Camera Settings

Can AI Make a Fujifilm Recipe? — Kodak Ektachrome E100VS — Two Fujifilm X-T5 (X-Trans V + X-Trans IV) Film Simulation Recipes!!

Posted on by Ritchie Roesch

Rocky Hill in the Desert – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1

I asked OpenAI’s ChatGPT to make a Film Simulation Recipe to mimic the look of Kodachrome X slide film. This wasn’t the first time that I attempted to use ChatGPT to make a Recipe for Fujifilm cameras… you might recall that the Urban Dreams Film Simulation Recipe was made by ChatGPT, and by chance it has some resemblance to Kodachrome 200. I learned a lot about the AI’s ability (or is it inability?) to make Recipes, so I decided to try again just for the fun of it.

Kodak introduced Kodachrome—a color transparency film, and the world’s first commercially successful color film—in 1935. Kodachrome X was in the second era of the emulsion, sold between 1962 and 1973. It was replaced by Kodachrome 64, which was discontinued in 2009. Today you cannot buy Kodachrome, and even if you found some old rolls of the film, you cannot even get it developed. Shooting with a facsimile Film Simulation Recipe on Fujifilm cameras is a great way to experience some of these old emulsions that no longer exist, such as Kodachrome X.

Here’s a YouTube video I made documenting the experience!

I have Film Simulation Recipes already that mimic Kodachrome X slide film. These Recipes are called Kodachrome II, and there’s one for X-Trans I, one for X-Trans II, one for X-Trans III, and two for X-Trans IV cameras. In the video above, I compare ChatGPT’s Kodachrome X Recipe to my Kodachrome II v2 Recipe for X-Trans IV, which I shot on my X-T5; in order to make the Recipe compatible, I set Color Chrome FX Blue to Off since X-Trans V cameras render blue more deeply with some film sims.

My opinion is that ChatGPT’s Recipe is much too vibrant to mimic Kodachrome X. While the film was richly vibrant for its time, no emulsion in the 1960’s was that colorful. Today it would be described more as true-to-life. There are also other issues I take with the settings that the AI chose, so I don’t think it did well at mimicking Kodachrome; however, that doesn’t mean the settings (by chance) don’t look nice.

ChatGPT’s Kodachrome X Recipe
My Kodachrome II v2 Recipe

After examining the ChatGPT Recipe, I decided that it reminds me a lot of Kodak Ektachrome E100VS. There have been over 40 different emulsions that carried the Ektachrome name over the years—each with their own unique look—and E100VS was just one. Kodak introduced this film in 1999 and discontinued it in 2012. Ektachrome E100VS was Kodak’s best attempt at Velvia, and was their most vibrant emulsion. The “VS” in the name meant Vividly Saturated. While it was similar to Velvia, it wasn’t identical—the warmth of the film was the most obvious difference—and many photographers preferred Fujifilm’s Velvia over Kodak’s Ektachrome E100VS. Still, at the pinnacle of the film era, it was a popular choice for landscape photographers wanting a boost in vibrancy.

I noticed with AI generated Film Simulation Recipes that most of the time it chooses Auto White Balance, Grain Strong, and stays within -2 to +2 on all of the settings; my experience is that it only occasionally strays from that. It also seems to always leave some necessary settings out, and you have to ask it to add those. Of course, no film has Auto White Balance—most are Daylight (around 5500K), and some are Tungsten (around 3200K). While it is amazing that ChatGPT can produce a Recipe for Fujifilm cameras, if it looks good or not—and if it truly produces the aesthetic that you asked for—is more by chance than skill. Also, it doesn’t like to cite its sources, which is just wrong in my opinion.

Yellow Desert Flower – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v2

While it tried and failed to resemble 1960’s era Kodachrome, I still liked the look produced by ChatGPT’s Kodachrome X Film Simulation Recipe. Since it has some similarities to Kodak Ektachrome E100VS color transparency film, I renamed it after that emulsion. I also refined the settings to more closely resemble the film, and am including that as a second Recipe, which I call Kodak Ektachrome E100VS v2. So v1 is ChatGPT’s Recipe, and v2 is my modified alternative.

I shot a number of rolls of Ektachrome E100VS back in my film days. Most of these pictures are stored away in little yellow boxes, but a few images have been scanned. Obviously, the scanner—and especially the quality of the scan—has an impact on the photo rendering. The four images below are some real Kodak Ektachrome E100VS frames that I shot many years ago. None of these are high-quality scans, and for that I apologize, and I hope you can overlook that aspect of the pictures. Also, it’s important to state that they all look significantly more impressive when viewed on a light table or especially from a slide projector.

Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film

How the film was shot had a significant impact on the look. For deeper blues and reds, one should underexpose the film slightly. For cyan sky and brighter (and warmer) colors, one should overexpose slightly. Of course, you had to be careful, because the film—like most slide films—had a narrow dynamic range, and there wasn’t much room for error either direction. These two Film Simulation Recipes behave similarly, although I believe v2 a little more so than v1.

Without further ado, here are the two Kodak Ektachrome E100VS Film Simulation Recipes!

Kodak Ektachrome E100VS v1

ChatGPT Recipe for Kodachrome X

Beef Franks – Vulture City, AZ – Fujifilm X-T5 – Ektachrome E100VS v1

This is the Recipe that ChatGPT created to mimic Kodachrome X, but it looks more like Kodak Ektachrome E100VS. It produces vivid colors similar to—but more warm and slightly less vibrant than—Velvia film. For darker blues and deeper reds, use a lower exposure compensation, and for lighter blues and brighter/warmer colors, use a higher exposure compensation. Because it uses Auto White Balance and DR400, you’ll find it to be quite versatile; however, the rendering is clearly “wrong” in some situations.

The Kodak Ektachrome E100VS v1 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!). For the X-T3 and X-T30 (plus older GFX), you’ll have to ignore Color Chrome FX Blue, Grain size, and Clarity (since your camera doesn’t have those options), so it will definitely look a little different, but you might like it nonetheless; for X-Trans III, you’ll have to additionally ignore Color Chrome Effect.

