B&W | FUJI X WEEKLY

Kodak Plus-X 125 — Fujifilm X-Trans IV & X-Trans V Film Simulation Recipe

Posted on September 21 by Ritchie Roesch

*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

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Agfa 400S — Fujifilm X-T4 ES (Full Spectrum Infrared) Film Simulation Recipe

Posted on January 9 by Ritchie Roesch

*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

*Trees & Flare* – Surprise, AZ – Fujifilm X-T4 ES

*Saguaro Fingers* – Buckeye, AZ – Fujifilm X-T4 ES

Kentmere Pan 400 — Fujifilm X100V (X-Trans IV & V) Film Simulation Recipe

Posted on March 15, 2024 by Ritchie Roesch

*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

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

Seeing in Shades of Grey

Posted on August 22, 2023 by Ritchie Roesch

*Firehoses* – Litchfield Park, AZ – Fujifilm X100V – Kodak T-Max P3200 Recipe

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.

*Clouds & Cactus* – Buckeye, AZ – 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.

Join myself and Fujifilm X-Photographer Nathalie Boucry as we finish our discussion of B&W photography in-depth on SOOC Live this 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:

Why do we Still make B&W Photos?

Posted on August 1, 2023 by Ritchie Roesch

*Round Window* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe

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.

*Playing with Waves* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe

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 Live this 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!

Pentax Has A Monochrome Camera — Fujifilm Should, too!

Posted on April 16, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

Ilford FP4 Plus 125 — Fujifilm X-T5 (X-Trans V + X-Trans IV) Film Simulation Recipe

Posted on December 28, 2022 by Ritchie Roesch

*Gift Giving* – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”

Anders Lindborg is, in my opinion, the guru on Fujifilm black-and-white Film Simulation Recipes. After all, he invented the Kodak Tri-X 400, Ilford HP5 Plus 400, and Ilford Pan F Plus 50 recipes, and co-created the Kodak T-Max 400 recipe. These are some of my favorite monochrome options, and Kodak Tri-X 400 is my all-time favorite recipe, period. Anders also created the Kodak Gold v2 recipe, seven Fujicolor Pro 160NS recipes, seven Fujicolor Pro 400H recipes, and made an important D-Range Priority discovery. This Ilford FP4 Plus 125 recipe was invented by Anders Lindborg, too, so I know that you will love it! It’s a real honor to publish it on Fuji X Weekly, and I appreciate his willingness to share it with all of you.

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

*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

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
Fujifilm X-T5 in silver: Amazon B&H

Find this Film Simulation Recipe and over 250 more on the Fuji X Weekly — Film Recipes App!

Creative Collective 024: Going Long

Posted on July 27, 2022 by Ritchie Roesch

*Fujifilm X-H1 + Fujinon 100-400mm @400mm + “Acros Push Process“*

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.

Fuji Features: Fujifilm X Monochrome

Posted on June 2, 2021 by Ritchie Roesch

I’ve been saying for awhile now that Fujifilm should make a dedicated black-and-white camera, kind of like the Leica M10 Monochrom. I would absolutely love that, and would shell out gobs of money for it, assuming that I actually have the funds available to do so. Of course, Fujifilm X cameras are already great at capturing black-and-white photographs straight-out-of-camera, but a true monochrome camera would be on a whole other level.

For this week’s Fuji Features post, I found some articles and videos on the web related to this topic is some way. I hope you enjoy!

SLR Lounge

Fujifilm X

The Phoblographer

Fujilove Magazine

My Fujifilm X-T30 Dramatic Monochrome Film Simulation Recipe

Posted on February 11, 2020 by Ritchie Roesch

The Obscurity of Light – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”

A couple of weeks ago when I was discussing the possibility of Fujifilm creating a black-and-white only camera, something that I came to learn by accident is that the Monochrome film simulation is pretty darn good. On X-Trans III & IV cameras, I have always used the Acros film simulation because it is beautiful and has a film-like quality to it. But there’s something about the “old-fashioned” Monochrome film simulation that’s nice, as well. I had never made a Monochrome film simulation for X-Trans III & IV cameras, so I set out to do so.

At first I wasn’t sure exactly what I wanted, so I decided that the best starting point was to revisit the iconic photographs of the great photographers from the 1930’s, ’40’s and ’50’s—people like Ansel Adams, Andre Kertesz, Robert Doisneau, Weegee, Pual Strand, Elliott Erwitt and others. I realized that I was drawn to the high-contrast pictures that these photographers had created. I wanted to create a recipe that mimics that look in-camera. These settings, which I call Dramatic Monochrome, are what resulted from that.

