5″ x 11″ medium-blue construction paper for my pictures. I like to purposefully make the second exposure out of focus, although I’m not sure that it matters much if you do. You can control the strength of the blue tone by how bright the second exposure is. The darker the exposure, the less blue there will be and the less faded the picture will appear. The brighter the exposure, the more blue there will be and the more faded the picture will appear. It’s fun to experiment with this, because you can vary the look significantly by how you expose the second image. If you want the highlights to be warmer, simply increase the tone of the first exposure to be more warm, or even use the Sepia film simulation instead of Acros. You could use a different color paper, or even use a cool tone instead of warm on the first exposure, if you wanted. You could really play around with this and come up with all sots of different looks.

Exposure 1
Acros
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Tone: +6 (warm)
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Exposure 2
Velvia
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Color: +2
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -3 (typically)

Example photographs, all camera-made JPEGs using this Split-Toned B&W film simulation recipe on my Fujifilm X-T30:

Open Blinds – Farmington, UT – Fujifilm X-T30

Ocean – Farmington, UT – Fujifilm X-T30

White Faux Blooms – Farmington, UT – Fujifilm X-T30

Monochrome Floral Arrangement – Farmington, UT – Fujifilm X-T30

Lily Bloom – Farmington, UT – Fujifilm X-T30

Throw Pillows – Farmington, UT – Fujifilm X-T30

Dirt Play – Farmington, UT – Fujifilm X-T30

Girl In The Sunlight – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Help Fuji X Weekly

$5.00

Fujifilm Monochrome

Posted on January 26, 2020 by Ritchie Roesch

Mountains Dressed In Monochrome – South Weber, UT – Fujifilm X-T30

Leica recently announced the M10 Monochrom, which is their third black-and-white only camera. It can’t capture a color picture because it doesn’t have a Bayer array. It only does black-and-white photography. Fujifilm should do something similar, even though most won’t buy it.

Believe it or not, there’s actually an advantage to a monochrome sensor. With a typical Bayer color array, only 50% of the light-sensitive sensor elements are recording luminosity information, while the other 50% are recording color information. With an X-Trans sensor, 55% of the light-sensitive sensor elements are recording luminosity information while 45% are recording color information. With a monochrome sensor, 100% of the light-sensitive sensor elements are recording luminosity information. Because of this, you get a higher perceived resolution, as pictures will appear more richly detailed, and there’s more shadow latitude, which also improves high-ISO capabilities. You can also use color filters like with black-and-white film.

I think an X-Pro3-M, a black-and-white only version of the X-Pro3, or an X100V-M, a black-and-white only version of the upcoming X100V, would do well enough commercially. Yes, it’s clearly a niche product, as there’s only a tiny market for it, yet Leica found a way to make it profitable, and Fujifilm could, too. There are plenty of photographers who use their X-Pro or X100 series camera to only shoot black-and-white. A Monochrome version would make things simpler for them, while improving perceived resolution, dynamic range and high-ISO. And, Fujifilm has a cool marketing angle: call it the X-Pro3 Acros or X100V Acros. People would eat that up. Increase the price a couple hundred dollars and it would sell well enough to be profitable, in my non-expert opinion.

The flip side to this is that Fujifilm X-Trans cameras, particularly X-Trans III and IV cameras that have the Acros film simulation, are already fantastic for black-and-white photography. Would a monochrome-only camera really produce enough of an improved image to justify buying one? I think that’s a tough question to answer, but my guess is probably not for most people. Still, a monochrome-only camera wouldn’t be for “most people” as it would be for a very small crowd, and for those people the difference would indeed justify buying it. For most, your current X-Trans camera is a great black-and-white photography tool, and there’s no need to get a monochrome-only camera. Some, however, would absolutely love to have one, and I think there’s enough of those people that such a camera could be profitable for Fujifilm, if they ever wished to create one. I hope they do.

