Oak Creek in Monochrome – Sedona, AZ – Fujifilm X-E5 – FRGMT B&W
A couple of weeks ago Fujifilm announced the GFX100RF Fragment Edition, a limited-edition version of the GFX100RF, which will only be available in Japan. The camera was modified by fashion designer, producer, and artist Hiroshi Fujiwara, the founder of Fragment. Interestingly, it comes preloaded with a Film Simulation Recipe by Hiroshi called FRGMT B&W, which is in the Film Simulation menu in lieu of the Monochrome Film Simulation. This is the first official Fujifilm Recipe, and the first (as far as I’m aware) by Hiroshi Fujiwara. Fujifilm published the details of this Recipe within the GFX100RF Fragment Edition announcement, which means that anyone can use it, and not just those in Japan who purchase the limited-edition camera.
When I saw this, I knew that some of you would want to try the FRGMT B&W Recipe, so I shared it. I wasn’t going to make it an “official” Fuji X Weekly Recipe or include it in the Fuji X Weekly App unless I had permission to do so from those involved. I reached out to Fujifilm and asked for permission, but I knew it was a long shot. My request was forwarded up the chain all the way to Japan. I didn’t think the odds were very good, but, perhaps as a Christmas miracle, the answer came back pretty quickly. To my shock, yes, I do have permission, both from Fujifilm and from Fragment, to publish this Recipe. Wow!
Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W
It’s such an honor to get this permission, not only because it’s the first Recipe included in any of Fujifilm’s cameras, but also because it was created by Hiroshi Fujiwara. For those unaware, that’s a really big deal. Hiroshi has collaborated with Eric Clapton twice. He appeared on the big screen in Lost in Translation. If someone like Pharrell Williams created a Film Simulation Recipe and then gave me permission to include it on this website and in the Fuji X Weekly App, that would be fairly equivalent to this (obviously, there is only one Hiroshi Fujiwara).
The FRGMT B&W Recipe produces a contrasty and grainy black-and-white aesthetic. It reminds me of Ilford Delta 400 pushed one stop. I didn’t study or research that; it’s more of a “memory color” (as Fujifilm puts it) of using Ilford Delta 400 and push-processing it 25 years ago or so. I don’t believe this Recipe was intended to resemble any specific film or process, but if you were to ask me what film this Recipe most closely mimics, it’s Ilford Delta 400 pushed one stop. Again, that’s not based on research, but just what I remember from way back in my film days.
Shadow Shapes – Sedona, AZ – Fujifilm GFX100S II – FRGMT B&W
With the exception of the X-T3 and X-T30, this FRGMT B&W Recipe is compatible with all of the fourth and fifth generation models: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with the GFX100S, GFX100 II, GFX100S II, and GFX100RF. Because this Recipe uses Clarity set to something other than 0, there is a short storing pause after capturing a photo, with a similar delay as advancing to the next frame on a film camera. I want to give a big shoutout to both Fujifilm and Fragment for allowing me to publish this, and also to Hiroshi Fujiwara for creating it. Thank you!
Film Simulation: Acros (including +Ye, +R, or +G) Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR-Auto Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, 0 Red & 0 Blue Highlight: +4 Shadow: +2 Sharpness: -4 High ISO NR: -4 Clarity: +5 ISO: Auto, up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically) — Hiroshi says +1/3
Example photographs, all camera-made JPEGs captured using this FRGMT B&W Film Simulation Recipe on a Fujifilm X-E5, X-T5 and GFX100S II:
Notice – Gatlinburg, TN – Fujifilm X-E5
Regular – Gatlinburg, TN – Fujifilm X-E5
Abandoned Gas Pumps – Gatlinburg, TN – Fujifilm X-E5
Mercedes-Benz – Sedona, AZ – Fujifilm X-E5
Broken Shelving – Sedona, AZ – Fujifilm X-E5
West Fork – Sedona, AZ – Fujifilm X-E5
Fujifilm Photographer – Sedona, AZ – Fujifilm X-E5
Monochrome Leaves – Sedona, AZ – Fujifilm X-E5
Flowing Creek – Sedona, AZ – Fujifilm X-E5
Lost Creek, Found – Buckeye, AZ – Fujifilm GFX100S II
Creek in the Desert – Buckeye, AZ – Fujifilm GFX100S II
Rural Water – Buckeye, AZ – Fujifilm GFX100S II
Supai – Sedona, AZ – Fujifilm GFX100S II
Rocks in the Sky – Sedona, AZ – Fujifilm GFX100S II
Pirate – Sedona, AZ – Fujifilm GFX100S II
Classic Design – Buckeye, AZ – Fujifilm GFX100S II
The Man in Black & White – Phoenix, AZ – Fujifilm X-T5 – by Amanda Roesch
Tall Bank, Empty Lot – Phoenix, AZ – Fujifilm X-T5
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Coastal Photographer – San Francisco, CA – Fujifilm X100VI – Kodak Plus-X 125
This new Kodak Plus-X 125 Film Simulation Recipes comes to us curtesy of Dylan Van Matre. “The short story is that I’ve been a film shooter for a long time,” Dylan told me, “and one of my favorite films during that time has been Kodak Plus-X 125. When I moved to Fuji and discovered Film Simulation Recipes, one of the films I looked for was Kodak Plus-X 125. It was a favorite of mine during the early 90’s. I couldn’t find one published by someone else, so I endeavored to make my own. I enlisted the help of Anders Linborg to learn about Recipes and how to create them.”
“When I decided to try and create this Recipe,” Dylan continued, “I thought that I should try and learn from someone who has created ones that I enjoyed and felt were accurate. Anders with his Kodak Tri-X 400 Recipe (and others) immediately came to mind. I emailed him inquiring about his creation process. Anders was kind enough to respond, and he gave me a great check list on how to go about creating a Recipes. I download the specification sheet for Plus-X 125 film and found the spectrum analysis chart. I found the most prominent peak on the chart and made a note on the frequency that it’s located. That’s how I decide upon my white balance.”
Irrigation Pipe – Buckeye, AZ – Fujifilm GFX100S II – Kodak Plus-X 125
“From there I picked the response curve that I felt was most appropriate,” Dylan said, “which led me to the Acros film simulation. After that I used the reference images I had, which were a bunch of Plus-X scans from the early 90’s, and I starting shooting with my Fujifilm camera. I’ve shot in all kinds of lighting conditions over the last couple years, making tweaks here and there. After some fine-tuning, I had created a Recipe that I feel most represents Plus-X 125 film. I want to thank Andors Linborg for his amazing advise, and I want to thank Ritchie for his amazing website.”