Francis Peak – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”

For those with X-Trans III sensors, which don’t have the Color Chrome Effect, you’ll get similar results, but it won’t be quite as dramatic. The difference isn’t very big, so don’t worry about it. I would consider using +2 for Sharpness on X-Trans III instead of +3. On X-Trans IV cameras, you could give a +1 toning for a subtle warm look, such as what would happen if you gave a print a quick Sepia bath.

Monochrome (+Y, +R, +G)
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Grain: Strong
Color Chrome Effect: Strong
Toning: 0
Sharpening: +3
Noise Reduction: -4
Exposure Compensation: 0 to +2/3 (typically)
ISO: Auto up to ISO 12800

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

Chair Near a Window – Farmington, UT – Fujifilm X-T30

Shadow Ware – Farmington, UT – Fujifilm X-T30

White Pillow – Farmington, UT – Fujifilm X-T30

Santa Fe – Farmington, UT – Fujifilm X-T30

Young Piano Hands – Farmington, UT – Fujifilm X-T30

Clouds Above The Snow – Farmington, UT – Fujifilm X-T30

Wasatch Ridge Winter – Farmington, UT – Fujifilm X-T30

Lines In The Snow – Farmington, UT – Fujifilm X-T30

Clouds Over The Frosted Hill – Farmington, UT – Fujifilm X-T30

White Beyond Dark – Farmington, UT – Fujifilm X-T30

Frosted – Farmington, UT – Fujifilm X-T30

Darkness & Light – Farmington, UT – Fujifilm X-T30

Photoessay: Passing Through Nevada, Part 2: Monochrome

Posted on December 21, 2019 by Ritchie Roesch

Terrible Ford – Boulder City, NV – Fujifilm X-T30

Part 1: Color

I’ve passed through Nevada many times, often only stopping for gas or lunch. It never seems to be my destination. I’m headed somewhere else, and I have to go through the Silver State to get to where I’m going. While I have stayed longer than a few hours, most of the time I’m through Nevada so quickly that it’s easy to forget that I was ever there. The photographs in this article were captured during those times where I just passed through, and didn’t stay. In fact, many of them were captured from inside my car. I hope that you enjoy this set!

Plaza Hound – Las Vegas, NV – Fujifilm X-T30

I-15 Overpass – Las Vegas, NV – Fujifilm X100F

Chance of Rain – Las Vegas, NV – Fujifilm X-T30

Abstract Roof Lines – Las Vegas, NV – Fujifilm X-T30

Empty Hoppers – Las Vegas, NV – Fujifilm X-T30

Palm Shadow – Las Vegas, NV – Fujifilm X100F

Photoessay: Monochrome Sun Rays Over Willow Beach, Arizona

Posted on November 29, 2019 by Ritchie Roesch

Rays Over Colorado River – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Along U.S. Highway 93, about 12 miles south of the Hoover Dam, there’s a scenic view pullout, which offers tremendous views of desert mountains and canyons and a glimpse of the Colorado River at Willow Beach. This is part of the Lake Mead National Recreation Area. It’s easy to drive right on past this spot, as I have done many times before. Those who do stop here are rewarded with an incredible vista. It’s not the Grand Canyon, but it’s like a small glimpse of the Grand Canyon. It’s a quintessential Arizona landscape. Actually, you can see both Arizona and Nevada, as the river marks the boundary between the two states.

When I was at this scenic pullout last week, there was a storm passing through, which provided a dramatic sky with streaking light rays from the peeking sun. It was an amazing sight, yet short lived. I had my Fujifilm X-T30 with me, alternating between a Fujinon 35mm f/2 and a Fujinon 90mm f/2 attached to the front. A more wide-angle lens might have been nice, but these are the two lenses that I had with me. I captured a number of frames, then the great light disappeared as quickly as it had come.

Because I had a camera with me, and I decided to stop, I was able to witness and record this beautiful moment. Many cars zoomed down the highway, perhaps witnessing the scene quickly from behind their windows, or perhaps not noticing it at all, and only a few stopped. I’m thankful that I was one of the few who stopped, and what a great reward I was given for doing so. Sometimes the journey is the destination, especially if you are a photographer.