Photoessay: Suburban B&W

Posted on September 12, 2019 by Ritchie Roesch

You might think that you live in a boring neighborhood. You might think that there’s nothing of interest to photograph where you live. You might think that you have to go somewhere to capture good photographs. This photoessay is intended to debunk that. I live in a boring suburban neighborhood, but I have still made an effort to walk the sidewalks with my camera in hand. This particular collection features some recent black-and-white images that I’ve captured in the neighborhood where I live. In the past I’ve shared many pictures captured in my neighborhood, so these are far from the only ones or even the best ones–they are simply ones that I have not posted on here before. I hope that this article inspires you to get out into your local area with your camera, even if “getting out” is just a short trip around the block.

Home Peek – South Weber, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Shadow Maker – South Weber, UT – Fujifilm X-T30 & 35mm

Suburban Pathway – South Weber, UT – Fujifilm X-T30 & 35mm

Monochrome American Flag – South Weber, UT – Fujifilm X-T30 & Asahi Pentax Auto-Takumar 55mm f/2.2

Geo – South Weber, UT – Fujifilm X-T30 & Asahi Pentax Auto-Takumar 55mm f/2.2

House Work – South Weber, UT – Fujifilm X-T30 & 35mm

Alaskan Engineer – South Weber, UT – Fujifilm X-T30 & 35mm

Ray Above The Roof – South Weber, UT – Fujifilm X-T30 & Fujinon 90mm

Hill Behind The Homes – South Weber, UT – Fujifilm X-T30 & 35mm

Curious Cow – South Weber, UT – Fujifilm X-T30 & 35mm

Grey Fence – South Weber, UT – Fujifilm X-T30 & 35mm

Comparing Film Simulation Recipes

Posted on July 20, 2019 by Ritchie Roesch

47960367703_4be17c996b_c

I shoot JPEGs, but it’s not uncommon for me to shoot RAW+JPEG, since it gives me the opportunity to reprocess the picture in-camera, which is helpful when developing different film simulation recipes. Because of this, I was able to process a single picture I captured recently on my Fujifilm X-T30 using many of my different recipes to compare the differences. I thought that this might be helpful to some of you. Perhaps there’s one recipe that stands out to you in the pictures below that you’ve never used. Obviously different settings look better in different situations, and in this article there’s just one picture to compare, so even though you might not like how one recipe looks in this article doesn’t mean that you wouldn’t like it with different subject and in a different light. The scope of this article is quite limited, but I hope that seeing the various film simulation recipes applied to a single exposure is helpful to someone.

Not every recipe was used for this post. Some of them require a specific parameter that was not available. For example, the picture at the top was made using my HP5 Plus Push-Process recipe, which requires an ultra-high ISO, so it wasn’t possible to apply it to the exposure below. Other recipes, such as my faded color and faded monochrome, require double exposures. There are other film simulation recipes that you could try not represented below, and I invite you to investigate the different options to see if there’s one or more that work well for your photography. Let me know in the comments which film simulation recipe is your favorite and which in your opinion fits the exposure below best.

Color

Classic Chrome

Dramatic Classic Chrome

Vintage Agfachrome

Vintage Kodachrome

Kodachrome II

Kodacolor

Astia

PRO Neg. Hi

Fujicolor Industrial

Fujicolor Superia 800

Fujicolor Pro 400H

Ektar 100

Velvia (X-T30)

Velvia (X100F)

Aged Color

Agfa Optima

Eterna (X-T30)

Expired Eterna

CineStill 800T

Cross Process

Redscale

B&W

Acros (X100F)

Acros (X-T30)

Agfa Scala

HP5 Plus

Acros Push-Process

My Fujifilm X-T30 Acros Film Simulation Recipe (Agfa APX 400)

Posted on April 18, 2019 by Ritchie Roesch

Cloud Over The White Ridge – South Weber, UT – Fujifilm X-T30 – Acros

I made a new Acros recipe! I’ve been playing around lately with the Acros settings on my Fujifilm X-T30, trying to create a certain look (which I’m still working on), and I stumbled upon some interesting settings. I tried them out for a few days and wanted to share my findings with you. I think some of you might like this one!

This recipe is not intended to mimic the look of any particular film, but it’s in the neighborhood of a couple different black-and-white stocks. The closest might be Agfa APX 400 (the newer version), but it’s not an exact match for that film. I don’t think it really matters if it’s an exact match or not, it has an analog black-and-white look that’s easy to appreciate!