Included in the email was a private link to some of Dylan’s photos captured with this Kodak Plus-X 125 Film Simulation Recipe, as well as some of his scans of actual Kodak Plus-X 125 film. It was quite obvious to me comparing the two that this Recipe is a good match, and Dylan did an excellent job creating it. He certainly put in a lot of research and effort to get this right. Thank you, Dylan Van Matre, for creating and sharing this Recipe!
Cactus & Barbed Wire Fence – Rock Springs, AZ – Fujifilm X-E4 – Kodak Plus-X 125
Plus-X was a long-running classic B&W negative film by Kodak, known for its fine grain, sharpness, and moderate contrast that made it popular for both professional and amateur photographers. Originally introduced in 1938 as a motion picture film, it evolved over the decades. The ISO 125 version was released in 1954. After more than 70 years in production, Kodak discontinued Plus-X in 2010, with the last batch shipping in 2011, marking the end of an era for one of the company’s longest-running emulsions. This Recipe is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras, as well as newer GFX models.
Film Simulation: Acros (including +Ye, +R, or +G) Monochromatic Color (Toning): WC 0 & MG 0 (Off) Dynamic Range: DR200 Grain Effect: Weak, Large Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +9 Red & +9 Blue Highlight: -1 Shadow: +1 Sharpness: -1 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to -2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Plus-X 125 Film Simulation Recipe on a Fujifilm X-T5, X100VI, X-E4 & GFX100S II:
Distant Dust Storm – Buckeye, AZ – Fujifilm X-T5
Estrella Mountains from White Tank Foothills – Buckeye, AZ – Fujifilm X-T5
Spewing Water – Buckeye, AZ – Fujifilm GFX100S II
Truck Junk Yard – Buckeye, AZ – Fujifilm GFX100S II
Table 18 – Avondale, AZ – Fujifilm X100VI
Sunlit Banister – Buckeye, AZ – Fujifilm X-T5
Saguaro & Dark Storm – Buckeye, AZ – Fujifim X-E4
Closed for Storm Damage – Navarro, CA – Fujifilm X100VI
Post in the Water – Bodega Bay, CA – Fujifilm X-T5
Coastal Cove – Elk, CA – Fujifilm X-T5
Desert Saguaro – Buckeye, AZ – Fujifilm X100VI
Wild at Heart – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
Angled Doorway – Elk, CA – Fujifilm X-T5
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Tree of Broken Glass – North Salt Lake, UT – Fujifilm X-E1
Ever since I first saw the Fujifilm X100, X-Pro1, and X-E1 in 2011 and 2012, I wanted to buy one. These cameras were significantly different from the other digital models on the market, and seemingly more similar to classic film cameras. I’d see them in various camera magazines, and I’d eagerly read the reviews and study the pictures. I was fairly new to digital photography, having purchased my first DSLR in 2009, but I found the experience frustrating and disappointing. It was so much different than film, and I felt like I was learning photography all over again.
I had been a stubborn digital holdout for a decade, choosing film because I disliked digital. I would brag that I could easily distinguish a digital image from a film photo. But digital technology quickly advanced, becoming better and better. I knew that I needed to get onboard the train before getting completely left behind at the station. Because I had a couple of 35mm Pentax bodies, and you could use K-Mount lenses on Pentax DSLRs, I initially went with that brand. I have absolutely nothing against Pentax (I own a couple of Ricoh GR cameras), but it just wasn’t a good fit for me.
Barn by the Tetons – Grand Teton NP, WY – Fujifilm X-E1
Unfortunately, at the time that the original Fujifilm X-series cameras were released, I could not afford them. They were outside of my budget. Oh, if I just had a few hundred dollars more to spend on a camera, I’d buy one, I would tell myself. However, Fujifilm was just out of reach.
Time went on, and I jumped from brand-to-brand-to-brand, never satisfied with my gear. I thought maybe I was just being discontented, and I should try harder to find gratification with what I had. But contentment seemed illusive. After a number of years, I sold all of my digital gear except for one point-and-shoot digicam and my cellphone (I still had a couple of film cameras), and—for the most part—took a break from photography. Well, that break was short-lived, because I moved to Utah, which is a photographer’s playground, and I couldn’t resist the urge to create photographs.
Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1
This time, I was determined to buy a Fujifilm camera. I had never owned one, and didn’t really know what to expect, but I knew they were different. I couldn’t afford the current offerings, so I purchased a used Fujifilm X-E1, which was now a four-year-old model. The X-Pro2 was brand-new, and I would have loved to buy it, but it was not anywhere near my budget. The current X-E model was the X-E2s, and that was also unattainable for me at the time. Happily, I found an X-E1 that I could afford, so I bought it. The manual controls felt natural and made so much sense to me. I was reminded of why I loved photography. It was instantly clear to me that Fujifilm cameras were what I had been looking for all along.
The purchase of that X-E1 sent me on a path that I’m still on today, and it’s been an incredible journey! To say that it changed my life is a massive understatement, no hyperbole. Although it wasn’t a brand-new camera, I loved it. I have a special place in my heart for the X-E1, and all of the other X-E models, including my Fujifilm X-E4, which is one of my favorite cameras today. I find it sad that Fujifilm is not currently making any X-E bodies (the X-E4 was discontinued two years ago), but I’m hopeful that the series will continue on, and the next iteration isn’t too far out.
Monochrome Founders – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S
This is my first B&W Film Simulation Recipe for Fujifilm full spectrum cameras, like the Fujifilm X-T4 ES (“Extended Spectrum”). It’s not for “normal” cameras; you must have a full spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor like LifePixel, Kolari Vision, or Spenser’s Camera. Otherwise, the Fujifilm X-T4 ES is a full spectrum camera (is sensitive to light outside the visible gamut) briefly offered by Fujifilm to the general public. As of this writing, I believe that you can still buy the Fujifilm X-T4 ES from B&H, but it requires a phone call or stopping by in-person, and cannot be order from the internet.
The reason why it took me so long to publish a B&W Recipe for full spectrum IR cameras is because I had trouble creating one that I was fully satisfied with. I experimented with many different filters and settings, but just couldn’t find the right combination that produced the results that I desired. Initially, this was another one of those failed experiments, until I added a third filter (QB2), and instantly fell in love with the aesthetic that this Recipe creates.
Water in the Desert – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S
The emulsion that this Recipe is most reminiscent of is Agfa AviPhot 400S, which is also sold under Rollei Retro 400S, Rollei 400 IR, Japan Camera Hunter Street Pan 400, Astrum Foto 400, and Svema Foto 400. This film was made for aerial surveillance—hence: AviPhot, which is short for “Aviation Photography”, and “S” for surveillance—and is both infrared and UV sensitive, although only a little. In order to get good IR results, the film requires a 720nm filter and adding two or three stops to the exposure.