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

Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v1 Film Simulation Recipe on my Fujifilm X-T5:

Suburban Arches – Buckeye, AZ – Fujifilm X-T5
Red, Green & Yellow – Buckeye, AZ – Fujifilm X-T5
Pink Blossom in Spring – Buckeye, AZ – Fujifilm X-T5
Boy in a Red Hat – Buckeye, AZ – Fujifilm X-T5
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5
Agave at the Mine – Vulture City, AZ – Fujifilm X-T5
Pile of Rocks – Buckeye, AZ – Fujifilm X-T5
Barrel Cactus & Yellow Flowers – Buckeye, AZ – Fujifilm X-T5
Colorful Thorns – Buckeye, AZ – Fujifilm X-T5
Hidden Saguaro – Buckeye, AZ – Fujifilm X-T5
Sharpness – Buckeye, AZ – Fujifilm X-T5
A Cactus in Spring – Buckeye, AZ – Fujifilm X-T5
Spiderweb Among Thorns – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers Behind Cactus – Buckeye, AZ – Fujifilm X-T5
Cactus Vailed by Sunlight – Buckeye, AZ – Fujifilm X-T5
Little Purple Wildflowers – Buckeye, AZ – Fujifilm X-T5
Veiled Cactus – Buckeye, AZ – Fujifilm X-T5
Desert Spring in the Shade – Buckeye, AZ – Fujifilm X-T5
Shaded Bristlebush Blooms – Buckeye, AZ – Fujifilm X-T5

Kodak Ektachrome E100VS v2

Fuji X Weekly Recipe

Unexpected X – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v2

This version of Kodak Ektachrome E100VS is my modification to better mimic the film. It’s not too divergent—only slightly dissimilar—since it’s simply a modification of the AI Recipe, and not made from scratch. Because it uses more of a daylight-balanced Kelvin White Balance and DR200, it’s not quite as versatile as v1, and you have to be a little more careful of the light situation you are shooting in and pay closer attention to the highlights to avoid clipping. Sometimes it’s not completely correct, but I think in the “right” conditions it can be quite convincing—nearly identical to some slides I have.

The Kodak Ektachrome E100VS v2 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-T4, X-S10, X-E4, and X-T30 II. Unfortunately, it is not compatible with the X-T3, X-T30, X-Pro3, or X100V. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!).

Film Simulation: Velvia
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 5150K, +3 Red & -3 Blue
Dynamic Range: DR200
Highlight: +1.5
Shadow: +0.5
Color: +1
Sharpness: -1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v2 Film Simulation Recipe on my Fujifilm X-T5 and X-E4:

Americana Home – Buckeye, AZ – Fujifilm X-T5
Blue Sky Behind Trees – Buckeye, AZ – Fujifilm X-E4
Boy in a Red Hat 2 – Buckeye, AZ – Fujifilm X-T5
Abunda la Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Garden Apex – Buckeye, AZ – Fujifilm X-T5
Bright Backyard Blossom – Buckeye, AZ – Fujifilm X-T5
Shaded Oleander Blooms – Buckeye, AZ – Fujifilm X-T5
Tiny Yellow Evening Blooms – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS
Reddish Orange Cactus Flower – Buckeye, AZ – Fujifilm X-T5
White Paper Flowers – Beckeye, AZ – Fujifilm X-T5
Desert Hill through Palo Verde – Buckeye, AZ – Fujifilm X-T5
Little Pops of Purple – Buckeye, AZ – Fujifilm X-T5
Purple Spring – Buckeye, AZ – Fujifilm X-T5
Bunch of Yellow Trumpets – Buckeye, AZ – Fujifilm X-T5
Red Airplane – Buckeye, AZ – Fujifilm X-T5
Sunset in Suburbia – Surprise, AZ – Fujifilm X-T5

Comparison

In the three examples above, Kodak Ektachrome E100VS v1 is on the left (revealed by moving the slider right), and Kodak Ektachrome E100VS v2 is on the right (revealed by moving the slider left).

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

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

Find these Film Simulation Recipes and nearly 300 more on the Fuji X Weekly — Film Recipes App!

As a bonus, I asked OpenAI’s DALL-E 2 AI image creator to show me what ChatGPT creating Film Simulation Recipes looks like. The results? Awful, but also kind of funny! I tried rewording the request several different ways in hopes of getting a better image, but it never really got any better.

Here are a few:

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Clarifying (Typical) Exposure Compensation

Posted on by Ritchie Roesch

One aspect of Film Simulation Recipes that I get asked about a lot is Exposure Compensation. It has caused much confusion. This article is intended to clarify it, and hopefully by the end this puzzling parameter will be fully understood.

First, let’s briefly talk about the exposure triangle. In photography, the exposure triangle refers to the three main elements that control the brightness of an image: aperture, shutter speed, and ISO. Aperture controls the amount of light entering the camera through the lens by adjusting the size of the opening, measured in f-stops. Shutter speed controls the amount of time that the camera’s sensor (or the film) is exposed to light, measured in seconds or fractions of a second. ISO measures the sensitivity of the camera’s sensor (or the film) to light, with lower ISO values indicating lower sensitivity and higher ISO values indicating higher sensitivity. These three elements work together to determine the overall exposure of an image.

Illumination in the Dark Desert – Buckeye, AZ – Fujifilm X-T5 – “CineStill 400D v1” Recipe – Exposure Compensation: 0

Whenever you are not shooting fully manual, but are relying on an auto or semi-auto feature, such as Aperture-Priority (you choose the Aperture, but the camera chooses the Shutter and possibly the ISO) and Shutter-Priority (you choose the Shutter, but the camera chooses the Aperture and possibly the ISO), you adjust the exposure using Exposure Compensation, which on most Fujifilm cameras is via a knob on top of the camera. You can increase or decrease the exposure in 1/3-stop increments. While some people do shoot fully manual, including myself on occasion, many photographers choose to use a semi-auto mode so that the camera handles some lesser important tasks for them. Because more people shoot semi-auto than fully manual, in the Film Simulation Recipes I state the appropriate Auto-ISO and typical Exposure Compensation, but this causes a point of confusion for the fully manual shooter: what do you do? The solution is simple: increase or decrease the exposure over what the light meter suggests by whatever the recipe says. If a particular recipe calls for +1/3 to +2/3 Exposure Compensation, simply increase the exposure over what the light meter says by that amount.

Which brings me to an important point. The suggested Exposure Compensation is not intended to be a rule, but merely a starting point. There are a lot of factors that determine the luminosity curve—the film simulation, Dynamic Range settings, Highlight, Shadow, and even Color Chrome Effect, Color Chrome FX Blue, and Clarity play a role—and that curve is applied to the exposure (the entirety of the triangle). Because of this, it’s important to judge each exposure individually, to determine how the luminosity curve best fits within an exposure, depending on the exact light situation. In other words, “typical” Exposure Compensation is nothing more than a suggestion, which will work sometimes and won’t work other times, and it is up to you to figure out what will work best for each image.