Shopping Carts – Farmington, UT – Fujifilm X-T30 – Acros

The idea behind this film simulation recipe is to have a lower-contrast option that doesn’t look flat. It seems to be especially well suited for high-contrast scenes, but there’s a certain beauty in low-contrast scenes where it produces almost a faded aesthetic. This Acros recipe is really great for certain situations, and it’s one of my favorite Acros recipes that I’ve created. If you don’t have an X-Trans IV camera, you can still use this recipe, except you can’t use Color Chrome Effect or Toning, so the results will be slightly different, but still very similar.

Acros (Acros+Y, Acros+R, Acros+G)
Dynamic Range: DR400
Highlight: -2
Shadow: +4
Noise Reduction: -4
Sharpening: +4
Grain Effect: Weak
Color Chrome Effect: Strong
Toning: +1 (warm)
ISO: Auto up to ISO 12800
Exposure Compensation: +2/3 to +1-1/3 (typically)

Example photographs, all camera-made JPEGs using this recipe on the Fujifilm X-T30:

Frozen Reservoir – Causey Reservoir, UT – Fujifilm X-T30 – Acros

Mid Morning Mountain – South Weber, UT – Fujifilm X-T30 – Acros

Head In The Clouds – Ogden Canyon, UT – Fujifilm X-T30 – Acros

Mountain Obscured – South Weber, UT – Fujifilm X-T30 – Acros

Reaching For Grass – South Weber, UT – Fujifilm X-T30 – Acros

Jo by a Window – South Weber, UT – Fujifilm X-T30 – Acros

Girl Sitting – South Weber, UT – Fujifilm X-T30 – Acros

Bread Cutting – South Weber, UT – Fujifilm X-T30 – Acros

The Course Toward – Farmington, UT – Fujifilm X-T30 – Acros

Asleep – Farmington, UT – Fujifilm X-T30 – Acros

Couch – South Weber, UT – Fujifilm X-T30 – Acros

Three Vases By A Window – South Weber, UT – Fujifilm X-T30 – Acros

White Flower Bouquet – South Weber, UT – Fujifilm X-T30 – Acros

Dead Rose Leaves – South Weber, UT – Fujifilm X-T30 – Acros

Hiding Hydrant – Farmington, UT – Fujifilm X-T30 – Acros

Help Fuji X Weekly

$5.00

Understanding Acros Film Simulation Options On Fujifilm X Cameras

Posted on March 7, 2019 by Ritchie Roesch

B&W Film With Colored Filters – South Weber, UT – Fujifilm X-T20

Fujifilm has included on X-Trans III and IV cameras four Acros Film Simulation options: Acros, Acros+Y, Acros+R, and Acros+G. I’ve been asked a few times to explain the differences between these options. On my Acros Film Simulation recipes I never mention which one to use, I only say to use any or all of them, so that has left some confusion on what’s the best choice. Which Acros Film Simulation should you choose?

With real black-and-white film, you can use colored filters to manipulate the shades of grey. Since there are no colors, the film interprets colors between black and white. You can change how the film interprets the color, and what grey you get, by using different filters. Take a look at the graphic below to see an explanation of how different color filters change the grey on black-and-white film.

You cannot use colored filters on your X-Trans camera to achieve this same effect, so Fujifilm has given you three “filter” options for Acros: +Y, which simulates the use of a yellow filter, +R, which simulates the use of a red filter, and +G, which simulates the use of a green filter. You might notice that, in black-and-white film photography, there are more options than you are given on your X-Trans camera, but at least you have some choices.

While these different “filter” Acros options simulate the look of using filters, the actual results aren’t a 100% match. The manipulation of grey is not nearly as pronounced as using colored filters on film, and it’s not exactly the same shift, either. One thing that can help achieve desired results is using the white balance shift in conjunction with the different Acros options. It takes a little extra thought to figure out how adjusting the color balance will change the way the film simulation interprets the color in grey, but it can be worth the effort.

To help you understand what the different Acros Film Simulation options are doing to different colors, I made an image in color and re-processed it in-camera using all four Acros choices. Take a look!