This Agfa 400S Film Simulation Recipe doesn’t use a 720nm filter; instead, it requires three filters: Kolari Vision IR Chrome, Tiffen Deep Yellow 15, and QB2 blue. The QB2 was given to me and I have no idea what brand it is, but here are some that I found online: JTSF, PMP, Nantong, Shanghai Longway, Tangsinuo. This is a fairly uncommon filter (that’s why none of the name brands make it), but it is used by some in the IR world (my Cotton Candy Chrome Recipe also uses the QB2 filter). I’m not sure if the order matters, but I have the Deep Yellow filter first (closest to the lens), the IR Chrome next, and the QB2 last (furthest from the lens).
Tree in Grey – Buckeye, AZ – Fujifilm X-T4 ES – Agfa 400S
While this Recipe was designed on and intended for the Fujifilm X-T4 ES camera, it should be fully compatible with any full spectrum converted X-Trans IV (except the X-T3 and X-T30) and X-Trans V models. For a grainier look, use higher ISOs, such as 6400 and 12800 (Water in the Desert is an ISO 12800 image). For a cleaner look, use lower ISOs.
Filters: Tiffen Deep Yellow 15, Kolari Vision IR Chrome, & QB2 Blue Film Simulation: Acros+R Monochromatic Color: WC 0 MG 0 (Off) Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: 2500K, +9 Red & -2 Blue Highlight: +4 Shadow: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 12800 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Agfa 400S Film Simulation Recipe on my Fujifilm X-T4 ES:
Sunlit Jon – Surprise, AZ – Fujifilm X-T4 ES
Sunglasses – Surprise, AZ – Fujifilm X-T4 ES
Flower Girl – Buckeye, AZ – Fujifilm X-T4 ES
Photographer Jon – Buckeye, AZ – Fujifilm X-T4 ES
Hand in Hand – Buckeye, AZ – Fujifilm X-T4 ES
Dogs out a Truck Window – Laveen, AZ – Fujifilm X-T4 ES
Dramatic Light – Buckeye, AZ – Fujifilm X-T4 ES
Lamp Post – Buckeye, AZ – Fujifilm X-T4 ES
Second Floor Windows – Buckeye, AZ – Fujifilm X-T4 ES
Neighborhood Eucalyptus – Buckeye, AZ – Fujifilm X-T4 ES
White Tree – Buckeye, AZ – Fujifilm X-T4 ES
Grey Saguaro – Buckeye, AZ – Fujifilm X-T4 ES
17th Green – Buckeye, AZ – Fujifilm X-T4 ES
Closed Umbrella in Monochrome – Buckeye, AZ – Fujifilm X-T4 ES
Second Floor – Buckeye, AZ – Fujifilm X-T4 ES
Sunlit Stucco – Surprise, AZ – Fujifilm X-T4 ES
Empty Cart – Buckeye, AZ – Fujifilm X-T4 ES
Shade – Surprise, AZ – Fujifilm X-T4 ES
Coffee Work – Buckeye, AZ – Fujifilm X-T4 ES
Open Umbrellas – Surprise, AZ – Fujifilm X-T4 ES
White Bougainvillea 1 – Buckeye, AZ – Fujifilm X-T4 ES
White Bougainvillea 2 – Buckeye, AZ – Fujifilm X-T4 ES
Palm Fronds – Buckeye, AZ – Fujifilm X-T4 ES
V Tree – Buckeye, AZ – Fujifilm X-T4 ES
Evening Light – Buckeye, AZ – Fujifilm X-T4 ES
Tis but a Scratch– Buckeye, AZ – Fujifilm X-T4 ES
Desert Road – Buckeye, AZ – Fujifilm X-T4 ES
Last Light on the Peaks – Buckeye, AZ – Fujifilm X-T4 ES
Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 10 most-viewed B&W Recipes on the Fuji X Weekly website so far in 2024.
It’s close enough to the end of the year that there is unlikely to be much movement, if any, between now and January 1st, so I thought it would be a good time to begin looking at year-end statistics. When I share the Top 25 most popular Recipes of any given month, the results are pretty predictable: color Recipes dominate, especially those that mimic Kodak film stocks and use Classic Chrome. On the suggestion of a Fuji X Weekly reader, I’m going to share some Top 10 articles for Recipe categories where few are likely to crack the Top 25 overall. I’m starting with black-and-white, and we’ll see where this all goes from here.
I knew that Kodak Tri-X 400 would be Number One. It’s far-and-away the most popular black-and-white Film Simulation Recipe for Fujifilm cameras, and is in the Top 15 overall. Second place is a distant second, and not close to cracking the Top 25. I really didn’t know how the others would rank, and I was quite surprised by some of them. Four of these use the Acros film simulation (I thought more would), and six use the Monochrome film simulation.
Without any further delay, below are the most popular B&W Recipes of 2024!
Top 10 Most Popular B&W Film Simulation Recipes of 2024
This is the long-time most popular B&W Recipe on Fuji X Weekly. It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models.
This is the highest ranked Recipe that uses the Monochrome film simulation. It is compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.
Based on Acros, this was one of the very first Film Simulation Recipes published on Fuji X Weekly. It is compatible with X-Trans III cameras, plus the X-T3 and X-T30.
Another Monochrome-based Recipe, this one is compatible with the X-T3 and X-T30; for use on X-Trans III, simply ignore the settings that your camera doesn’t have.
Last but certainly not least is Kodak T-Max 400, which also uses the Monochrome film simulation. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V models.
Dan Allen, who created this Film Simulation Recipe after shooting with Kodak T-Max 100 film and his Fujifilm X-T5 side-by-side, noticed that there are a lot of subtle variances in the film. Even within the same roll, there can be small differences from frame-to-frame, and one Recipe can’t mimic them all; however, instead of creating five or six different versions of a Kodak T-Max 100 Recipe, Dan made two that were “close enough” to the emulsion to be convincing: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone.