Light Streaming – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Light & Mesa – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Shining Down – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Pouring Light Over Desert – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 90mm f/2

Dramatic Desert Sky – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Rays Over The Desert – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Rays Over Willow Beach – Lake Mead Nat’l Rec. Area, AZ – Fujifilm X-T30 & Fujinon 35mm f/2

Photoessay: Suburban B&W

Posted on September 12, 2019 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

Antelope Island State Park In B&W

Posted on February 28, 2019 by Ritchie Roesch

Brush Strokes Over The Great Salt Lake – Antelope Island SP, UT – Fujifilm X-T20

The Great Salt Lake is the largest natural lake west of the Mississippi River, the largest salt water lake in the western hemisphere and the 33rd largest lake in the world. It’s massive! It can seem almost ocean-like, or perhaps more like a large ocean bay, but it is located far from any ocean. One difference between the Great Salt Lake and an ocean is that the lake is much saltier, and brine shrimp are the only thing alive in it. It is one of Utah’s natural wonders!

The largest island in the Great Salt Lake is Antelope Island, which is 15 miles long and five miles wide. The highest point, Frary Peak, is 6,594′, and is often snow-capped in the winter. It’s accessible by road via a causeway. Antelope Island is managed by the Utah State Park system.

Kit Carson and John C. Fremont, who visited Antelope Island in 1845, gave it its name after hunting pronghorn antelope on the island. Daddy Stump and Fielding Garr would build homes on Antelope Island over the next few years. This is a place that people have been coming to for a long time. In fact, there is evidence that native people have spent time on the island since at least the time of Christ.

Antelope Island seems like a world away from the Salt Lake City metro area, even though it is located very close to the city. It looks remote, and it must have been very remote before the road was built and the city grew. Interestingly enough, the oldest non-Native American structure in Utah is located on the island: an adobe ranch house built in 1848. The Fielding Garr Ranch was a working ranch from 1848 to 1981, and now the old ranch is open to the public for self-guided tours.

Wildlife abounds on Antelope Island, including buffalo, mule deer, pronghorn antelope, big horn sheep and many other animals. At one time the bison herd on Antelope Island was the largest in America. There are a huge variety of birds that migrate across the area.

The water is often calm and the reflections can be incredible. There are sandy beaches. There are trails that curve across the rugged landscape. There is a unique beauty to Antelope Island that draws me back. It’s one of my favorite places to photograph. But it’s also disgusting! There’s a certain “rotten egg” smell that can be found near the shores. There are tons and tons of bugs, including biting no-see-ums, brine flies (that cover the shore like a thick cloud), mosquitoes, tons of spiders (venomous and non-venomous), among other things. It’s pretty common to see dead birds. There’s plenty to love and hate about this place. I try to look beyond the gross to see the beauty.

Something interesting that I’ve discovered since moving to the Salt Lake City area almost three years ago is that most people who grew up in Utah don’t visit Antelope Island. Maybe they went on a school field trip as a kid, but they haven’t been back since. The majority of people you find on the island are from out-of-town. The locals who do visit are often those that moved to the area from someplace else. It’s too bad for those who don’t make the short trip to the island, because they’re really missing out!

Antelope Island is incredibly beautiful and tranquil. It is indeed odd, and one has to purposefully look beyond the negative aspects of the place to truly appreciate it. I feel like it is a secret treasure that is easily overlooked, and I feel honored to have found it and photographed it.

