Arizona Highways

The Fujifilm GFX100RF is my Dream Travel Camera

Posted on by Ritchie Roesch

Yellow Buick – Seligman, AZ – Fujifilm GFX100RF – Vibrant Arizona

The Fujifilm GFX100RF is my dream travel camera. I am so thoroughly impressed by it, even though I’ve only used it for a few days now. I don’t actually own it. I’m working on a Route 66 project, and a friend of mine (who has one) thought that my project would benefit from the camera, so he’s letting me borrow his for a time (thank you!!). I’ve said since the camera’s announcement that I really want to own one someday, but it’s also outside of my budget (especially since other cameras that I also want are also released, such as the X-E5, and I’ve diverted my savings towards that instead). I’m saving up for a GFX100RF of my own, and someday I’ll get there. In the meantime, I’m extraordinarily grateful for the opportunity to use one for the time being.

To be clear, this is not a review of the GFX100RF. Maybe someday I’ll write one, but this is definitely not it. This is simply my gushing over the initial use of the camera. It’s not my first time shooting a GFX. I own a GFX100S II and a couple of GF lenses. It takes beautiful pictures, but it is large and heavy. I dropped a lot of money on it just before the GFX100RF was announced, which was the most I’ve ever spent on photography gear. I use it sometimes, but I tend to gravitate more towards smaller and lighter cameras and lenses. My wife, Amanda, uses it every now and again, too, for portraits. It doesn’t collect dust, but I feel bad that I don’t pick it up more often, considering how expensive it was. Sometimes I think I should sell it, but I purchased it for a specific purpose (large panoramic prints) and I still intend to use it for that. For now, it stays.

The GFX100RF is essentially a medium-format Fujifilm X70, but with an EVF and two card slots. A number of people have claimed that the camera is basically an X100VI, but GFX; however, that’s not what it is, and I think it gave a lot of people false expectations. For example, if it’s supposed to be like an X100VI, why doesn’t it have IBIS? Or a larger maximum aperture? Those are probably the two largest points of contention. In my opinion, Fujifilm should consider making an actual X100VI-like GFX model, with a 45mm f/2.8 lens and IBIS; however, just like the X100-series is larger, heavier, and more expensive than the X70, people should have the expectation that this maybe-someday GFX camera will likewise be larger, heavier, and more expensive than the GFX100RF, because it will be. The GFX100RF is the smallest, lightest, and cheapest digital medium-format body-lens combo ever made, yet it feels exceptionally premium. It will be a true classic—I have no doubt that 20 years from now some people will still be using it.

Perhaps more important than the body are the photographs that it produces, which are just beautiful. I think this has more to do with the lens than anything else. In my opinion, GFX isn’t inherently better than the X-series for the majority of photos and photographers; 26mp is more than enough for most purposes, let alone 40mp, let alone 100mp. There’s not a major difference (only very small dissimilarities) in JPEG output from the 100mp GFX and the 40mp X-series, other than the resolution and high-ISO capabilities. You can easily achieve a medium-format-like shallow depth-of-field with the X-series using a large aperture lens, like the Fujinon 56mm f/1.2 (and shoot in the dark with it, too). So it really comes down to the lens, and the 35mm f/4 (28mm full-frame-equivalent) that is permanently attached to the camera is a really good one.

I’m not really sure how to end this, other than with the photographs that I captured on Route 66 earlier this week. It’s not the only camera that I used on the trip, or even the one that I used the most (surprising to me, the X-T5 was the one that I chose most often). But, when reviewing the photos, I was really impressed with the pictures. Plus, the camera was small and light enough to be ideal for travel. What’s not to love? Anyway, below are some of the pictures that I captured in northern Arizona with a Fujifilm GFX100RF this last Tuesday. I hope you enjoy!