The “Hard Tone” version has a little more contrast, with brighter highlights and deeper shadows, and this Kodak T-Max 100 Soft Tone Recipe has less contrast, with softer highlights and lifted shadows. The difference between the two isn’t huge, nor should it be. And it is perfectly alright to customize them further—”season to taste”—by making small adjustments to Highlight, Shadow, etc., especially since the variances cannot be fully mimicked by just two Recipes. You might try using the Highlight setting from one version with the Shadow setting of the other—or just use them as they are, and appreciate the excellent results.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Soft Tone Recipe
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: +1.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Soft Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Comparison:
Left: Kodak T-Max 100 Hard Tone / Right: Kodak T-Max 100 Soft Tone
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Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Kodak introduced T-Max 100 and T-Max 400 in 1986, and T-Max P3200 two years later. It was touted as a fine-grained, sharp and detail-rich black-and-white negative film. Interestingly, ever since T-Max was released, there has been a divide in the photographic community around this emulsion: people either loved it or hated it. Those who loved it tended to not like Tri-X, and those who hated it tended to love Tri-X; you were likely in one camp or the other. Tri-X was more gritty, dramatic and versatile, while T-Max was softer, cleaner, and more finicky. All-in-all, you are not likely to spot huge differences between the two as a casual observer, but those who regularly shot with these films could easily distinguish the nuances.
This particular Film Simulation Recipe, called Kodak T-Max 100 Hard Tone, was created by Dan Allen after shooting some rolls of Kodak T-Max 100 film side-by-side with his Fujifilm X-T5. He did his best to match the X-T5 photos to the T-Max frames. This was not an easy task, and took a lot of adjustments and refinements. Dan spent a lot of time and effort on this. He discovered that it would take a handful of versions of the Recipe to replicate all of the variances that can be found even within the same roll, and ultimately determined that one Recipe cannot mimic them all. His solution was to create two versions—one with a higher contrast and one with a lower contrast—that are “close enough” to be acceptable facsimiles for most of the variabilities.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Hard Tone Recipe
Even though this Recipe does a pretty darn good job of replicating Kodak T-Max 100, it is always ok to “season to taste” the settings. Don’t be afraid to increase or decrease Highlight and Shadow, for example. There are a lot of factors that can determine the exact aesthetic of the film, so some small tweaks might be necessary to get it precisely as you want it. Or, just leave them as Dan created, and enjoy the lovely results.
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +0.5 Shadow: +2.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Hard Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
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Cash for your Scrap – Buckeye, AZ – Fujifilm X100V – Kentmere Pan 400 – Photo by Jon Roesch
Even though Kentmere Pan 400 is a fairly new film, the history of it is a bit grey (pun intended). Harman Technologies is the parent company of both Ilford and Kentmere; prior to the Harman purchase, Kentmere did not produce any photographic films (they did make photo paper), so it would seem that Kentmere 400, which was introduced in 2009, is essentially an Ilford emulsion. Sometime a few years ago “Pan” was added to the name, although it is unclear if the emulsion was modified, or if it stayed the same and the name change was only marketing.
Kentmere Pan 400 is a low-budget black-and-white negative film marketed towards photography students. Harman has stated that Kentmere Pan 400 is similar to Ilford HP5 Plus 400, and the reason that they can sell it for cheaper is that it contains less silver. For this reason some people have speculated that it is simply HP5 Plus with less silver; however, Ilford also makes a Pan 400 film, and so some others have speculated that Kentmere Pan 400 is actually Ilford Pan 400 with less silver. Oh, and then there’s AgfaPhoto APX 400 (2013 and onward, anyway), which apparently is the same emulsion as Kentmere Pan 400, and possibly even Rollei RPX 400. It’s hard to know exactly what the truth is, other than Kentmere Pan 400 is a cheap B&W film made by Ilford, who has produced many excellent B&W films for a long time.
This Film Simulation Recipe was developed by Dan Allen. He shot a few rolls of Kentmere Pan 400 film, and during that time also shot a bunch of frames side-by-side with his Fujifilm X-Pro3. Using X RAW Studio, he fiddled with the Fujifilm files until they closely matched the Kentmere scans. One film can produce many different looks—depending on a host of factors, including how shot, developed, and printed and/or scanned—and even within this experiment, Dan discovered that there were some variances; these settings aim at the middle ground of those results. For many pictures, this Recipe is strikingly similar to the film, and you can tell that he put a lot of work and care into creating it. Thank you, Dan!
Lockers – Phoenix, AZ – Fujifilm X100V – Kentmere Pan 400
This Kentmere Pan 400 Film Simulation Recipe is compatible with all X-Trans IV cameras—except the X-T3 and X-T30—and all X-Trans V cameras: the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, and X100VI (as of this writing). I’m sure you can also use it on newer GFX models, although it might render very slightly different (try it anyway). Because Kentmere Pan 400 film is intended for student photographers, I had my 14-year-old son, Jonathan, use this Recipe—half of the pictures in this article are his.
Film Simulation: Acros+G Monochromatic Color (Toning): Off (WC 0 & MG 0) Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, +7 Red & +6 Blue Dynamic Range: DR-Auto Highlight: +1 Shadow: +1 Sharpness: +3 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 Kentmere Pan 400 Film Simulation Recipe on my Fujifilm X100V:
Rentals – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Street Lamp – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Power Pole & Street Light – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Slug Bug – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Crushed Monster – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Back Alley – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Dark Parking Garage – Phoenix, AZ – Fujifilm X100V
I C – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Roadrunner – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Table & Chair – Buckeye, AZ – Fujifilm X100V
FED 5c & Yosemite – Buckeye, AZ – Fujifilm X100V
Snowman – Buckeye, AZ – Fujifilm X100V – Photo by Jon Roesch
Nicolas in a Window – Phoenix, AZ – Fujifilm X100V
White Flower – Buckeye, AZ – Fujifilm X100V
Courtyard – Phoenix, AZ – Fujifilm X100V
Education Building – Phoenix, AZ – Fujifilm X100V
Twin Palms & Building Corner – Phoenix, AZ – Fujifilm X100V
Two Palms, One Shadow – Phoenix, AZ – Fujifilm X100V
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Black-and-white pictures are abstract by nature. They’re not faithful reproductions of the world as we see it. Because it is abstract, the photographer is invited to capture the scene in a unique way, with a vision that is dissimilar to—and perhaps even the opposite of—reality. It’s not so much about what the scene is, but about how we see the scene through a divergent eye, and how we can express that to the viewer. It’s a timeless approach to fine-art photography.
The strength of color photographs is color, but it’s also its weakness. When color works within a color theory—perhaps contrasting or harmonious—it can create an especially dramatic or beautiful picture; however, when the colors within an image work against each other, it can be a distraction. B&W photos remove the distraction of color, allowing the viewer to see the important elements without color fighting for their attention—it’s the art of subtraction.
Black-and-white photography is about light and shadow. It’s about contrast. It’s about shape. Texture. Pattern. Space. Emotion. Those are very important elements to color photography, too, but they’re even more critical to B&W pictures. Mastering monochrome will make you a better photographer, even for your color work.