Frary Fence – Antelope Island SP, UT – Fujifilm X-T20

Coming Storm – Antelope Island SP, UT – Fujifilm X-A3

Island Beach View – Antelope Island SP, UT – Fujifilm X100F

White Rock Bay Vista – Antelope Island SP, UT – Fujifilm X-A3

Bush In The Crag – Antelope Island SP, UT – Fujifilm X-A3

Clouds Over The Great Salt Lake – Antelope Island SP, UT – Fujifilm X100F

White Rock Bay – Antelope Island SP, UT – Fujifilm X100F

Land & Lake Layers – Antelope Island SP, UT – Fujifilm X-T20

Promontory Peninsula – Antelope Island SP, UT – Fujifilm X-T20

Sunlight Falling On The Salty Water – Antelope Island SP, UT – Fujifilm X-T20

Light Streaming Over Antelope Island – Antelope Island SP, UT – Fujifilm X-E1

Wasatch Mountains From The Causeway – Antelope Island SP, UT – Fujifilm X-E1

Frary Peak Reflected – Antelope Island SP, UT – Fujifilm X-E1

Deer Statue – Antelope Island SP, UT – Fujifilm X-E1

Old Salty Stump – Antelope Island SP, UT – Fujifilm X-E1

Frozen Stump – Antelope Island SP, UT – Fujifilm X-T20

Ice, Lake & Mountains – Antelope Island SP, UT – Fujifilm X-E1

Cracked Earth – Antelope Island SP, UT – Fujifilm X100F

Buffalo Snow – Antelope Island SP, UT – Fujifilm X-T20

Bison In The Road – Antelope Island SP, UT – Fujifilm X-E1

Area Closed For Bison – Antelope Island SP, UT – Fujifilm X-E1

One Buffalo – Antelope Island SP, UT – Fujifilm X-A3

Pulling Hard – Antelope Island SP, UT – Fujifilm X100F

Park Patrol – Antelope Island SP, UT – Fujifilm X100F

On The Fence – Antelope Island SP, UT – Fujifilm X100F

State Park Workday – Antelope Island SP, UT – Fujifilm X100F

Waiting Game – Antelope Island SP, UT – Fujifilm X100F

Leather Gloves – Antelope Island SP, UT – Fujifilm X100F

Circle Hashtag – Antelope Island SP, UT – Fujifilm X-E1

Fielding Garr Ranch Fence – Antelope Island SP, UT – Fujifilm X-E1

Empty Marina – Antelope Island SP, UT – Fujifilm X-E1

Boys Playing In The Great Salt Lake – Antelope Island SP, UT – Fujifilm X-E1

Pollution – Antelope Island SP, UT – Fujifilm X-T20

Photoessay: Antelope Island State Park Buffalo Corral

Posted on November 4, 2018 by Ritchie Roesch

Buffalo Corral – Antelope Island SP, UT – Fujifilm X100F

Antelope Island is the largest island in the Great Salt Lake. It’s home to about 700 wild buffalo. Every year Antelope Island State Park rounds up the buffalo herd so that they can be counted, examined, and vaccinated. This event, which is open to the public, happens every autumn and takes place over a seven day period.

I had the opportunity to photograph a portion of this year’s buffalo roundup, which I was very excited about. I missed the actual roundup, where a bunch of cowboys on horseback traverse the island to guide the bison to the corral, but I did get to witness the second phase, where the animals are seen one at a time by a veterinarian. This operation takes a team of about 40 people several days to complete. It’s fascinating to watch, but it’s also a slow process and there is a lot of downtime where very little is happening.

I used my Fujifilm X100F to capture these photographs, which are all unedited camera-made JPEGs. For the camera settings I used the [Not] My Fujifilm X-Pro2 Tri-X Cross Process Film Simulation Recipe, utilizing the X100F’s built-in neutral density filter so that I could use high ISOs even in bright midday light. I took a photojournalist approach, and I think these settings worked particularly well for it. I’m pleased with how this series turned out and I hope that you enjoy the pictures!