Cactus Evening – Goodyear, AZ – Fujifilm X-E4 – “Bright Kodak” Recipe – Exposure Compensation: +1

Another important point is metering. I use Multi most of the time, but sometimes I use Spot instead. It doesn’t really matter which one you use, because whichever you choose, you’ll still need to judge each exposure individually. However, it can be helpful to know that the typical metering mode used for suggested Exposure Compensations is Multi. If you are using the “typical” Exposure Compensation as a starting point, it will likely work better for you more often if you are also using Multi metering mode. It’s not critical to use any particular metering mode, but, if you are using something other than Multi, you should be aware that the suggested Exposure Compensation will be a little less helpful.

You cannot save an Exposure Compensation within the C1-C7 Custom Presets. Instead, you adjust it (on most Fujifilm cameras) via the Exposure Compensation Knob on the top plate. If your camera has the ability to Custom Name each preset, you could add the “typical” Exposure Compensation to the name as a reminder if you want to. Since you get immediate feedback on what your picture will look like, I wouldn’t get too caught up in worrying about “typical” Exposure Compensation; instead, simply look at the image, and determine if it is too dark or bright, and adjust if necessary.

Cactus Spiderweb – Goodyear, AZ – Fujifilm X-E4 – “Low Key” Recipe – Exposure Compensation: -1 1/3

Most Film Simulation Recipes often look better with a little boost in exposure over what the light meter says, and some look better with a decrease in exposure. But, it’s also situationally dependent. You might find that with a certain recipe you often use +2/3 Exposure Compensation, but then for a certain picture you set it to -1/3. Flexibility is key. To an extent, using Film Simulation Recipes is kind of like shooting slide film, in that you have to get the exposure correct in-the-field at the time of the exposure; however, your camera allows you to see exactly what the picture is going to look like, and you have some excellent tools in-camera to help, such as a histogram and highlight alert.

The takeaways are 1) the “typical” Exposure Compensation listed in each recipe is merely a suggested starting point and nothing more, and 2) each exposure should be judged individually. It’s understandable why this setting is confusing, and why I get so many questions about it. My best advice is to carefully examine the instant feedback your camera is providing you in a situation, and adjust the exposure, either brighter or darker, until it is how you want it to be. I hope this clears things up a bit.

CineStill 400D v1 — A Fujifilm X-Trans IV & V Film Simulation Recipe

Posted on by Ritchie Roesch

Illumination in the Dark Desert – Buckeye, AZ – Fujifilm X-T5 – “CineStill 400D v1”

CineStill 400D is a cinematic color negative film meant for C41 processing that’s been around for less than a year. Unlike other cinematic films, the “D” doesn’t apparently stand for “Daylight” (even though it is Daylight balanced), but “Dynamic” because it has a large latitude for push processing. I’ve had a number of requests to create a Film Simulation Recipe that mimics the aesthetic of CineStill 400D. The problem I encountered is that this emulsion has a lot more variance than most films. All films can produce different looks depending on a host of factors, including how shot, developed, and scanned, but CineStill 400D seems especially so. As I understand, this film “scans flat” and some degree of post-processing is necessary, which likely accounts for some of that variance, as each photographer will manipulate the file to their own tastes to produce a final image.

No one recipe will ever come close to replicating all of the possible aesthetics from CineStill 400D, so instead I will publish a series of CineStill 400D Film Simulation Recipes, each a facsimile of a different look produced by the film. This recipe—CineStill 400D v1—has more contrast and leans more green/yellow than the other versions that will follow. I think it is especially well suited for sunny daylight conditions, but it is also a good option for dreary overcast days. While it is certainly usable for many genres of photography, I particularly appreciate this one for landscapes.

Bougainvillea Warm – Buckeye, AZ – Fujifilm X-T5 – “CineStill 400D v1”

This CineStill 400D v1 Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and all X-Trans V models—as of this writing, X-T5, X-H2, and X-H2S. Unfortunately, it is not compatible with the X-T3 and X-T30. Those with newer GFX models should be able to use it, too, but the rendering will be slightly different (try it anyway). Click here for the CineStill 400D v2 recipe.

Film Simulation: Astia
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Fluorescent 1, -6 Red & -3 Blue
Dynamic Range: DR200
Highlight: +3
Shadow: +1
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “CineStill 400D v1” Film Simulation Recipe on my Fujifilm X-T5:

Red Pipe – Buckeye, AZ – Fujifilm X-T5
Dreary Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Raindrop on Curled Leaf – Buckeye, AZ – Fujifilm X-T5
Fujifilm X100V on a Wet Table – Buckeye, AZ – Fujifilm X-T5
Autumn Sidewalk – Buckeye, AZ – Fujifilm X-T5
Suburban Bush – Buckeye, AZ – Fujifilm X-T5
Reflection on the Floor – Buckeye, AZ – Fujifilm X-T5
Dog Waste – Buckeye, AZ – Fujifilm X-T5
Stone Blooms – Buckeye, AZ – Fujifilm X-T5
Tree in the Cloudy Desert – Buckeye, AZ – Fujifilm X-T5
Suburban Stop Sign – Buckeye, AZ – Fujifilm X-T5
Joy – Gilbert, AZ – Fujifilm X-T5
Saguaro Storm – Buckeye, AZ – Fujifilm X-T5
Reflecting on Perspective – Buckeye, AZ – Fujifilm X-T5
Evening in the Desert – Buckeye, AZ – Fujifilm X-T5
Cactus Reflected – Buckeye, AZ – Fujifilm X-T5
Light & Clouds on Mountain Ridges – Buckeye, AZ – Fujifilm X-T5
Sunset Clouds – Buckeye, AZ – Fujifilm X-T5
Desert in Shadow & Light – Buckeye, AZ – Fujifilm X-T5
Last Sunlight Pouring Through a Pass – Buckeye, AZ – Fujifilm X-T5
Saguaro Fingers – Buckeye, AZ – Fujifilm X-T5
Dark Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus in Golden Light – 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  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

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

Help Fuji X Weekly

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Kodak Ultramax 400 — A Film Simulation Recipe for the Fujifilm X-T5 (X-Trans V)

Posted on by Ritchie Roesch

Spring is a Dream – Gilbert, AZ – Fujifilm X-T5 – “Kodak Ultramax 400”

This isn’t a new Film Simulation Recipe, but simply a tweak of the X-Trans IV Kodak Ultramax 400 recipe to make it compatible with X-Trans V cameras. Because blue in Classic Chrome is rendered deeper on X-Trans V than X-Trans IV, Color Chrome FX Blue needs to be set to Off instead of Weak. Otherwise, this recipe is identical to the X-Trans IV version. For those with an X-T3, X-T30, or X-Trans III camera, there’s a version for you, too.

Kodak Ultramax 400 is a consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.