Fujifilm X-T20 – Velvia

Acros

Acros+Y

Acros+R

Acros+G

The differences between the different Acros Film Simulations might not seem immediately obvious, but take a closer look. Notice that the red paint is a little lighter and the blue paint is a little darker in the Acros+R image. However, in the Acros+G image the red paint is darker and the blue paint is lighter. These small manipulations in the shades of grey are what the different Acros options provide.

How do you use this information in a practical way? When should you consider using the different Acros Film Simulations? When would you want to change the shade of grey of a particular color? It’s really difficult to give generalized answers to those questions because what works for one person and one photograph may not work for another. You really must think in grey and consider how contrast will work in an image, and how to best achieve that using the different Acros options.

Monochrome Mountain Majesty – South Weber, UT – Fujifilm X-T20 – Acros+R

A common example of when Acros+R might work well is in landscape photography where the sky is a deep blue. You can turn the sky dark grey or even black, which will create dramatic contrast against clouds or a snow-capped peak. Acros+R will lighten reds, so sometimes in portraits it can lighten a face, but it can make lips blend in, which might be bad. Acros+G, which darkens reds, can sometimes work well for dramatic portraits.

There is a lot to consider when it comes to choosing the most appropriate Acros Film Simulation for a particular circumstance. You have to know what each one will do, and decide what shade of grey you want the different colors to be, in order to make the right selection. There’s no one-size-fits-all answer, but it’s not too hard to figure out with practice. My suggestion is to try them all in different situations, and study the differences closely to better understand what each one does.

Fujifilm Acros Film Simulation Recipes

Posted on January 10, 2019 by Ritchie Roesch

Taos Tourist – Taos, NM – Fujifilm X100F “Agfa Scala”

Acros is one of the most popular film simulations available on Fujifilm X-Trans cameras. It looks incredibly similar to the black-and-white film that it was named after. In fact, in my opinion, it produces the most film-like results of any settings on any camera! It’s easy to see the draw to the analog-esque results produced by the Acros film simulation.

I love Acros and I have used it as the base for a bunch of different film simulation recipes. It’s possible to achieve a number of different interesting looks straight out of camera by adjusting the settings. I plan to create even more film simulation recipes using Acros in the coming months. As I do, I will add them to this article.

Below you will find all of my different film simulation recipes that I have created that use Acros. If you haven’t tried them all, I personally invite you to do so and see which are your favorites! My personal favorite is Tri-X Push-Process, but they each have their own usefulness and charm. Let me know in the comments which recipe you like most!

Even though the different recipes say X100F and X-Pro2, they are completely compatible with any Fujifilm X-Trans III or IV camera. For example, you don’t have to use the X100F recipes exclusively on the X100F. You can use any of my recipes on any X-Trans III camera.

Original Acros

Acros Push-Process

Agfa Scala

Ilford HP5 Plus

Tri-X Push Process

Using White Balance Shift For Black & White

Posted on November 12, 2018 by Ritchie Roesch

Dramatic Sky Over The Wasatch Front – South Weber, UT – Fujifilm X-T20

Just a couple of weeks ago I posted an article about using white balance shift to achieve different looks in color photographs. What you may not be aware of is that white balance shift can be used to adjust the look of black-and-white images, and it can sometimes be surprisingly dramatic how much it changes things. White balance shift is an unexpected tool that allows you to better achieve desired results in monochrome.

When you shift the white balance it changes how different colors are rendered, so it only makes sense that the grey interpretation of those colors would also be different. Some colors might appear as darker shades of grey and some as lighter. The tones shift, creating a slightly different rendering of the scene. It could be very subtle or it could be quite apparent, but indeed the monochrome interpretation has been altered.

Let’s take a look at the photo below. I reprocessed the same exposure using the RAW developer built into the Fujifilm X-T20, with each version having identical settings except for the white balance shift. I used the Acros+R Film Simulation for this image. As you can see, each adjustment changes the look of the image. For instance, the sky has some areas of bright white in the top version, which is the overall brightest picture, but not the bottom version, which is overall the darkest picture. The highlights on the mountain are handled a little differently in the top and bottom versions. The two middle versions fall in-between, and are only very subtly different from each other.