Housing for Hope – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2
Joshua Tree Hotel – Kingman, AZ – Fujifilm GFX100RF – Agfa Ultra 100 v2
Herbie on Route 66 – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo
Truck 9 – Antares, AZ – Fujifilm GFX100RF – 1-Hour Photo
Rural Mailboxes – Antares, AZ – Fujifilm GFX100RF – Agfa Scala
Rusty GMC – Truxton, AZ – Fujifilm GFX100RF – Kodak Ektachrome E100VS v1
Abandoned Buick – Seligman, AZ – Fujifilm GFX100RF – 1-Hour Photo
Arizona Motor Hotel No. 9 – Williams, AZ – Fujifilm GFX100RF – Astia Negative
Faded Highway Shield – Williams, AZ – GFX100RF – Agfa Scala
Ghost Train – Flagstaff, AZ – Fujifilm GFX100RF – Fluorescent Night

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

Fujifilm GFX100RF in black:
Amazon, B&H, Nuzira
Fujifilm GFX100RF in silver:
Amazon, B&H, Nuzira

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

1960 Chrome — Fujifilm X-T5 (X-Trans V) & X-E4 (X-Trans IV) Film Simulation Recipe

Posted on by Ritchie Roesch

Bell Tower – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome

This Film Simulation Recipe was created at the same time as Classic Color, Nostalgic Americana, Eterna Summer, and Astia Azure. These five Recipes were intended to work well together—could all be used in a single series or project—however, 1960 Chrome is the largest outlier of the group. It uses the Eterna Bleach Bypass film simulation, which has high contrast and low saturation, with a slight reddish tint.

The inspiration for 1960 Chrome came from several photographs in various vintage issues of Arizona Highways magazine from the 1960’s. While sometimes the publication provided detailed information on the photographs, sometimes they did not; from the instances where information was provided, the film used appears to be Ektachrome, perhaps from the 1950’s—likely E2 or E3 process. I’m sure the printing process and the age of the magazine play a significant role in the aesthetic as it appears today. In any event, this Recipe has a strong vintage color film aesthetic.

Lake Bridges – Tempe, AZ – Fujifilm X-E4 – 1960 Chrome

This 1960 Chrome Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50, as well as “newer” X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II. I’m sure it can be used on several GFX cameras, but will likely render slightly different (try it anyway). For X-Trans V, set Color Chrome FX Blue to Off, and for X-Trans IV set Color Chrome FX Blue to Weak.

Film Simulation: Eterna Bleach Bypass
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV)
White Balance: Fluorescent 1, -2 Red & -4 Blue
Highlight: -2
Shadow: -1
Color: +2
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured by my son, Jonathan, using this 1960 Chrome Film Simulation Recipe on a Fujifilm X-E4:

The Canal – Scottsdale, AZ – Fujifilm X-E4
Pipe Bridge – Scottsdale, AZ – Fujifilm X-E4
Hot Wheels – Scottsdale, AZ – Fujifilm X-E4
Yellow Porsche – Scottsdale, AZ – Fujifilm X-E4
The Cross(walk) Roads – Scottsdale, AZ – Fujifilm X-E4
The Lamp in the Tree – Scottsdale, AZ – Fujifilm X-E4
Gunslingin’ Martian – Scottsdale, AZ – Fujifilm X-E4
Strip Mall – Scottsdale, AZ – Fujifilm X-E4
The Back Rooms – Scottsdale, AZ – Fujifilm X-E4
Los Musicos – Scottsdale, AZ – Fujifilm X-E4
Tiled Ball – Scottsdale, AZ – Fujifilm X-E4
Phantom of Scottsdale – Scottsdale, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this 1960 Chrome Film Simulation Recipe on my Fujifilm X-T5:

Yellow House, White Window – Bisbee, AZ – Fujifilm X-T5
Abandoned House & Palm Tree – Arlington, AZ – Fujifilm X-T5
Posts – Arlington, AZ – Fujifilm X-T5
Abandoned Mall Sign – Casa Grande, AZ – Fujifilm X-T5
Gas & Grocery – Casa Grande, AZ – Fujifilm X-T5
Old Hoop – Arlington, AZ – Fujifilm X-T5
Mission Gate – Tumacacori, AZ – Fujifilm X-T5
Bell & Cross – Tumacacori, AZ – Fujifilm X-T5
Shack on the Hill – Tucson, AZ – Fujifilm X-T5
Deer on the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Palo Verde in the Rocks – Saguaro NP, AZ – Fujifilm X-T5
Tilted Saguaro – Tucson, AZ – Fujifilm X-T5

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Nostalgic Americana — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

On Top of a Desert Hill – Tucson, AZ – Fujifilm X-T5 – Nostalgic Americana

If you are a Fuji X Weekly regular, you probably know that I like to read vintage issues of Arizona Highways. For those unfamiliar, Arizona Highways is a photo-centric magazine that has been around for a hundred years. Many decades ago, Ansel Adams was a regular contributor, as were Barry Goldwater, Ray Manley, Chuck Abbott, Ester Henderson, David and Josef Muench, and Ed Ellinger, among many others. It’s a great resource for photographic inspiration!