Kissed by Light – Buckeye, AZ – Fujifilm X-T5 – “Kodak Ultramax 400”

This Kodak Ultramax 400 Film Simulation Recipe is intended for Fujifilm X-Trans V models, which (as of this writing) include the X-H2, X-H2S, and X-T5 cameras. It’s compatible with newer GFX models too, but will likely render slightly different on those cameras. This recipe is highly versatile—a great option for daylight, overcast, indoor, nighttime, landscapes, portraits, etc.—really, it’s good most any type of photography.

Film Simulation: Classic Chrome
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome FX Blue: Off
White Balance: Auto, +1 Red & -5 Blue
Dynamic Range: DR-Auto
Highlight: +1
Shadow: +1
Color: +4
Sharpness: 0
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Ultramax 400” Film Simulation Recipe on my Fujifilm X-T5:

Watching Firecrackers – Buckeye, AZ – Fujifilm X-T5
Red, Fire & Blue – Buckeye, AZ – Fujifilm X-T5
Sparkler – Buckeye, AZ – Fujifilm X-T5
Dressed for the Holiday – Buckeye, AZ – Fujifilm X-T5
Mango – Buckeye, AZ – Fujifilm X-T5
Days – Buckeye, AZ – Fujifilm X-T5
Rainy Day Window – Buckeye, AZ – Fujifilm X-T5
Happiness and Wondering – Gilbert, AZ – Fujifilm X-T5
Wet Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Sunny Day Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lakeside Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus Bird – Buckeye, AZ – Fujifilm X-T5
Cactus on a Hill – Buckeye, AZ – Fujifilm X-T5
Rocks Among Clouds – Buckeye, AZ – Fujifilm X-T5
Victory Mountain – Buckeye, AZ – Fujifilm X-T5
Desert Ridge with Lifting Clouds – Buckeye, AZ – Fujifilm X-T5
Blue Sky Moon – Buckeye, AZ – Fujifilm X-T5
Dusk Sky – 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  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

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

Help Fuji X Weekly

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

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Vintage Bronze — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Autumn Rainbow – Buckeye, AZ – Fujifilm X-T5 – “Vintage Bronze”

This Vintage Bronze Film Simulation Recipe was an accident. It came about when Fuji X Weekly reader Dan Allen was first trying Anders Lindborg‘s Ilford FP4 Plus 125 recipe, and he accidentally selected the Eterna Bleach Bypass film sim instead of Monochrome. The results were pretty interesting, with a vintage alternative-process aesthetic—which I happened to really like—so I decided to make it an official recipe.

The Eterna Bleach Bypass film simulation is intended to replicate the look of motion picture film that has had the bleach step reduced or skipped. With this Vintage Bronze Film Simulation Recipe, there are some similarities to that (Michael Radford’s 1984 comes to mind), but it also reminds me a little of Kodak ColorPlus film cross-processed in E6 chemistry. Obviously, it’s not modeled after any specific film or process, so any similarities are simply happy accidents. I don’t think this recipe is necessarily a close facsimile to bleach-bypassed motion picture film or cross-processed ColorPlus, and not really an exact match to anything that I have seen, but it’s in the general neighborhood of those alternative-process aesthetics. I think an argument could be made that Kodacolor that’s faded a little is also somewhat similar.

Paperflowers – Buckeye, AZ – Fujifilm X-T5 – “Vintage Bronze”

Because of the blue color rendering difference between X-Trans IV and V, this Vintage Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. You can use it on those X-Trans IV cameras with Eterna Bleach Bypass, but the rendering will be slightly different (give it a try anyway). I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain.

Film Simulation: Eterna Bleach Bypass
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
Shadow: -1
Color: 0
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to 0 (typically)

Example photographs, all camera-made JPEGs using this “Vintage Bronze” Film Simulation Recipe on my Fujifilm X-T5:

Sunset Over White Truck – Surprise, AZ – Fujifilm X-T5
Ford Wagon – Surprise, AZ – Fujifilm X-T5
5 & 6 – Surprise, AZ – Fujifilm X-T5
Cart Lock – Avondale, AZ – Fujifilm X-T5
Bus – Goodyear, AZ – Fujifilm X-T5
Jon in December – Surprise, AZ – Fujifilm X-T5
Johanna & Lens Flare – Buckeye, AZ – Fujifilm X-T5
Outdoor Lightbulbs – Buckeye, AZ – Fujifilm X-T5
Projector – Surprise, AZ – Fujifilm X-T5
Abstract Snow – Surprise, AZ – Fujifilm X-T5
Christmas Song – Surprise, AZ – Fujifilm X-T5
Winter Guitar – Surprise, AZ – Fujifilm X-T5
A Gift For You – Buckeye, AZ – Fujifilm X-T5
Joy, Unsure – Goodyear, AZ – Fujifilm X-T5
Reading the Paper in December – Goodyear, AZ – Fujifilm X-T5
Sprinkled Donut – Goodyear, AZ – Fujifilm X-T5
Softdrinks – Buckeye, AZ – Fujifilm X-T5
Rudolph – 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  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment

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

Using Film Simulation Recipes to Recreate Vintage Looks — 10 Recipes to Try Today!

Posted on by Ritchie Roesch

More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – “1970’s Summer” recipe

Fujifilm cameras have color profiles called Film Simulations, which can be customized to create various looks, including emulating the aesthetics of different types of film. Fuji X Weekly Film Simulation Recipes, which are a set of specific camera settings that produce many different looks in-camera without the need for editing, can be used to easily apply various vintage film looks to photos taken with Fujifilm cameras. These recipes can be used without the need for post-processing because they are essentially a set of camera settings that are tailored to emulate the aesthetic of a specific type of film—you get the retro analog look straight-out-of-camera.

One of the benefits of using these Film Simulation Recipes is that they can save a significant amount of time in post-processing. Instead of having to manually adjust various settings in editing software to achieve a vintage film look, photographers can simply apply the appropriate recipe in-camera and get the desired look straight-out-of-camera. The photos are finished and ready to share the moment that they are captured. You don’t even need to involve a computer at any point in your workflow, if you don’t want to. Not editing is a huge timesaver that allows photographers to be more productive thanks to a streamlined workflow.

Another benefit of using the Fuji X Weekly Film Simulation Recipes is that they can help new photographers achieve vintage film looks without having to learn cumbersome, intimidating, and expensive software. These recipes provide an easy way to experiment with different analog aesthetics. Film is expensive, and recipes are a quicker, more convenient, and cheaper alternative that still produces film-like results. And there is instant gratification when the unedited picture looks good, as if it had been post-processed or shot on film.