White balance shift: +9 Red & 0 Blue

White balance shift: 0 Red & -9 Blue

White balance shift: 0 Red & +9 Blue

White balance shift: -9 Red & 0 Blue

If I were to use Acros+G, the white balance shift would manipulate the image differently than what you see above. It still changes things, but not in the same way. That goes for Acros and Acros+Y, as well. It makes sense when you consider that Acros+Y, Acros+R, and Acros+G settings are designed to simulate the look of using colored filters on real black-and-white film. One must consider the color cast that is being applied to an image, and how the different Acros options will render that.

I’m still figuring out how to use this knowledge in actual real life situations. It’s one thing to apply it when redeveloping a RAW file, and another thing to use it in the field, applying it before the exposure. The latter option is where I’d like to be, but it will take a lot more practice. It’s certainly fun to play with! White balance shift is an interesting option for getting the grey tones more precisely where you want them to be in black and white photographs.

My Fujifilm X100F Agfa Scala Film Simulation Recipe

Posted on August 12, 2018 by Ritchie Roesch

Kitchen – Waco, TX – Fujifilm X100F “Agfa Scala”

I love the Acros film simulation that Fujifilm included in their X-Trans III cameras. It’s the closest thing to actual film that I have ever found in a digital camera. I made two different Acros recipes for my X100F: original recipe and ~~Extra Crispy~~ Push-Process. I love both; however, I find myself using Acros Push-Process more than my “standard” settings just because it’s more dramatic. I will sometimes adjust each recipe to taste, depending on the situation.

What’s interesting about black-and-white film photography is that all the different film options look fairly similar, yet people have their one or two film stocks that they absolutely love. The differences in contrast, dynamic range and grain aren’t typically wildly different. Black-and-white films are more alike than not alike, but there are indeed differences, sometimes very subtle, sometimes quite noticeable. What is more unique to each film is what can be done in the lab, as each film will respond to different development techniques differently. There’s a lot that can be done in the darkroom to set apart the films from each other. In fact, one film stock could have many different looks, depending on what exactly you do with it.

This film simulation recipe was made by just messing around with the settings. I found something that I liked so I shot with it for awhile. The more I used it the more I liked it. As I was shooting with it, I kept having this feeling that it resembled some film that I’d used before, but I couldn’t put my finger on exactly which one. After a few weeks I finally figured it out: these settings produce results similar to Agfa Scala.

Taos Tourist – Taos, NM – Fujifilm X100F “Agfa Scala”

Agfa Scala was a black-and-white slide film. It was unusual in that it was a reversal film and not a negative film. Most black-and-white films are negatives, and most reversal films are color. If you shot a lot of slides, this was an intriguing choice. I used it a number of times. The last roll of Scala that I shot couldn’t be developed as it required a special process that had been discontinued (it’s my understanding that there is a lab in Denver that can now develop Scala). There were people who really loved Scala, and there were people who really did not, mostly because it wasn’t a negative film. Since it was a slide, there wasn’t a whole lot one could do to manipulate the look it produced.

It was quite by accident that I created an Agfa Scala film simulation for my Fujifilm X100F. I’m glad that I stumbled upon it, because it produces excellent results. Interestingly enough, it only looks subtly different than my original Acros recipe, and I think that real Acros and real Scala also produce similar results, and the small differences are, to an extent, accurately replicated in the two recipes. It was a happy accident, and sometimes it’s better to be lucky than good.

Acros (Acros+Y, Acros+R, Acros+G)
Dynamic Range: DR100
Highlight: +4
Shadow: 0
Noise Reduction: -3
Sharpening: 0
Grain Effect: Weak
ISO: Auto up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photos, all straight-out-of-camera JPEGs captured using my Fujifilm X100F Agfa Scala Film Simulation recipe:

Two Towers – Dallas, TX – Fujifilm X100F “Agfa Scala”

Santuario de Guadalupe – Santa Fe, NM – Fujifilm X100F “Agfa Scala”

Cafe Flowers – Pawhuska, OK – Fujifilm X100F “Agfa Scala”