I have a stack of these magazines in my office that I like to browse from time-to-time. This particular Film Simulation Recipe was influenced by many different pictures found in the pages of Arizona Highways issues from the 1960’s and ’70’s. This was during the American New Color movement. Sometimes extensive details were given about the photographs in the magazine, and sometimes not much at all; the pictures that inspired this Recipe were likely captured on first and second era Kodachrome, as well as E3 and E4 Ektachrome. I believe the printing process, as well as the aging of the magazines, play a roll in the aesthetic. This Nostalgic Americana Film Simulation Recipe replicates the look of those pictures, and produces an obvious retro rendering.

Old Yellow Truck – Bisbee, AZ – Fujifilm X-T5 – Nostalgic Americana

Because this Nostalgic Americana Recipe uses the Nostalgic Neg. film simulation, it is only compatible with fifth-generation X-Trans models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, and X100VI. I’m sure it can also be used with newer GFX models, but I’ve not tested it, and it will likely render very slightly differently (try it anyway, though). Nostalgic Americana works best in sunny daylight situations.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR200
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5800K, -2 Red & -4 Blue
Highlight: -1
Shadow: -1.5
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Nostalgic Americana Film Simulation Recipe on my Fujifilm X-T5:

White Brick – Bisbee, AZ – Fujifilm X-T5
White Dome – Tumacacori, AZ – Fujifilm X-T5
Old Spanish Mission – Tumacacori, AZ – Fujifilm X-T5
Bell – Tumacacori, AZ – Fujifilm X-T5
Horses on Allen Street – Tombstone, AZ – Fujifilm X-T5
Studebaker Bells – Bisbee, AZ – Fujifilm X-T5
No Parking Vines – Bisbee, AZ – Fujifilm X-T5
Solo Cup – Bisbee, AZ – Fujifilm X-T5
The Road is Closed – Bisbee, AZ – Fujifilm X-T5
No Parking Garage – Bisbee, AZ – Fujifilm X-T5
Various Textures – Bisbee, AZ – Fujifilm X-T5
Reaching Down – Bisbee, AZ – Fujifilm X-T5
Fake Flowers in a Window Box – Bisbee, AZ – Fujifilm X-T5
Star Spangled Dress – Buckeye, AZ – Fujifilm X-T5
Final Sale – Buckeye, AZ – Fujifilm X-T5
Mustang – Tombstone, AZ – Fujifilm X-T5
Se Renta Especio – Buckeye, AZ – Fujifilm X-T5
Space for Rent – Buckeye, AZ – Fujifilm X-T5
Restrooms – Casa Grande, AZ – Fujifilm X-T5
Mule Pass Tunnel – Bisbee, AZ – Fujifilm X-T5
Hall’s Trailer – Arlington, AZ – Fujifilm X-T5
Sign for Abandoned Mall – Casa Grande, AZ – Fujifilm X-T5
Caution: Desert Ahead – Litchfield Park, AZ – Fujifilm X-T5

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, Wex, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Wex, Nuzira

Find this Film Simulation Recipe and nearly 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Answer to the Question: Why Do My Photos of Famous Places Look Bad?

Posted on by Ritchie Roesch

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color

PetaPixel recently published an article entitled Why Do My Photos of Famous Places Look Bad? by Jeremy Gray. It’s basically a rehashing of an article by The Guardian entitled Why do photographs of beautiful scenery never do it justice? I don’t want to go into the details of those articles; instead, I’m going to simply answer the question.

Interestingly, photographer Chuck Abbott addressed this very question in the September 1955 issue of Arizona Highways magazine, in an article called You’ve Got to Go Back to Get the Good Ones. For those unaware, Arizona Highways has a long history of great photography. It was the first nationally circulated magazine to have an all-color issue (way back in December of 1946). Ansel Adams was a regular contributor, as was Barry Goldwater. Chuck Abbott and his wife Esther Henderson were both long-time contributors. To this day, Arizona Highways is a great place to discover excellent photography, and I often find inspiration within its pages.

Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

“‘Oh, Mr. Abbott,'” Chuck wrote in 1955, explaining a question that he had been asked often, “‘how do you get such good pictures? I was there and mine didn’t turn out at all well.'” He was asked the same question that The Guardian and PetaPixel put forward; however, Chuck’s answer was different than theirs. While there are a thousand ways that the question could be answered, I believe that the most profound was stated back in 1955 by Chuck Abbott.

“My answer is invariably the same,” Chuck said. “You’ll have to go back and try another day, another light, another season.” He continued, “Meanwhile, I am mentally recalling that ‘good’ picture; was it really good, couldn’t it have been better, and shouldn’t I go back again and do it over?”

Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100

“For that’s the trouble with this picture business,” Chuck added, “there is so little satisfaction in it! You are always beset with the haunting thought that every picture could be improved, if not by you, then by someone, sometime; so you end up traveling in a circle, periodically returning to do a better, or at least a different, interpretation of the subject. Perfection, of course, is the goal.”

He goes on in the article to provide some practical advice, which applies much more to photographers of a bygone era than today. For example, there’s no need to rely on friends in a certain region to obtain a weather report. You also don’t need to worry about burning through film, unless, of course, you’re shooting with film instead of digital. But a little while later Chuck states, “Providence, equipment, legwork and viewpoint; to me these are the four indispensables in picture-making. You may get fair results with lesser combinations but you can’t click completely without all four.”

Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues

And that’s the answer: you need a bit of luck, quality camera gear (which most equipment nowadays is), do some research before heading out, and find good compositions; when that fails or even when it succeeds, do it again another day, in a different light, during a different season. Then your photos of famous places will look good. That’s the advice Chuck Abbott gave, and I think it is just as true today as the day it was published in Arizona Highways.

In the comments section of the PetaPixel article, someone stated, “Those fantastic examples didn’t come straight out of camera looking like that. It takes work and skill to coax what our eyes see at a scenic place from what the camera saw at the same place.” While the sample pictures in the article were indeed most likely edited, I disagree that RAW editing is any sort of prerequisite to great photographs. In fact, all of my pictures in this article are unedited camera-made JPEGs using my Film Simulation Recipes. So it is, in fact, completely possible to have pictures “come straight out of camera looking like that.” You can make the camera “see” what our eyes (or our mind’s eyes) see at a scenic place (or any place) if you want to, and Fujifilm cameras plus my Recipes make it easy. The hard part is up to you: returning to places you’ve already been to capture a better, or at least different, interpretation of the subject.

Summer of 1960 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Ranch House – Tucson, AZ – Fujifilm X-T5 – Summer of 1960 Recipe

I love Arizona Highways magazine! When I was a kid, my grandparents, who lived in Arizona, would give me their old copies of the publication. The pictures were always amazing. I didn’t know it at the time, but that simple act had a profound impact on my life. Eventually I would become a photographer, and I would be significantly influenced by the pictures from that magazine.

For those who don’t know, Arizona Highways is a magazine with an important history. It began in 1925, and in 1946 published the world’s first all-color publication. From the beginning, Arizona Highways has been dedicated to the art of photography. Ansel Adams was a regular contributor. Barry Goldwater, Ray Manley, Chuck Abbott, David and Josef Muench, Ed Ellinger, Esther Henderson, and many other talented photographers were often featured. The publication is full of wonderful images even to this day. While it is not purely a photography magazine, Arizona Highways is a publication that photographers love due to their passion for the medium.

I recently found the December 1960 issue of Arizona Highways in a used bookstore. It has page after page of amazing photography! I really love the look of the pictures in this particular issue—while not every image looks alike, there is definitely a commonality to the photo aesthetic. I suppose that some of it is due to the printing process, which the magazine proudly claims is “Micro-Color Lithography” printed on “Glossette Offset Enamel 70-pound base” paper. I believe that the age of the magazine—now over 62-yeas-old!—has something to do with it, as color photographs and pages have a tendency to fade and discolor over time. What about the film? Well, there’s that, too.

Agaves in 1960 – Buckeye, AZ – Fujifilm X-T5 – Summer of 1960 Recipe
Photo of a page in the December 1960 issue of Arizona Highways magazine.