Join myself and Fujifilm X-Photographer Nathalie Boucry as we finish our discussion of B&W photography in-depth on SOOC Livethis Friday, August 25th, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve included the video below so that you can easily find it on Friday. Also, if you haven’t uploaded your photographs captured with the Kodak Tri-X 400, Kodak T-Max P3200, Ilford HP5 Plus 400, and/or Acros Film Simulation Recipes, be sure to do so ASAP (click here)! There’s not much time, so don’t delay. I hope to see you on Friday!
Also, if you missed our the initial discussion of black-and-white photography, check it out below:
The world is full of color, so why would one want to photograph in black-and-white? It’s so old-fashioned anyway. Are there any good reasons to make monochrome pictures in 2023?
In 1826, the first photograph was captured by Joseph Nicéphore Niépce in France. It was black-and-white because the first process was B&W. But then in 1861 the first color picture was made by James Clerk Maxwell and Thomas Sutton in Scotland. That should have been the end of B&W photos, right? Actually, color photography didn’t catch on for a very long time because the process to create them was much more complex than B&W, and their color reproduction not particularly accurate. Kodak launched Kodachrome slide film in 1935, which was the first reasonably accurate color process. That should have been the end of B&W, but it wasn’t. In fact, many photographers shunned color photography, and derided it as for amateurs. Black-and-white was for the serious, while color was not.
The New American Color movement of the 1960’s and ’70’s is really what made color photography an acceptable art form. It challenged the idea that “real” photography was only in monochrome. Color images could be just as good as, or perhaps even better than, B&W pictures. It revolutionized photography.
Epic Zip Line – Sundance, UT – Fujifilm X100F – Agfa Scala Recipe
That was so long ago. Color photography is the norm now, not black-and-white. Your digital camera captures a color picture, and you have to convert it to B&W if you want to see in shades of grey. B&W has become a niche of sorts.
So why should you shoot black-and-white photographs in 2023? What reasons are there, other than nostalgia for a time long gone? I love B&W photography, so let me offer a few to you.
Black-and-white pictures are abstract by nature. They’re not faithful reproductions of the world as we see it. Because it is abstract, the photographer is invited to capture the scene in a unique way, with a vision that is dissimilar to, and perhaps even the opposite of, reality. It’s not so much about what the scene is, but about how we see the scene through a divergent eye, and how we can express that to the viewer. It’s a timeless approach to fine-art photography.
The strength of color photographs is color, but it’s also its weakness. When color works within a color theory—perhaps contrasting or harmonious—it can create an especially dramatic or beautiful picture; however, when the colors within an image work against each other, it can be a distraction. B&W photos remove the distraction of color, allowing the viewer to see the important elements without color fighting for their attention—it’s the art of subtraction.
Playing with Waves – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe
Black-and-white photography is about light and shadow. It’s about contrast. It’s about shape. Texture. Pattern. Space. Emotion. Those are very important elements to color photography, too, but they’re even more critical to B&W pictures. Mastering monochrome will make you a better photographer, even for your color work.
Fujifilm cameras are particularly great for black-and-white photography thanks to their wonderful film simulations: Monochrome and especially Acros. Many different Film Simulation Recipes can be made using these as the base, with a wide variety of characteristics. Pick one that looks interesting to you, and shoot with it for a day or two to see what you get. My personal favorite is Kodak Tri-X 400, but there are so many that are really good, it’s hard to go wrong with any of them.
Whether you’ve been shooting black-and-white for decades and decades, or if you never have before but are interested, I invite you to join myself and Fujifilm X-Photographer Nathalie Boucry as we discuss B&W photography in-depth on SOOC Livethis Thursday, August 3rd, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve included it below so that you can easily find in on Thursday.
If you missed last Thursday’s SOOC Live broadcast, where Nathalie and I finished our discussion of travel photography, be sure to watch it now. I’ve included it below, or visit the SOOC Live YouTube Channel. Also, if you haven’t seen the Viewers’ Images slideshow (your pictures!), I’ve added that to the bottom of this article—be sure to watch!
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.
“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.
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 (orAcros+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
Delilah – 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
Basket – Phoenix, AZ – Fujifilm 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
Floor – 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:
ISO 640 Crop
ISO 12800 Crop
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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.
The story doesn’t end there. Recently, Fuji X Weekly reader Dan Allen wanted to help create an Ilford FP4 Plus 125 recipe, and he purchased some rolls of the film to shoot side-by-side with his Fujifilm camera. When he told me this, I sent him Anders’ recipe to try. After he did his experiment, Dan shared with me the results, which were quite fascinating. It turns out that Dan’s Ilford frames and his Fujifilm digital pictures (using Anders’ recipe) looked similar, but the Ilford frames had less contrast, with softer highlights and shadows, so I made a few small modifications to Anders’ recipe to better match Dan’s pictures. Of course, one film can have many different looks, depending on how it was shot, developed, printed, and/or scanned. “This particular film stock,” Anders told me, “is highly tunable, ranging from super clean to ultra gritty.” No single recipe will ever recreate every possible aesthetic from the film.
“Just like the real thing,” Anders explained to me, “a slight underexposure protects the highlights and improves contrast. Centered around the upper half of the grayscale, this recipe ranges from soft and dreamy to sharp and almost graphic with pencil-like lines. It will almost never go entirely black and is great for shadow details.” Ilford originally introduced FP4 Plus 125 way back in 1968, and in 2014 they improved the emulsion, which is what’s currently available.
Bougainvillea Grey – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”
If you want to use Anders Lindborg’s recipe as he created it, set Dynamic Range to DR100, Highlight to 0, and Shadow to -1. He says that you can “really go crazy” with Clarity and Grain—try Clarity anywhere from -2 to +4, with Grain Weak/Small when using less Clarity (for a cleaner look) and Grain Strong/Large when using more Clarity (for a grittier look). Also, feel free to use the different faux filter options (+Ye, +R, +G) with this recipe.
The Ilford FP4 Plus 125 Film Simulation Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2S, and newer X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II. If you have an X100V or X-Pro3, you can use Anders’ unmodified version (explained above); for the X-T3, X-T30, plus X-Trans III, additionally ignore Clarity and Grain size. This recipe is especially well suited for mid-to-high contrast scenes, paying careful attention to the highlights so as to not clip them.