Monochrome Silos – Waco, TX – Fujifilm X100F “Agfa Scala”

Storm Shelter – McKinney, TX – Fujifilm X100F “Agfa Scala”

Truck Stop – Bowie, TX – Fujifilm X100F “Agfa Scala”

Ex Lover – Amarillo, TX – Fujifilm X100F “Agfa Scala”

Semi & Dinosaur – Santa Rosa, NM – Fujifilm X100F “Agfa Scala”

Grain Hoppers – Westlake, TX – Fujifilm X100F “Agfa Scala”

BNSF Alliance Yard – Haslet, TX – Fujifilm X100F “Agfa Scala”

Kitchen Camera – Waco, TX – Fujifilm X100F “Agfa Scala”

Apples To Apples – Haslet, TX – Fujifilm X100F “Agfa Scala”

Forgotten Sandals – Princeton, TX – Fujifilm X100F “Agfa Scala”

Flower In The Pond – Princeton, TX – Fujifilm X100F “Agfa Scala”

Apple Tree Fence – South Weber, UT – Fujifilm X100F “Agfa Scala”

Help Fuji X Weekly

$5.00

Road Trip: Grand Canyon National Park, Part 2: Monochrome

Posted on April 2, 2018 by Ritchie Roesch

Canyon Cliffs – Grand Canyon NP, AZ – Fujifilm X100F

Part 1 – Color

I’ve heard it said that at Grand Canyon National Park your widest lens isn’t wide enough and your longest lens isn’t long enough, no matter how wide-angle or telephoto those lenses might be. I’ve been to the Grand Canyon several times, and each time I’ve felt that way. The place is amazing, yet it seems difficult to do it justice with a camera.

The canyon is huge! The national park is almost 2,000 square miles. The Colorado River traverses 277 miles through it. At its deepest point (or, really, the highest part of the rim to the river) is 6,000′. The longest stretch across rim-to-rim is 18 miles. It’s hard to effectively portray this scale in a photograph.

The Grand Canyon is the most photographed landmark in Arizona and one of the most photographed places in America, with tens of thousands of images created within the park daily. The task of creating something that’s photographically unique is nearly impossible. I’m sure that there are hundreds of pictures that look almost identical to mine. One has to spend significant time within the park, as well as exercise the creative mind, in order to capture something different than what’s already been done before.

Watchtower Sky – Grand Canyon NP, AZ – Fujifilm X100F

I was attempting art with some of the photographs that I captured at the Grand Canyon. Other images were family snapshots meant simply for memories. There’s a difference between interpreting and documenting. Both are valid and serve different purposes, and they each take a different approach to accomplish. In this article you’ll find both.

I used my Fujifilm X100F for most of these pictures, which are all straight-out-of-camera JPEGs. The Acros Film Simulation makes for exceptional monochrome images, and I used my Acros and Acros Push-Process film simulations for these X100F images. I used my Fujifilm X-A3 with a Jupiter 21M lens for three of these pictures, which are also camera-made JPEGs. I used the Monochrome film simulation, which isn’t as good as Acros, but the X-A3 doesn’t have Acros so I couldn’t use it.

I love black-and-white photography, and Grand Canyon National Park is a wonderful place to create monochrome images. I look forward to returning. Grand Canyon is a special place, and it’s been much too long between visits. Maybe next time I can stay a little longer.