In the back of the magazine is a page that provides detailed notes on all of the photographs. For example, the picture shown in the magazine above—entitled The Blossoming Agaves—was photographed by Chuck Abbott in July 1960 during midday using a 5×7 Deardorff View camera set to f/18 and 1/10 shutter on Kodachrome, which had an ISO of 10. You might note that this is the “Sunny 16 Rule” except underexposed by 1/3 stop (presumably to protect the highlights). The detailed notes that were provided are a real treasure trove!

The vast majority of the pictures in the December 1960 issue were captured on Ektachrome. Now Ektachrome prior to 1955 used the E1 development process and was ISO 10, from 1955 to 1958 used the E2 development process and was ISO 32, and from 1959 to 1965 used E3 and was ISO 50—this particular issue had a mix of all three of those Ektachromes. A few Ascochrome images were also published, and those have a look that’s noticeably different than the Ektachrome and Kodachrome pictures. One image was captured on Ektacolor negative film, and that’s the only picture in the issue that wasn’t shot on slide film. Many of the photographs printed in the December 1960 issue of Arizona Highways were captured during the spring, summer, or fall of 1960.

Inspired by the aesthetic of the pictures found in the magazine, I set out to mimic the look with my Fujifilm X-T5. After a little fiddling and trial-and-error, I was able to get surprisingly close—almost an exact match to some of the pictures! There are certainly some similarities to both the Ektachrome and Kodachrome photographs published in the December 1960 issue of Arizona Highways, some of which were captured in the summer of 1960, hence the name of this Film Simulation Recipe.

Saguaro Spines – Tucson, AZ – Fujifilm X-T5 – Summer of 1960 Recipe

Because this Summer of 1960 Film Simulation Recipe uses the new Nostalgic Neg. film simulation, it is only compatible with the Fujifilm X-T5, X-H2, and X-H2S (as well as any other X-Trans V camera released after this article is published). Those with newer GFX cameras can likely use it, too, although it will probably render slightly different (but try it anyway!). This Recipe seems especially well suited for sunny daylight photography, and does alright in overcast, shade, and natural-light indoors, too.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: 5250K, -3 Red & -5 Blue
Dynamic Range: DR400
Highlight: +4
Shadow: +2
Color: +3
Sharpness: -4
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Summer of 1960 Film Simulation Recipe on my Fujifilm X-T5:

Green Growth Under Dormant Trees – Tucson, AZ – Fujifilm X-T5
Falling Rain on Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea on a Sunny Day – Buckeye, AZ – Fujifilm X-T5
Oleander and Palm Tree – Tucson, AZ – Fujifilm X-T5
March Palms – Tucson, AZ – Fujifilm X-T5
Agua Caliente Pond – Tucson, AZ – Fujifilm X-T5
Palm and Pond – Tucson, AZ – Fujifilm X-T5
Manmade Pond – Tucson, AZ – Fujifilm X-T5
Ham & Cheddar – Tucson, AZ – Fujifilm X-T5
Jon by a Pond – Tucson, AZ – Fujifilm X-T5
Ranch House & Palm – Tucson, AZ – Fujifilm X-T5
Yellow Blossom by Blue Window – Tucson, AZ – Fujifilm X-T5
Door Lamp – Tucson, AZ – Fujifilm X-T5
Sunlight Pines – Summerhaven, AZ – Fujifilm X-T5
Light Pouring Downhill – Summerhaven, AZ – Fujifilm X-T5
Leftover Forest Snow – Summerhaven, AZ – Fujifilm X-T5
Small Waterfall – Summerhaven, AZ – Fujifilm X-T5
Evergreen Forest – Summerhaven, AZ – Fujifilm X-T5
Icy Mountain Road – Summerhaven, AZ – Fujifilm X-T5
Blue Sky & Green Pines – Summerhaven, AZ – Fujifilm X-T5
Evening at an American Mountain – Tucson, AZ – Fujifilm X-T5
Eastern Mountains at Sunset – Tucson, AZ – Fujifilm X-T5
Rincon Peak at Sunset – Tucson, AZ – Fujifilm X-T5
Small Water Fountain at Sunset – Tucson, AZ – Fujifilm X-T5

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

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly — Film Recipes App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Help Fuji X Weekly