White Rock Bay – Antelope Island SP, UT – Fujifilm X100F

Park Patrol – Antelope Island SP, UT – Fujifilm X100F

Time To Watch Buffalo – Antelope Island SP, UT – Fujifilm X100F

Waiting For A Buffalo – Antelope Island SP, UT – Fujifilm X100F

Buffalo Corral Workers – Antelope Island SP, UT – Fujifilm X100F

Buffalo Head – Antelope Island SP, UT – Fujifilm X100F

Cautious Buffalo – Antelope Island, UT – Fujifilm X100F

Running Bison Calf – Antelope Island SP, UT – Fujifilm X100F

Roundup Downtime – Antelope Island SP, UT – Fujifilm X100F

Rope On The Gate – Antelope Island SP, UT – Fujifilm X100F

Leather Gloves – Antelope Island SP, UT – Fujifilm X100F

A Buffalo – Antelope Island SP, UT – Fujifilm X100F

Workers Waiting – Antelope Island SP, UT – Fujifilm X100F

Between Buffalo – Antelope Island SP, UT – Fujifilm X100F

On The Fence – Antelope Island SP, UT – Fujifilm X100F

Utah Cowboys – Antelope Island SP, UT – Fujifilm X100F

Park Ranger – Antelope Island SP, UT – Fujifilm X100F

Bison Barriers – Antelope Island SP, UT – Fujifilm X100F

From The Holding Pen – Antelope Island SP, UT – Fujifilm X100F

Mother & Calf – Antelope Island SP, UT – Fujifilm X100F

Buffalo Track – Antelope Island SP, UT – Fujifilm X100F

Three Bison – Antelope Island SP, UT – Fujifilm X100F

Tractor Ride – Antelope Island SP, UT – Fujifilm X100F

State Park Workday – Antelope Island SP, UT – Fujfilm X100F

Circular Gate Operator – Antelope Island SP, UT – Fujifilm X100F

Rope Preparation – Antelope Island SP, UT – Fujifilm X100F

Bison Spying – Antelope Island SP, UT – Fujifilm X100F

Rope Pull – Antelope Island SP, UT – Fujifilm X100F

Pulling Hard – Antelope Island SP, UT – Fujifilm X100F

Rope Runner – Antelope Island SP, UT – Fujifilm X100F

Waiting Games – Antelope Island SP, UT – Fujifilm X100F

Waiting Buffalo – Antelope Island SP, UT – Fujifilm X100F

Bison Skull – Antelope Island SP, UT – Fujifilm X100F

Island Shore View – Antelope Island SP, UT – Fujifilm X100F

My Fujifilm XF10 Film Simulation Recipes

Posted on September 30, 2018 by Ritchie Roesch

44520072451_3ce4819123_z

I have created many wonderful film simulation recipes for X-Trans III cameras, but none of those can be used on my Fujifilm XF10. I had to create brand-new film simulation recipes for this camera. I used my experience with other Fujifilm cameras to create different straight-out-of-camera looks that I would appreciate.

You can only have one custom setting saved on the XF10. The default settings that I have programmed for the camera are my Classic Chrome recipe. If I want a look with more saturation I’ll adjust the settings to my Velvia recipe. If I want black-and-white I’ll adjust the settings to my Monochrome recipe. It’s a little bit of a pain to be constantly switching, so I try to not go back-and-forth any more than I need to.

While I use these recipes on my XF10, they’re compatible with the X-T100, X-A5, X-A3 and any X-Trans I or X-Trans II camera. The rendition might vary slightly from model-to-model, but the overall look should be fairly consistent. These settings won’t translate to X-Trans III or X-Trans IV.

Aside from some minor cropping, the photographs in this article are all straight-out-of-camera JPEGs. I like to keep my workflow as simple as possible, and Fujifilm’s different film simulation options allow me to rely on camera-made JPEGs. Using JPEGs instead of RAW saves me a ton of time. I appreciate being in front of a computer less and behind a camera more.

Below are my Fujifilm XF10 film simulation recipes!

Classic Chrome

Ghosts of the Past – Ogden, UT – Fujifilm XF10

This is my go-to film simulation option. I use it significantly more often than the other recipes. It has a classic Kodak film look, although not exactly like any one in particular. I think it most closely resembles 1960’s era Ektachrome, but it’s not an exact match. Even so, it looks great and is quite versatile. It has a lot of contrast, just vibrant enough colors and a warm tone.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1 (0 sometimes in high-contrast situations)
Shadow: +2
Color: +1
Noise Reduction: -2
Sharpening: -1
White Balance: Auto, +3 Red & -4 Blue

Kids At The Lake – East Canyon SP, UT – Fujifilm XF10

Bolsey 100 – South Weber, UT – Fujifilm XF10

Terminal Windows – SLC, UT – Fujifilm XF10

Flag On A Pole – Layton, UT – Fujifilm XF10

FED 5c Window – South Weber, UT – Fujifilm XF10

Velvia

Vibrant Bloom – Riverdale, UT – Fujifilm XF10

Velvia was one of my favorite films. It produced incredibly vibrant colors. Apparently Fujifilm didn’t intend to make such a wild film, it was more of an accident than anything else, but it quickly become the standard film for color landscape photography. Something interesting that I recently learned is one of the people who helped develop Velvia for Fujifilm also helped develop the Velvia Film Simulation. The film simulation isn’t a 100% match to Velvia 50, but perhaps closer to Velvia 100F. My recipe is intended to produce a look that is closer to Velvia 50.