Film Simulation: Monochrome Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, +6 Red & -8 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: -1.5 Monochromatic Color: 0 WC & 0 MG Sharpness: 0 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1 to -1/3 (typically)
Example photographs, all camera-made JPEGs using this “Ilford FP4 Plus 125” Film Simulation Recipe on my Fujifilm X-T5:
Projector Light – Surprise, AZ – Fujifilm X-T5
Fog Lights – Surprise, AZ – Fujifilm X-T5
Disco Ball – Surprise, AZ – Fujifilm X-T5
Christmas Concert – Surprise, AZ – Fujifilm X-T5
Light Lines – Surprise, AZ – Fujifilm X-T5
Window Shade Pull – Buckeye, AZ – Fujifilm X-T5
Window Light on a Small Rug – Buckeye, AZ – Fujifilm X-T5
Call it a Fuji X Weekly Holiday – Buckeye, AZ – Fujifilm X-T5
Christmas Gift – Buckeye, AZ – Fujifilm X-T5
Legos for Christmas – Buckeye, AZ – Fujifilm X-T5
Was a Rose – Buckeye, AZ – Fujifilm X-T5
Backlit Petunia – Goodyear, AZ – Fujifilm X-T5
Dark Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lizard on a Wall – Buckeye, AZ – Fujifilm X-T5
Block Wall – Buckeye, AZ – Fujifilm X-T5
Gate – Buckeye, AZ – Fujifilm X-T5
Joy – Goodyear, AZ – Fujifilm X-T5
Waiting by the Pool – Goodyear, AZ – Fujifilm X-T5
Butcher – Avondale, AZ – Fujifilm X-T5
Tamale TV – Avondale, AZ – Fujifilm X-T5
Reading the Morning Paper – Goodyear, AZ – Fujifilm X-T5
Coffee Sugar – Goodyear, AZ – Fujifilm X-T5
Hydrant Top – Buckeye, AZ – Fujifilm X-T5
Geometric – Buckeye, AZ – Fujifilm X-T5
Suburban Rooftop – Buckeye, AZ – Fujifilm X-T5
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I just learned that Chuck Drummond passed away this last Friday at 79-years-old. I met him once, and he was very kind. My deepest sympathies go out to the Drummond family, who I’m sure are still mourning.
This last summer my family and I embarked on an epic roadtrip that took us through Oklahoma. Pawhuska was a little out of the way, but we made sure to detour through it so that we could visit The Mercantile, the restaurant/coffee shop/bakery/gift store owned by Ree Drummond, who is also known as The Pioneer Woman.
For those unfamiliar, Ree Drummond became famous for her cooking blog, where she shared recipes used to feed her family and the hungry ranchmen, which turned into books, television shows, product lines, and The Mercantile, among other things. She lives on a large ranch in rural Oklahoma. Pawhuska was barely on the map before Ree became famous—now it’s still barely on the map, although it certainly has seen a significant resurgence, and it can become quite busy with tourists. Yes, for The Pioneer Woman fans, Pawhuska is a destination.
I’ve written about Pawhuska before, and I don’t want to rehash that; instead, I want to share a serendipitous encounter while in the small town, which I’ll remember for some time to come.
We awoke to steel grey sky and light rain. After getting ourselves put together, my family and I strolled around the small town of Pawhuska, which was almost deserted—the weather seemed to scare people off, or at least keep them indoors. We explored the streets, and I captured photographs with my Fujifilm X100V using the Kodak Tri-X 400 Film Simulation Recipe—black and white seemed especially appropriate for the weather. Eventually we made our way inside The Mercantile for breakfast, something that everyone should experience at least once in their lives—to say that it’s good is as big of an understatement as saying the Grand Canyon is big; both are true, but neither truly describe it.
While waiting for our food, an old man wearing a cowboy hat walked in by himself. He appeared weathered and worn, but in good spirits, with a smile on his face. My wife stated in a whisper just loud enough for our children to hear, “Look, there’s a real cowboy.” A true ranchman. An iconic stature of the American west. He sat at a small table near ours.
My wife knew right away who he was. This was Chuck. Ladd’s dad. Ree’s father-in-law. When the waitress came by, my wife asked if it would be alright to say hi to him. “Oh, sure,” she answered with a wink, “he loves the attention.” So my wife stood up, walked to his table, and introduced herself.
Chuck grinned, and he, too, stood up. He shook my wife’s hand, then he shook mine. He noticed my little girl’s cowboy boots, and made a comment to her about how nice they were and that he liked them. The waitress asked if she could take our picture, so with my wife’s phone she snapped one with Chuck, myself and my wife standing together. It was all very quick. Then we sat back down. Our food came, and we ate. His food came, and he ate alone, although other people also recognized him and he would pause to shake their hands and maybe take a picture. Chuck was a celebrity of sorts.
Our encounter was brief, but memorable. His kindness was obvious. His cheerfulness contagious. We met a genuine cowboy in rural Oklahoma. Just now I showed my daughter the picture I captured of Chuck Drummond (at the top of this article), and asked if she remembered him. “Oh, yeah,” she stated without hesitation, “that man said he liked my boots.” We’ll forever remember this chance encounter on a rainy day in May.
I’d yet to share any of these pictures, which were all captured on that drizzly morning in Pawhuska. I hope that you enjoy them!
Open All Year – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”
Rob Morgan is an internationally touring bass guitar player. He’s a super talented musician that’s often in-demand. He’s a creative director for live shows and world tours. Maybe you’ve even seen him play before in an arena, dive bar, or coffee shop—he’s even performed on The Today Show. Rob’s out on tour right now, so maybe you can catch him live if he’s coming to a city near you.
Aside from the music and podcast, Rob is also a photographer. It started out as a hobby—simply another creative outlet—but has turned into something much more. His photographs have been printed in media globally and he’s regularly commissioned to photograph musicians. He often uses a Fujifilm camera loaded with a Film Simulation Recipe.
Curious yet? I hope so! Keep reading to learn much more about Rob and his photography.
Grand Tetons from Snake River overlook – Photo by Rob Morgan with Fujifilm X100F
FXW: Hi, Rob! You play bass guitar—how did you get started with that? Why the bass?
Rob Morgan: There’s a common trope in music: a band needs a bassist, so they convince a guitar player to pick it up. Me, I’ve always been in love with the electric bass. The moment I got one for Christmas when I was 14, it was game over. I knew that was it for me, and there’s never been a Plan B.
Pre-Show drinks in the Greenroom with Joel Bowers – Photo by Rob Morgan with Fujifilm X100F
FXW: What are the biggest music projects that you’ve been involved with? What are your most memorable musical moments? And what are you currently doing?
Rob Morgan: I mean, if we’re talking about memorable musical moments… it’s always the weird ones that stick out, no? A drummer (mistakingly) trusting a fart fifteen seconds before going on stage and playing in front of thousands in Beijing, China—our guitar player and I laughed during the entire set, knowing he was going to need a new drum seat after this show.