There are four reasons why photographers might want their pictures to have a retro analog look:

  1. Aesthetics — Vintage looks can evoke a sense of nostalgia and give photos a timeless quality that can be pleasing to the eye.
  2. Branding — Some photographers may want to apply vintage looks to their work as a way to set their brand apart or to appeal to a specific target market that appreciates the vintage aesthetic.
  3. Storytelling — Applying a vintage look to a photo can also help to tell a story or convey a certain mood or atmosphere that may be difficult to achieve with a more modern look.
  4. Experimentation — Some photographers may also want vintage looks as a form of creative experimentation or as a way to add an extra layer of meaning to their photos.

Film Simulation Recipes that produce a nostalgic aesthetic are popular. Below are 10 of my favorite Film Simulation Recipes that recreate vintage film looks.

Kodachrome 64

Abandoned Mobile Home – Arlington, AZ – Fujifilm X-T5 – “Kodachrome 64”

Old Ektachrome

Approaching Mesa Arch – Canyonlands NP, UT – Fujifilm X-Pro3 – “Old Ektachrome”

Chrome Slide

Airstream – Pismo Beach, CA – Fujifilm X-E4 – “Chrome Slide”

1970’s Summer

Going Out of Business – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer”

Nostalgia Color

Seagull Sky – Cannon Beach, OR – Fujifilm X-E4 – “Nostalgia Color”

Fujicolor Natura 1600

Tree Blossom Sky – Farmington, UT – Fujifilm X-E4 – “Fujicolor Natura 1600”

Vintage Color

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

Vintage Vibes

Autumn Aspen – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

Vintage Negative

Suburban Reed Evening – Farmington, UT – Fujifilm X100V – “Vintage Negative”

Xpro ’62

Empty Diner – Reno, NV – Fujifilm X100V – “Xpro ’62”

Obviously, there are a lot more options than just these 10—in fact, there are over 250 Film Simulation Recipes published on Fuji X Weekly and found in the Fuji X Weekly App! There are a lot to choose from, and if you are not sure, the list above should provide you with at least a few to try.

See also: Which Film Simulation Recipe, When?

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

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

Fujifilm X-T5 in black:  Amazon  B&H
Fujifilm X-T5 in silver:  Amazon  B&H
Fujifilm X100V in black:  Amazon   B&H
Fujifilm X100V in silver: Amazon   B&H
Fujifilm X-E4 in black:  Amazon   B&H
Fujifilm X-E4 in silver:  Amazon   B&H
Fujifilm X-Pro3:  Amazon   B&H

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Creating Your Own Film Simulation Recipe for a Unique Look + Emulsion ’86, a Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Dreary Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”

Many Fujifilm photographers use Film Simulation Recipes, which are JPEG camera settings that produce a specific look (often based on classic film stocks) straight-out-of-camera, no editing required. I have published over 250 Film Simulation Recipes on this website, which can also be found on the Fuji X Weekly App for easy access on the go. Using recipes on Fujifilm cameras is a great way to streamline your workflow while still getting great results that appear as though you post-processed or perhaps even shot with film.

Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time). Because there are so many recipes to choose from, it can be difficult to know which recipe to use when; perhaps none of them are precisely what you are looking for, or you are just feeling adventurous, so you want try your hand at crafting your very own Film Simulation Recipe.

A lot of people don’t have an interest in creating recipes; instead, they want one that’s already been perfected and matches their style. For most people, a Film Simulation Recipe currently exists that works well for them, it’s just a matter of figuring out which one (or ones, as it could be several, situationally dependent). Or maybe you enjoy trying them all! There’s no singular approach to using recipes with your Fujifilm camera.

Those who do want to try to make their very own recipe—because they haven’t found “the one” yet, or because they want a look that’s unique to them, or because they’re feeling creative and adventurous—might not know how to do it or even where to start. This article is intended to help with that. I will walk you through the process of crafting a Film Simulation Recipe, so that you know how to make your own.

Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”

Each Film Simulation Recipe has its own origin story. Very rarely did two come about the exact same way. Most, however, begin with an aesthetic idea—what look do I want the recipe to resemble? A lot of times it’s a specific film stock, usually specific images from a certain film. One film can usually produce many different looks depending on a whole host of factors, including (but not limited to) how it was shot, developed and scanned. I study pictures to get a good sense of what the aesthetic is, so that I can recreate it as closely as possible on my Fujifilm camera. It’s never a perfect facsimile because the tools on the camera are limited, film and digital behave divergently, and one film can produce many looks; however, I surprise myself sometimes just how close one recipe can come to the aesthetic I was trying to mimic. There’s a lot of trial-and-error involved. A lot of testing. But the beginning is almost always an idea or inspiration. For the Film Simulation Recipe example in this article—Emulsion ’86—the origin was the pilot episode of Little House on the Prairie. I was really attracted to the cinematography, and wanted to recreate the look.

Once you know the aesthetic that you want to achieve, the next step is figuring out a base starting point—the Film Simulation. I decided the film simulation that most closely matched the cinematography was Nostalgic Neg., which is only found on the newest cameras, including the Fujifilm X-T5. Eterna is similar, too, but I felt not vibrant enough or warm enough in the shadows—it could also be a good starting point, and I considered using it, but opted for Nostalgic Neg. instead. Each film simulation produces a different look, so you want to find the best base film simulation for your recipe. If you want to learn more about the various film simulations, there is a video by Vistek that’s definitely worth watching (click here).

Once you have the base figured out, it’s time to fine-tune it to achieve your desired look. There are a lot of different settings, some of which are only available on the newer models. We’ll only briefly discuss each, because I don’t want to get bogged down in the details. I’ll link to an article or video for the settings, in case you need further explanations. You can find these settings in the IQ Menu subset and in Edit/Save Custom Settings. If you are unsure of how to program a Film Simulation Recipe into your Fujifilm camera, click here and here.

– Dynamic Range. Choose either DR-Auto (the camera will choose either DR100 or DR200), DR100, DR200, or DR400 (note: D-Range Priority or HDR can be used in lieu of a DR setting, and can also be considered). The Dynamic Range settings are primarily for protecting highlights, but affect the luminosity curve. DR100 protects highlights from clipping the least, while DR400 protects the highlights from clipping the most; however, DR400 requires a higher ISO and produces a lower-contrast image. Click here, here, here, here, and here to learn more. For my recipe, I wanted to protect highlights the most because I planned to expose the image more, so I chose DR400.
– Grain. Only X-Trans III and newer cameras have a faux Grain option (Off, Weak, or Strong), and only the X-Pro3 and newer have the option for Grain Size (Small or Large). The Acros film simulation is the only one with built-in grain (the faux Grain options can be used in addition to the built-in Acros grain). High-ISO digital noise on Fujifilm cameras can produce a film-grain-like effect, too, and is something else to be considered. Click here, here, here, and here to learn more. For this recipe, I decided I like Grain set to Strong/Small after testing a couple options.
– Color Chrome Effect and Color Chrome FX Blue. These settings deepen the tonality of certain colors (renders them darker) so that they retain more details when they are especially vibrant. For each, the options are Off, Weak, or Strong. For more information, click here, here, and here. I chose Color Chrome Effect set to Strong (for darker reds) and Color Chrome FX Blue set to Off (for lighter blues).

Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”

– White Balance and Shift. This is an important tool for altering the aesthetic of the base film simulation. First, it’s important to understand that most color films were either Daylight balanced (around 5500K) or Tungsten balanced (around 3200K), so if you want to mimic film, choosing a similar white balance is a good option. You can significantly manipulate the cast using white balance and shift together. Unfortunately, cameras older than the X-Pro3 cannot save a WB Shift within C1-C7 Custom Settings Presets. Click here, here, and here to learn more. After much experimenting, I landed on Daylight White Balance with a Shift of +2 Red & -1 Blue.
– Highlight and Shadow. This is found within Tone Curve on newer cameras. Highlight and Shadow is what adjusts the luminosity curve. -2 is the least (least highlight, least shadows), and +4 (or +2 on older models) is the most (strongest highlights, deepest shadows). This also highly affects contrast. To learn more, click here and here. I set Highlight to -2 to soften them and protect them from clipping, and I set Shadow to +2 to deepen shadows and increase contrast.
– Color. This sets the vibrancy, from -4 (least vibrant) to +4 (most vibrant). For more information, click here. I wanted more highly saturated colors, so I went with +4.
– Sharpness and Noise Reduction. Choose between -4 and +4 (-2 and +2 on older models). On newer cameras, Noise Reduction is renamed High ISO NR, but it’s the same thing. I typically (but not always) stay within -2 and +2 Sharpness (-1 and +1 on older models). I feel that Fujifilm’s Noise Reduction is too strong, so I like to use a minus setting. Click here, here, and here to learn more. I set Sharpness to -2 and Noise Reduction to -4 for this new recipe.
– Clarity. This is a micro-contrast adjustment, either more (+1 to +5) or less (-1 to -5), with 0 being Off. Using a minus Clarity setting is similar to using a diffusion filter. Clarity does slow down the camera, as there is a “Storing” pause after each exposure, and continuous shooting modes (CL and CH) disable this setting. Only the X-Pro3 and newer models have Clarity. Click here and here for more information. I wanted a softer look, so I set Clarity to -3.

There are two other important parts of a recipe. First, you have to decide the maximum (and maybe minimum) ISO. I like to use Auto-ISO the majority of the time. For color photography, I feel most Fujifilm cameras do well up to ISO 6400, but that’s just my personal tolerance. You might want to top it out at ISO 3200 or ISO 12800, or whatever you prefer. To learn more, click here, here, and here. For this recipe I set Auto-ISO to be up to ISO 6400. Finally, you have to decide how much Exposure Compensation you typically want. Do you want brighter or darker results? This works hand-in-hand with the luminosity curve you’ve created with DR, Highlight, and Shadow. A word of caution is that each exposure should be judged individually, and typical exposure compensation is merely a starting point, and not a rule. Click here and here to learn more. For my recipe, I wanted a brighter picture, so I usually increase the exposure over what the meter says, typically by +2/3 to +1-1/3 stop.

The very last step is to give your new Film Simulation Recipe a name. Even though the pilot episode of Little House on the Prairie was the initial inspiration for my recipe, after visiting Balboa Park in San Diego, I had a change of perspective. You see, Balboa Park has hosted two different World Expositions (in 1915 and 1935)—remnants of which are still prominent to this day—which reminded me of my own World’s Fair experience: when I was six years old, my family and I went to Expo ’86 in Vancouver, Canada. I found many old pictures of that event—personal, in books, and online—and this recipe was highly reminiscent of some of those photographs. This Film Simulation Recipe produces a nostalgic analog aesthetic that is similar to some pictures from the mid-1980’s (presumably primarily Kodak emulsions, but I’m not certain), so I named it Emulsion ’86.

If you like your recipe creation, consider sharing it with the Fujifilm community so that others can use it, too. If you don’t have a place to share it, the Fuji X Weekly Community Recipes page is for you!

Old California Architecture – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”

This Emulsion ’86 Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This recipe does well for both sunny daylight and rainy overcast photography.

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

Example photographs, all camera-made JPEGs using this “Emulsion ’86” Film Simulation Recipe on my Fujifilm X-T5:

Bobcat on the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Rainy Day at the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
No Lifeguard on Duty – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Two Surfers Walking – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Pacific Wave Rider – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Sahand Nayebaziz – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Gull View – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Two Seagulls & Giant Binoculars – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Bird Can – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Saltwater Fisherman – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Red Steps – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Tag Us – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Holiday Marlboro – El Centro, CA – Fujifilm X-T5 – “Emulsion ’86”
Noel – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Museum – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Pool Reflection – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Curved Colonnade – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Clouds Above Octagon – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Golden Architecture – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Natural History Museum – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
Palm Tree Sky – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”

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!

Help Fuji X Weekly

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

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

Posted on 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
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

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!

Kodak Negative — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Desert Fence – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”

This recipe began as an attempt to mimic my “Nostalgic Negative” Film Simulation Recipe for X-Trans IV cameras using the new Nostalgic Neg. film simulation instead of Classic Chrome. I made that recipe before any camera with Nostalgic Neg. had even been released, when there weren’t very many samples available, and little information had been given about it. I observed “something along the lines of Eterna gradation, [with] the Classic Chrome color palette (however, with a warm shift)….” I also stated that it would “likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation….” Turns out that I was right about both.

I set out to see how close I could get to that X-Trans IV Nostalgic Negative recipe using Nostalgic Neg, on my X-T5. I was hoping that I could get a close match, but unfortunately I was only able to get it to be about 90% similar. Even though it wasn’t an exact match, I still liked the aesthetic. From there I gave it a couple of small tweaks to make it look better (but less like the X-Trans IV recipe), and that’s how this Kodak Negative recipe came to be.

To my eyes, without digging too deeply into samples (just “memory color”), this recipe is reminiscent of Kodak Ektar 100. Maybe +4 Color isn’t quite high enough to mimic Ektar film, but there are definitely some similarities between this recipe and the film. I didn’t set out to recreate Ektar, so I’m not worried that it’s not an exact match. There’s certainly a vibrant Kodak color negative film vibe to this recipe; if not Ektar, then maybe Royal Gold 100 or Gold 100 or something along those lines.