Velvia
Dynamic Range: DR-Auto
Highlight: 0 (+1 in low-contrast situations, -1 in high-contrast situations)
Shadow: +1
Color: +2
Noise Reduction: -2
Sharpening: -1
White Balance: Auto, +1 Red & -3 Blue

Historic Dragon – Ogden, UT – Fujifilm XF10

Scattering of Red – Fruit Heights, UT – Fujifilm XF10

Sunlight Through The Forest – Bountiful, UT – Fujifilm XF10

Green Leaves – Layton, UT – Fujifilm XF10

Yellow Amid Red – Riverdale, UT – Fujifilm XF10

Monochrome

Shy Horse – South Weber, UT – Fujifilm XF10

The XF10 lacks Fujifilm’s greatest film simulation: Acros. Instead it has the old Monochrome option, which is alright but not nearly as good as Acros. Despite this, it is possible to get nice black-and-white camera-made JPEGs from the XF10. There are four different options, and to understand what each does one must understand what different colored filters do to black-and-white film, as +Y simulates using a yellow filter, +R simulates a red filter and +G simulates a green filter. If you know how to use color filters on black-and-white film then you know when to pick which option on the XF10.

Monochrome (Monochrome+Y, Monochrome+R, Monochrome+G)
Dynamic Range: DR-Auto
Highlight: +1 (+2 in low-contrast situations)
Shadow: +2 (+1 in high-contrast situations)
Noise Reduction: -2
Sharpening: -1

Wishes Waiting – Fruit Heights, UT – Fujifilm XF10

Plastic Fingers – Ogden, UT – Fujifilm XF10

Hat Abstract – South Weber, UT – Fujifilm XF10

Dream – Ogden, UT – Fujifilm XF10

Tilted Pier – East Canyon SP, UT – Fujifilm XF10

Help Fuji X Weekly

$5.00

Taos Pueblo, New Mexico – Part 2: Monochrome

Posted on September 23, 2018 by Ritchie Roesch

Storm Over Pueblo – Taos, NM – Fujifilm X-Pro2 & 60mm

Part 1 – Color

One thing I found particularly fascinating about the Taos Pueblo is that this historic site is still inhabited. This is a real home to many people. The doors and windows belong to someone. Inside there are living spaces, bedrooms and kitchens. Surrounding the two large pueblos are even more houses. There’s a church. This is a community.

Visiting Taos is like being invited into a stranger’s home. You have the opportunity to see a more intimate side of things, and perhaps come away with a different perspective. What I found in Taos was not what I had pictured in my mind prior to visiting, but something much more interesting. There’s a certain profoundness to this place that’s difficult to put into words.

I appreciate those in Taos for allowing me in, answering my questions and showing hospitality and kindness. Unfortunately, my stay was much too short. I had only a couple of hours to spend at the pueblo, and then it was time to continue down the highway to Santa Fe. I truly hope that the opportunity to return comes sooner than later.

Taos Tourist – Taos, NM – Fujifilm X100F

Jacob’s Ladder – Taos, NM – Fujifilm X-Pro2 & 60mm

Dream Ladder – Taos, NM – Fujifilm X100F

Tree & Shed – Taos, NM – Fujifilm X-Pro2 & 60mm

Bells & Crosses – Taos, NM – Fujifilm X-Pro2 & 60mm

Pueblo Sky – Taos, NM – Fujifilm X100F

Taos & Sky – Taos, NM – Fujifilm X-Pro2 & 60mm

Second Floor Pueblo – Taos, NM – Fujifilm X-Pro2 & 60mm

Pueblo Roof – Taos, NM – Fujifilm X-Pro2 & 60mm

Boxy – Taos, NM – Fujifilm X-Pro2 & 60mm

Taos Pueblo Apartments – Taos, NM – Fujifilm X-Pro2 & 60mm

Storm Approaching Taos – Taos, NM – Fujifilm X100F

Photoessay: Along The Highway, Part 6 – Oklahoma in Monochrome

Posted on September 16, 2018 by Ritchie Roesch

Stu – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Colorado New Mexico West Texas East Texas Oklahoma (Color) Wyoming

Pawhuska is a rural town in northeastern Oklahoma that once boomed. The 1920’s were especially roaring, but the 1930’s included an oil bust, the Great Depression and the Dust Bowl, scars of which are clearly evident to this day. The Boy Scouts of America began in Pawhuska over 100 years ago. The town is also home to Drummond Ranch, which is one of the largest ranches in the country. Ree Drummond has a popular television cooking show and has authored a number of books. She also has a store and restaurant in town, and that’s why my wife and I were there.