But opening for Foo Fighters at Fuji Rock Music Festival in Japan a few years back while playing bass with the band Owl City was definitely up there. Getting to have a private moment with Dave Grohl and telling him how his band’s documentary Back and Forth was one of the reasons I didn’t quit music years before while in a dry spell… that felt like a full circle moment.
As for right now, I’m currently sitting on a bus as we drive through Washington on tour with Caitlyn Smith.
Backstage with Caitlyn Smith – Photo by Rob Morgan with Fujifilm X100F
FXW: Let’s switch gears. How did you get started in photography?
Rob Morgan: Growing up, there were these photography kits for kids—it came with a film camera and instructional book—that my mom got me back in the day, but I didn’t really start diving in deep until a few years ago. I was halfway through an Asia tour when I found myself wandering around Tokyo with my friend, guitar tech and stage manager Alex Perkins, who always had a Fuji X camera on him. On a tour that big, you don’t have access to your instruments outside of shows, and through him I realized one of the things I love most about photography: at any given moment, you can enter into the creative process.
Michael Shynes on stage – Photo by Rob Morgan with Fujifilm X100F
FXW: Tell me about your cameras. Why Fujifilm? What do you shoot with now?
Rob Morgan: You can absolutely get a killer synth sound on a laptop, but there’s something about the tactile feeling of twisting a knob to change a sound on an analog synth that I love. While on that tour, I picked up a Fujifilm X100 for the same reasons. The fact that you changed the aperture and shutter speed via actual knobs (instead of touching a screen) reminded me of the cameras I grew up with, and the X100 series is still the closest digital version of a film camera I’ve found—its small size and vintage profile also play a large part in my love for it.
Artists and musicians (uncomfortably) can sense a large DSLR being pulled out instantly. This thing feels far less invasive and my propensity for zone-focusing and manually dialing in the exposure in advance means I can be extremely fast.
Through the years, I kept advancing through the line, moving to an X100S, X100T, X100F, X100V, and back again to my current camera, an X100F. The reason for going backwards is a pretty unpopular opinion: although the technical specs of the X100V are “better” it lost the mojo of the earlier models. The feel of the metal, the tilting screen, and even the shape all seem clunky to me, and I found myself reaching for my camera less often.
I love the X100F’s 35mm equivalent prime lens, but I also travel with the TCL and WCL adapters. I feel like I see the world in 35mm, but If I’m taking portraits of an artist, I throw on the 50mm TCL. If I’m bringing my camera in close quarters, on stage, or in the tour bus, I like the 28mm focal length (that the WCL allows me to capture) while in the middle of it all.
Pre-show shots with Caitlyn Smith – Photo by Rob Morgan with Fujifilm X100F
FXW: What Film Simulation Recipes do you use and why?
Rob Morgan: Whether it’s Daniel Kramer’s photographs of Bob Dylan, the authentic moments backstage captured by Danny Clinch or the iconic photographs of Anton Corbijn… as I started paying attention to the images that moved me, I realized the majority of them were shot on Kodak Tri-X 400 film (often pushed to 3200). As I said, I treat my X100F like one of my film cameras, and, thanks to your “Pushed Tri-X” recipe, I’m able to take it a step further and make it feel like I’ve loaded the camera with a roll of that film. It’s seriously been a game-changer for me! Shooting JPEG+RAW also allows me to not question it and focus on light and composition knowing that if it calls for something else later, I have the option in my back pocket. Sometimes, I’ll switch over to your HP5 recipe to change it up, but 99% of the time I stick with Tri-X.
Danny Burke photoshoot for Klergy – Photo by Rob Morgan with Fujifilm X100F
FXW: How does being color blind affect your photography?
Rob Morgan: It’s tough to say. I’ve always had a propensity for the timelessness of black & white photography despite being red-green color blind. Ted Grant said, “When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls!” I love that, and I think I’d still be shooting the way I do even if I wasn’t color blind, but it’s definitely cemented my style. Now that I shoot portraits of artists, record labels will often ask for color options, too, so I’ll shoot RAW and use a wallet-sized grey card to adjust the white balance in Lightroom. But normally, they’re bringing me in to shoot because they want my gritty B&W style.
Andrew McMahon and daughter – Photo by Rob Morgan with Fujifilm X100F
FXW: Tell me about your behind-the-scenes photography. What do you try and convey through these pictures?
Rob Morgan: I’m fully aware of how incredibly fortunate I am to get to travel the world playing music. But, once you do anything on a regular basis, it’s easy to start taking the small moments for granted: whiskey cheers in the greenroom before walking on stage, a candid moment on the tour bus, the band goofing off during soundcheck…. Like anyone else diving into photography, I started taking photos of the world around me. As I started sharing them online, and people connected with them, I realized how rare of a vantage point I have. I’m no Linda McCartney, and I’m not married to one of The Beatles, but the candidness and behind-the-scenes trust seen in her photography have always been something that inspires my work. I’m glad artists and fans connect with the photos I’ve taken, but at the end of the day, it’s purely selfish—I want to remember all the tiny details of this wild ride.
Waiting pre-show– Photo by Rob Morgan with Fujifilm X100F
FXW: Tell me more about your interest in street & documentary photography.
Rob Morgan: I adore the documentary photography of Dorothea Lange, and she’s often quoted as saying, “The camera is an instrument that teaches people how to see without a camera.” That’s everything to me. Whether I’m on tour with an artist or traveling Europe with my wife, Sarah—as long as I stick to my rule of NO ‘CHIMPING’ (looking at a photo you just took), photography helps me to see the moment and my surroundings more clearly. The street photography approach of “F/8 and be there” (setting your aperture to f/8 and hyper-focal zone-focusing) has been massively impactful to my approach, whether backstage or wandering a new city. It’s taught me to anticipate a moment and has given me the speed to capture it, especially if I have a bass in my left hand. See a moment, grab the camera, snap the shutter, put it down, and get back to rocking out.
Frankfurt, Germany – Photo by Rob Morgan with Fujifilm X100F
FXW: Thank you so much, Rob, for carving out some time while on tour to do this interview!
Houses, Reflected – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
Back when I shot black-and-white film, I usually used a color filter to manipulate the shades of grey, and for landscape photography the Red filter was my most-used option. You cannot use these filters on your Fujifilm camera, but Fujifilm does provide you with three faux filters: +Y, +R, & +G. These mimic the aesthetic of using a Yellow, Red, or Green filter (sort of). In my opinion, +R doesn’t actually replicate the use of a Red filter very well; it’s more like an Orange filter. This recipe is intended to produce a look more similar to a Red filter on black-and-white film, which means that it will darken blues and lighten reds.