Looking Through the Stone – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”

This Kodak Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This Kodak Negative recipe is especially well-suited for golden hour photography, but can also be used during most other light situations.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, +1 Red & -4 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +2.5
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Negative” Film Simulation Recipe on my Fujifilm X-T5:

Church Dome – Litchfield Park, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Water & Reflection – Litchfield Park, AZ – Fujifilm X-T5
Lake Lamp – Litchfield Park, AZ – Fujifilm X-T5
Pond at Last Light – Buckeye, AZ – Fujifilm X-T5
Disappearing Desert Light – Buckeye, AZ – Fujifilm X-T5
Approaching Dusk at Pond – Buckeye, AZ – Fujifilm X-T5
Pond Water – Buckeye, AZ – Fujifilm X-T5
Palm Tree Moon – Litchfield Park, AZ – Fujifilm X-T5
Media Center – Buckeye, AZ – Fujifilm X-T5
Golden Triangle – Buckeye, AZ – Fujifilm X-T5
Golden Leaves – Litchfield Park, AZ – Fujifilm X-T5
Tree Top Clouds – Buckeye, AZ – Fujifilm X-T5
Lakeside Townhomes – Litchfield Park, AZ – Fujifilm X-T5
Soft Shrub – Buckeye, AZ – Fujifilm X-T5
Three Oranges – Litchfield Park, AZ – Fujifilm X-T5
Me Photographing Me – Litchfield Park, AZ – Fujifilm X-T5
Observing the Lake for Fish – Litchfield Park, AZ – Fujifilm X-T5
Worn Wood – Litchfield Park, AZ – Fujifilm X-T5
Pier Leg – Litchfield Park, AZ – Fujifilm X-T5
Lantana – Litchfield Park, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black:  Amazon  B&H
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!

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Five Fujifilm X-T5 AI AWB Workarounds

Posted on by Ritchie Roesch

Yesterday I stated that I don’t like the inconsistent results from the new AI Auto White Balance found on the Fujifilm X-T5 and the other X-Trans V cameras. This isn’t a problem for most people, I don’t think; however, if you are a wedding or event photographer (or someone who needs consistent rendering over a series of pictures), if you use Film Simulation Recipes and rely on the out-of-camera JPEGs, and if you commonly use Auto White Balance, this is an issue you are likely to encounter, and you will surely be frustrated by it.

For those who are looking for a workaround to this problem, I want to offer you five potential solutions that might be helpful. None are perfect, so I hope that Fujifilm addresses this with a firmware update in the near future, but in the meantime perhaps one of these will be at least ok for you.

1. Use a Film Simulation Recipe that doesn’t use AWB yet matches the lighting conditions. For example, if you will be photographing indoors under artificial light, instead of using AWB, try Serr’s 500T (which uses a specific Kelvin temperature) or CineStill 800T (which uses Fluorescent 3). While AWB recipes are easy to like because of their versatility (Jack-of-all-trades), Auto White Balance won’t always deliver the best results. You’ll have to figure which recipe might be most appropriate for whatever it is that you are photographing, and there could only be one or two that will really work well; however, if you can match the recipe with the scene and situation, that’s when you’ll get the best outcome.

2. Use Custom White Balance. Instead of using Auto White Balance, take a custom white balance measurement in each lighting condition that you encounter. Your camera has three Custom White Balance banks, so you can take a measurement in up to three different situations at the beginning, and just switch between the three banks as you move throughout the event. For example, Custom 1 could be for outdoors, Custom 2 could be for the reception, and Custom 3 could be for the dressing room. If the light changes significantly due to (for example) the sun’s position in the sky or cloud coverage, you might have to remeasure at various times. You’ll have to remember to switch to the appropriate Custom White Balance bank as the light situation changes.

3. Use Auto White Balance Lock (AWB-L). This feature allows you to lock onto a specific white balance for as long as you keep it locked. To do this, first, while in the Shooting Mode (not Playback), press and hold the Disp/Back button until the Bluetooth & Function (Fn) Setting Menu appears. Pick an Fn button (whichever one you like, as long as it isn’t a touchscreen gesture) to customize, and set it to AWB-L. Next, open the Wrench Menu subset, click Button/Dial Setting, select AWB-Lock Mode, and set it to AWB On/Off Switch. Now, when you think AWB is producing a good white balance for the situation, simply press the Fn button you chose to enable AWB-L, and the camera will keep that white balance until you press the button again to disable it. Don’t forget to disable AWB-L when you encounter different lighting.

4. Program the same Film Simulation Recipe into several C1-C7 Custom Presets, but (for example) set the white balance to Daylight (for outdoors) on one, maybe Fluorescent 3 (for indoors) on another, and some other white balance (for another light you expect to encounter) on another. Definitely check the results at the very beginning to make sure it all looks good (and adjust if necessary) before photographing the whole event this way. You’ll have to remember to change to the correct C1-C7 preset as the light situation changes.

5. Take your chances with AWB. If you shoot RAW+JPEG, even if you have no intentions of editing the RAW files, you can reprocess the pictures in-camera or with X RAW Studio if, by chance, a crucial exposure has a weird color cast. You can simply adjust the white balance to be closer to the others, or apply a B&W recipe (such as Kodak Tri-X 400) and call it being creative.

Fujifilm X-Pro1 (+ X-E1) Film Simulation Recipe: Color Analog

Posted on by Ritchie Roesch

109 – Farmington, UT – Fujifilm X-Pro1 – “Color Analog”

For this Film Simulation Recipe I didn’t attempt to model any specific film; instead, I wanted a low-saturation, low-to-mid contrast recipe that would remind me of color negative film. I wanted it to be warm, but not overly warm. After several tries, I landed on some settings that I liked. While I didn’t have any film in mind when I created this recipe, it is vaguely reminiscent of Kodak Portra 160 NC, which was a “neutral color” (low-saturation) version of Portra film that was around from 1998 to 2010, when it was discontinued. It’s not an exact match to that film, but is simply by chance in the neighborhood of it. As Lefty Gomez famously said, “I’d rather be lucky than good.”

This recipe is a good daylight and golden hour option, and does alright in overcast conditions, too. If I were to suggest C1-C7 Custom Presets for the X-Pro1, this is one that I would include. I would also consider Color Negative Film, either Kodachrome I or Kodachrome II, Vivid Color, Superia Xtra 400, and Monochrome. I know that’s only six (not seven), but you wouldn’t have to remember to change the White Balance Shift when switching presets because each of these calls for a different White Balance type—you could pick one other recipe (but you’ll just have to remember to switch the shift when changing presets) or leave the seventh spot empty.