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

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Fujifilm X-T3, X-T30 & X-H1 Film Simulation Recipe: Negative Print

Posted on by Ritchie Roesch

Last Warm Light on Wasatch Front – Farmington, UT – Fujifilm X-H1 – “Negative Print”

This film simulation recipe was inspired by various pictures I found while browsing old issues of Arizona Highways magazine. I have a small collection of old issues of this publication, which I enjoy flipping through from time-to-time for inspiration. Arizona Highways has a long history of publishing great photographs—even Ansel Adams was a regular contributor back in the day. As I was browsing old issues published over several decades, there was a certain aesthetic that seemed to reappear over and over. It caught my attention because of how lovely it looks. I don’t know the specifics of the film used—most likely Kodak of some sort, and probably multiple emulsion. My suspicion is that the printing process played a significant part in the aesthetic, and that’s why I call this recipe Negative Print.

After some experimenting, I decided that the Eterna film simulation was the best base. Because of that, this recipe is only compatible with the Fujifilm X-H1, X-T3, and X-T30 cameras (as well as older GFX models, although the results will be slightly different). For newer X-Trans IV cameras (plus newer GFX), you’ll have to decide on Grain size (either Small or Large—I recommend Large), Color Chrome FX Blue (I recommend Off), and Clarity (I suggest either 0 or -2). I really like how this recipe renders pictures, and at times it really is reminiscent of those pictures printed in the magazine!

White & Red Rose – Ogden, UT – Fujifilm X-T30 – “Negative Print”

If you are looking for a classic analog aesthetic, this recipe is a great one to try. The way it renders shadows and colors definitely gives it a film-like look, and I know that this recipe will quickly become a favorite for some of you. I think it might just have a permanent place in my X-H1.

Eterna
Dynamic Range: DR200
Highlight: +2
Shadow: +4
Color: +4
Noise Reduction: -4
Sharpness: -1
Grain Effect: Weak
Color Chrome Effect: Off/NA
White Balance: Fluorescent 3, -2 Red & -7 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3

Below are example pictures, all camera-made JPEGs captured using this “Negative Print” Film Simulation Recipe:

Fire & Pine – Farmington, UT – Fujifilm X-H1
Trail in the Trees – Farmington, UT – Fujifilm X-H1
Tree by a Creek – Farmington, UT – Fujifilm X-H1
Old Blooms – Farmington, UT – Fujifilm X-H1
Snow on the Creek Bank – Farmington, UT – Fujifilm X-H1
Small Waterfall – Ogden, UT – Fujifilm X-T30
Rural Pipe – Farmington, UT – Fujifilm X-H1
Suburban Snowman – Farmington, UT – Fujifilm X-H1
Love Yourself – Salt Lake City, UT – Fujifilm X-H1
Stairs to Foot Bridge – Farmington, UT – Fujifilm X-H1
Adult Arlo – Ogden, UT – Fujifilm X-H1

Find this film simulation recipe 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!

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Arizona Highways & Vintage Kodachrome

Posted on by Ritchie Roesch

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Last night when I checked the mail, waiting inside the metal box was the September issue of Arizona Highways. For those who may not know, this magazine has a long history of  publishing great photographs, and many renown artists have been found in its pages throughout the decades. The newest issue of Arizona Highways features many pictures from the 1950’s and 1960’s, including the cover photograph by Allen Reed, so I found it especially interesting.

As I was flipping through the pages of the magazine this morning while sipping coffee, I was drawn to the Kodachromes, which can be seen many times in this issue. I was impressed with how well my Vintage Kodachrome film simulation recipe mimics the aesthetics of these pictures. It shouldn’t be too surprising since I consulted (among other things) some old Arizona Highways magazines when I created it, but it is a bit surprising that it’s possible to get this look right out of camera. Studying this issue was good confirmation that I got those settings right, and it made me want to shoot with it more. Perhaps later this week I’ll use Vintage Kodachrome for my Film Simulation Challenge.

If you can, pick up a copy of the latest issue of Arizona Highways so you can view these pictures for yourself. Look carefully at the vintage photographs captured by Ansel Adams, Ray Manley, Chuck Abbot and others. Esther Henderson’s pictures were especially impressive, and this was my introduction to her work. It was great inspiration for me, and perhaps it will be for you, too.