Kids Approaching The Rim – Grand Canyon NP, AZ – Fujifilm X100F

Maricopa Point – Grand Canyon NP, AZ – Fujifilm X-A3 & Jupiter 21M

Canyon Juniper – Grand Canyon NP, AZ – Fujifilm X100F

Boy Riding Backwards – Grand Canyon NP, AZ – Fujifilm X100F

Strapped In Her Stroller – Grand Canyon NP, AZ – Fujifilm X100F

Joy of Window Shopping – Grand Canyon NP, AZ – Fujifilm X100F

From Behind Glass – Grand Canyon NP, AZ – Fujifilm X100F

Two Young Explorers – Grand Canyon NP, AZ – Fujifilm X100F

Tree Over Arch – Grand Canyon NP, AZ – Fujifilm X100F

Of Light & Shadow – Grand Canyon NP, AZ – Fujifilm X100F

Canyon Grand – Grand Canyon NP, AZ – Fujifilm X100F

Scraggly Tree At Grand Canyon – Grand Canyon NP, AZ – Fujifilm X100F

Looking West From Desert View – Grand Canyon NP, AZ – Fujifilm X100F

The Watchtower – Grand Canyon NP, AZ – Fujifilm X100F

Mary’s Watchtower – Grand Canyon NP, AZ – Fujifilm X100F

Watchtower Sun – Grand Canyon NP, AZ – Fujifilm X100F

Desert Watchtower – Grand Canyon NP, AZ – Fujifilm X100F

Telescoping – Grand Canyon NP, AZ – Fujifilm X100F

Canyon River – Grand Canyon NP, AZ – Fujifilm X-A3 & Jupiter 21M

Sky Above The Canyon Below – Grand Canyon NP, AZ – Fujifilm X100F

The Grand View – Grand Canyon NP, AZ – Fujifilm X100F

Heavenly Sky – Valle, AZ – Fujifilm X-A3 & Jupiter 21M

Passed By – Williams, AZ – Fujifilm X100F

For The Love of Fujifilm Acros Film Simulation

Posted on January 28, 2018 by Ritchie Roesch

Mount Nebo – Mona, UT – Fujifilm X100F

I really love the different film simulations available on my Fujifilm X100F. There is one that I like more than the others, and it’s Acros. The contrast, tonality and grain are simply beautiful, and Acros has a true film-like aesthetic.

I know, that’s been said so much that it’s almost cliche, and, besides, not everyone wants a film look. I appreciate the look of film and I like it much more than the digital aesthetic. I grew up on analog photography, I shot tons of 35mm and 120 film, and to me it’s how photography should look. Digital is far more convenient than film, so it can be hard to justify the hassle of film. The best of both worlds would be the convenience of digital with a film aesthetic.

I’ve been trying to get a film look from my digital files for awhile. I’ve used different software options, such as Alien Skin Exposure and Nik Silver Efex, which are both excellent, to achieve the look that I want. The Acros Film Simulation on my Fujifilm X100F is every bit as good (maybe better) as what I would get using either of those editing programs, and I get it straight out of the camera, no editing required.

One aspect of Acros that Fujifilm got especially right is the grain. Digital noise, which is the modern equivalent of film grain, doesn’t match the look of actual silver grain, and the aesthetic of it is far inferior (although X-Trans noise is better looking than most). Adding a layer of faux grain over top of an image can get you closer (and Alien Skin does a better job with this than anyone in my opinion), but it’s still not the same. The “grain” found in my Acros JPEGs more resembles actual film grain than anything else I’ve found in digital photography.

Apache Sky – Mountain Green, UT – Fujifilm X100F

If you were to scan actual film and compare it side-by-side to images captured with the Acros Film Simulation, you’d have a tough time identifying which is film and which is digital. Same thing if you printed from the film and from the digital file, and asked people to identify which is which. The Acros Film Simulation doesn’t look all that digital as it more closely resembles analog.

Images captured with Acros look beautiful. They look nice viewed from a distance and up close, on a computer screen or printed and hung on a wall. Even though the film simulation produces a JPEG file and not RAW, the results are what one would expect to achieve if they post-processed a RAW file. This isn’t typical camera-made JPEG stuff.

Great black-and-white results without hassle is what the Acros Film Simulation delivers. That’s the convenience of digital photography merged with the quality of film photography. I have two different settings, a “standard” Acros and a “push-process” Acros, that I frequently use, and they’re very good. The photographs in this article are examples of both that I’ve captured over the last several weeks.

I remember the “old days” of film photography. It was a slow process. Loading the film, using the entire roll before you could change it, rewinding it by hand, then all of the darkroom work–winding it onto a reel in complete darkness, baths in chemicals and water, drying, printing a contact sheet, then making prints. One print could take hours of work to get right. It wasn’t easy, but that’s the way it was, and the results made it worthwhile. Now, thanks to the X100F and Acros, I can achieve similar results with ease.