The town is quite small, but photographic opportunities were numerous. In fact, I made more exposures in Pawhuska than any other place we visited on our road trip. There’s a lot of history, character and hospitality packed into the little town in the middle of nowhere. Pawhuska proved to be a great experience! I felt as though I left many potential pictures unphotographed, so perhaps another visit will be in store in the future.

Double Flag – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Kitchen Window – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Bakery – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

County Courthouse – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Broken Glass Through The Glass – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Industrial Brick – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Industrial Design – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Star – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

The Other Mother – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

The Merc – Pawhuska, OK – X-Pro2 & 60mm – US HWY 60

Mercantile – Pawhuska, OK – Fujifilm X100F – US HWY 60

Cafe Flowers – Pawhuska, OK – Fujifilm X100F – US HWY 60

Wet Tables – Pawhuska, OK – Fujifilm X100F – US HWY 60

Unlikely – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Pawhuska Rain – Pawhuska, OK – Fujifilm X100F – US HWY 60

Osage County – Pawhuska, OK – Fujifilm X100F – OK HWY 99

Thunder Sky – Pawhuska, OK – Fujifilm X100F – OK HWY 99

Rural Cows – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Horse Gate – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Two Horses In The Grass – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Rural Mail – Pawhuska, OK – Fujifilm X-Pro2 & 60mm – US HWY 60

Great Sand Dunes National Park, Colorado – Part 1: Monochrome

Posted on September 5, 2018 by Ritchie Roesch

Great Sand Dunes Sign – Great Sand Dunes NP, CO

In July my family and I visited the Great Sand Dunes National Park and Preserve near Alamosa, Colorado. This national park features the tallest sand dunes in North America. The towering Sangre de Cristo Mountains loom in the background. It’s an impressive and unusual landscape!

During wetter months the Medano Creek flows beneath the sand dunes, and in order to get to the dunes one must get their feet wet. We were there during a dry month and there was no water in the wide creek bed. Unsurprisingly, a visit to the sand dunes requires a significant amount of walking on sand, which means that it takes more effort and more time to get from one point to another. It’s no walk in the park, and it’s best to come prepared with plenty of water and ready for the hike.

While we were there, once on the dunes, the wind was blustery and it kicked up the sand quite fiercely. It pelted our legs and would occasionally blow in our faces and get into our eyes. It was more of an issue for the kids since they’re shorter. It was not a fun experience, so we did not stay on the dunes for very long.

The place offers amazing photographic opportunities. If you like working with shadows and highlights and abstract shapes, this is the place for you! The Great Sand Dunes National Park is one of those special landscapes where it’s difficult to come away with bad pictures. I had with me a Fujifilm X-Pro2 with a Fujinon 60mm f/2.4 Macro lens attached to the front. The X-Pro2 is weather sealed, but the lens is not. Thankfully I did not get dust on the sensor. I would strongly recommend not changing lenses while at the dunes, as you’re just asking for trouble by doing so.

We were only at the sand dunes for a couple of hours. It would have been great if we could have stayed longer. I think that a sunrise hike to the top would have been epic, but time just didn’t allow for it. Even so, we were glad for the opportunity that we did have. I’m happy with the photographs and memories that I came away with.

Great Sand Dunes – Great Sand Dunes NP, CO

Mountains & Sand Across The Valley – Great Sand Dunes NP, CO

Mountain of Sand – Great Sand Dunes NP, CO

Stroller Alone – Great Sand Dunes NP, CO

Sand & Sangre de Cristo – Great Sand Dunes NP, CO

Running In The Sand – Great Sand Dunes NP, CO

It’s A Long Ways To The Top – Great Sand Dunes NP, CO

Mountain, Sand & Sky – Great Sand Dunes NP, CO

Sand & Sierra Sky – Great Sand Dunes NP, CO

Improbability – Great Sand Dunes National Park, CO

Sand Walkers – Great Sand Dunes NP, CO

Passerby – Great Sand Dunes NP, CO

Silver Sand – Great Sand Dunes NP, CO

Sandal In The Sand – Great Sand Dunes NP, CO

Part 2 – Color

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

Posted on April 2, 2018 by Ritchie Roesch

Canyon Cliffs – Grand Canyon NP, AZ – Fujifilm X100F

Part 1 – Color

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

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

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

Watchtower Sky – Grand Canyon NP, AZ – Fujifilm X100F

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

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

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