I actually created this “Monochrome Red” Film Simulation Recipe several months back on my Fujifilm X-T1, but that camera has a dirty sensor in need of a cleaning, so I never shared the results. Then I moved, and the X-T1 got packed away for awhile. Just recently I purchased a different X-Trans II camera—an X70—so I plugged this recipe into it and began shooting. This is an excellent option if you are looking for a black-and-white recipe, and is especially good for landscape photography.
Sunlit Flowers – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
The “Monochrome Red” recipe is compatible with all X-Trans II cameras. If you have an X-Trans I or Bayer model, the results will be ever slightly different, but very similar, and you can definitely use it—if you have an X-Pro1 or X-T200 or anything like that, feel free to give this recipe a try.
Monochrome+R Dynamic Range: DR400 Highlight: -1 (Medium-Soft) Shadow: +2 (Hard) Sharpness: +1 (Medium-Hard) Noise Reduction: -2 (Low) White Balance: Fluorescent 1, -4 Red & +7 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Monochrome Red” Film Simulation Recipe:
Josh Intently Gaming – Buckeye, AZ – Fujifilm X70
Jonathan with a Smile – Buckeye, AZ – Fujifilm X70
Backlit Jo – Litchfield Park, AZ – Fujifilm X70
Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Dock Abstract – Litchfield Park, AZ – Fujifilm X70
Lock & Chain – Litchfield Park, AZ – Fujifilm X70
Pole & Chain – Litchfield Park, AZ – Fujifilm X70
Fishing Pole on Dock – Litchfield Park, AZ – Fujifilm X70
Young Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Lakeside Tree – Litchfield Park, AZ – Fujifilm X70
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I recently visited a vista in Arizona that overlooks The Valley of the Sun, which is the nickname given to the Phoenix metropolitan area (beginning back in the 1930’s); the official name is The Salt River Valley. I brought along my Fujifilm X-H1, plus my Fujinon 90mm f/2, Vivitar 135mm f/2.8, and Fujinon 100-400mm lenses. Programmed into the X-H1 was my Acros Push Process Film Simulation Recipe. I thought it would be interesting to use these longer lenses to capture the views of the vast valley, plus the desert bluff behind me—never forget to check behind you when photographing, because it can be easy to miss something great when you’re not focused on it.
When I was a kid, my friends and I often played “catch” with a football. Sometimes whoever the quarterback was would shout, “Go long!” You’d run as fast as you could for a good distance, turn around to see the ball wizzing through the air—maybe you’d catch it and it would be amazing, maybe you ran too far or not far enough and the ball hit the ground.
Let’s see what happens when you “go long” with your lenses.
What’s in the July issue? The cover story is A Whale of a Tale, which is a photoessay of a recent whale-watching boat excursion, as captured with a Fujifilm X100V using the Kodak Tri-X 400 Film Simulation Recipe. There are a total of 28 photographs this month, including the cover image (above). I hope that you find it enlightening, entertaining, and inspiring!
If you haven’t joined the Creative Collective, consider subscribing today to get access to bonus articles and the FXW Zine—not just this issue, but the first seven issues, too!
Welcome to California… Maybe – Blythe, CA – Fujifilm X100V – “Kodak Tri-X 400”
For those keeping up with my move (from Utah to Arizona) and adventure: I’m on the road again. The long story is that we found a home in Arizona, but the moving company can’t deliver our stuff for a couple of weeks. The short story is that we’re off on a new adventure! Among some other stops, we’re enroute to the central California Coast—one of the most beautiful places in the world, in my opinion—while we wait for our furniture and such.
Shooting out a dirty window at 75 miles-per-hour isn’t ideal; however, in whatever situations that I find myself, I try to do the best I can with what I have. That’s all anyone can do. I’m not always successful, but I thought this series was decent enough to share. I hope that you enjoy!
Storm in the Mirror – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Driving Backwards – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Objects Are Closer – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Freight Flight – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Dash Cam – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Desert Center 16 – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Cars – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Parked Truck – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Fasten Seatbelt & Dead Palms – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Life is a Highway – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Empty Lumber Yard – Panguitch, UT – Fujifilm X100V
The first stop on the epic road trip that I’m currently on was Panguitch, a small town in southern Utah. Panguitch is close to Bryce Canyon National Park, not too far from Zion National Park, and within reach of Capital Reef National Park. Tourism is the main reason Panguitch is even on the map. People eat, sleep, and get gas here, while visiting the various natural wonders of the region. That’s why we were there.
I only stayed one night in Panguitch, but I was able to get out with my camera and photograph the quaint town. It’s obvious that Panguitch has seen better days—it seems to be just hanging on. The town has a lot of character, though. It was a great location for photography—if I had a few weeks, it would make for an incredible photo project—but alas I only had one night, as we left early the next morning.
For the pictures in this article I used my Fujifilm X100V loaded with the Kodak TRi-X 400 Film Simulation Recipe. I also had a 5% CineBloom filter attached to the camera. The X100V is such the perfect travel tool (and my “desert island” camera), and I always make sure that I have it with me. I love black-and-white photography, and the Kodak Tri-X 400 recipe is my favorite. The camera and recipe combo were ideal for Panguitch, and I’m quite happy with this set of pictures; however, I realize that I need to go back. This town (and so many others) are yearning for the camera’s attention. There is so much photographic potential, and I barely scratched the surface.
Thanks For Shopping Local – Panguitch, UT – Fujifilm X100V
Auto Entrance – Panguitch, UT – Fujifilm X100V
Chairs Along A Fence – Panguitch, UT – Fujifilm X100V
Fake News – Panguitch, UT – Fujifilm X100V
Folding Chairs – Panguitch, UT – Fujifilm X100V
Window Canopy – Panguitch, UT – Fujifilm X100V
Souvenir & Gift – Panguitch, UT – Fujifilm X100V
Delicious Dinner – Panguitch, UT – Fujifilm X100V
Raya – Panguitch, UT – Fujifilm X100V
Condiments – Panguitch, UT – Fujifilm X100V
The Duke – Panguitch, UT – Fujifilm X100V
Henrie’s – Panguitch, UT – Fujifilm X100V
Old Sign – Panguitch, UT – Fujifilm X100V
House Roof – Panguitch, UT – Fujifilm X100V
One Way Garage – Panguitch, UT – Fujifilm X100V
Motel – Panguitch, UT – Fujifilm X100V
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