Sunset Branch – Bountiful, UT – Fujifilm X-Pro1 – “Color Analog”

This Color Analog recipe was an Early-Access Recipe on the Fuji X Weekly App, and Patrons have had access to it since April. It’s been replaced by a different Early-Access Recipe (look for that one in the App!), so now this Color Analog recipe is available to everyone! It’s compatible the Fujifilm X-Pro1 and X-E1 cameras, but not the X-M1 because that camera doesn’t have PRO Neg. Std for some reason. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different.

PRO Neg. Std
Dynamic Range: DR200
Highlight: -1 (Medium-Soft)
Shadow: +1 (Medium-Hard)
Color: -2 (Low)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Daylight/Fine, -1 Red & -4 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Color Analog” Film Simulation Recipe on my Fujifilm X-Pro1:

Daffodil Garden – Farmington, UT – Fujifilm X-Pro1
Daylight Pines – Bountiful, UT – Fujifilm X-Pro1
Pear Blossom Sky – Farmington, UT – Fujifilm X-Pro1
Creek Rocks – Bountiful, UT – Fujifilm X-Pro1
Newly Bloomed – Bountiful, UT – Fujifilm X-Pro1
White Fruit Tree Blossoms – Bountiful, UT – Fujifilm X-Pro1
Round & Red – Bountiful, UT – Fujifilm X-Pro1
Aperture Artifact Apparition – Bountiful, UT – Fujifilm X-Pro1
Sunlight Through Tree Branches – Bountiful, UT – Fujifilm X-Pro1
Suspended Sun – Bountiful, UT – Fujifilm X-Pro1
Reflection Structure – Farmington, UT – Fujifilm X-Pro1
Train 16 – Farmington, UT – Fujifilm X-Pro1

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

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Kodak Portra 400 v2 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Swath of Red – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This is a simple update to the Kodak Portra 400 v2 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Chrome. For this recipe, simply setting Color Chrome FX Blue from Weak to Off makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Kodak Portra 400 is a popular professional-grade color negative film introduced in 1998. There’s been a number of revisions and improvements to the emulsion over the years, so the Portra that’s available today is slightly different than the original Portra from roughly 25 years ago. As the name suggests, it’s intended for portraitures, but is also a popular option for many other genres of photography. One film can have several different aesthetics depending on many factors, and this particular Film Simulation Recipe is modeled after the Kodak Portra 400 pictures from a specific photographer. It’s one of my absolute favorite recipes for daylight and especially golden hour photography, and it does pretty well in several other light conditions; however, it’s probably not the best option for indoor artificial light, unless you want especially warm pictures.

Succulent Stories – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”

This Kodak Portra 400 v2 Film Simulation Recipe is intended for Fujifilm X-Trans V models. It’s compatible with newer GFX cameras too, but will likely render slightly different. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodak Portra 400 v2 recipe for those models (click here). If you have an X-T3 or X-T30, try the version for those cameras (click here). 

Film Simulation: Classic Chrome
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 5200K, +1 Red & -6 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” Film Simulation Recipe on my Fujifilm X-T5:

Christmas Angel – Buckeye, AZ – Fujifilm X-T5
Nativity – Buckeye, AZ – Fujifilm X-T5
Happy Holidays – Buckeye, AZ – Fujifilm X-T5
Lemons – Buckeye, AZ – Fujifilm X-T5
Changing Seasons – Buckeye, AZ – Fujifilm X-T5
Leaves on the Concrete – Buckeye, AZ – Fujifilm X-T5
GCR – Williams, AZ – Fujifilm X-T5
Lighted Cupola – Williams, AZ – Fujifilm X-T5
Sisters – Williams, AZ – Fujifilm X-T5
Brothers – Buckeye, AZ – Fujifilm X-T5
December Fog – Buckeye, AZ – Fujifilm X-T5
Multi-Arm Saguaro – Buckeye, AZ – Fujifilm X-T5
Saguaro Mist – Buckeye, AZ – Fujifilm X-T5
Wall Cage – Buckeye, AZ – Fujifilm X-T5
Super Star – Glendale. AZ – Fujifilm X-T5
I Believe – Avondale, AZ – Fujifilm X-T5
Standing in the Sun – Avondale, AZ – Fujifilm X-T5
Untidy Palm – Palo Verde, AZ – Fujifilm X-T5
Misty Desert Hills – Buckeye, AZ – Fujifilm X-T5
It Was All Yellow – Buckeye, AZ – Fujifilm X-T5
Small Pop of Color – Buckeye, AZ – Fujifilm X-T5
Clouds & Brown Trees – Buckeye, AZ – Fujifilm X-T5
Golden Neighborhood – 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!

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Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Timeless Negative

Posted on by Ritchie Roesch

Cold Morning Light – Buckeye, AZ – Fujifilm X100V – “Timeless Negative”

I purchased the Fujifilm X-T5 specifically to try the Nostalgic Neg. film simulation, then, after using it, I discovered Nostalgic Neg. has a lot in common with Eterna. I initially stated that the new film simulation is as if Classic Chrome and Eterna had a baby—it has some similarities to both—but it is more like Eterna than Classic Chrome. If a Nostalgic Neg. recipe calls for minus Color, it’s possible to fairly closely approximate it with Eterna. One difference is that Nostalgic Neg. has more warmth and vibrancy in the shadows, which is unique to the new film simulation, but otherwise you can get pretty close.

This Film Simulation Recipe is a facsimile of Timeless Negative for X-Trans V cameras, using Eterna instead of the Nostalgic Neg., as only the latest cameras have the new film simulation. I think many of you are going to like it because it produces very lovely images in a variety of situations. It’s great for daylight, nighttime, golden hour, overcast, indoor, portraits, landscapes, etc., etc.. Once you program this one into your camera, you might not ever replace it, since it does so well in a lot of scenarios.

Holiday Ball – Buckeye, AZ – Fujifilm X100V – “Timeless Negative”

This version of Timeless Negative is intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. You can use this on X-Trans V cameras, too, if you want (although I would suggest the recipe with Nostalgic Neg.) by setting Color Chrome FX Blue to Off. For the X-T3, X-T30, if you ignore Grain size, Color Chrome FX Blue, and Clarity (or, even better, use a 5% CineBloom diffusion filter in lieu of Clarity), you’ll still get similar results, but it will look slightly different (give it a try anyway). I am currently working on a Nostalgic Neg.-like recipe for the X-T3 and X-T30 (and possibly the X-H1, too); if you are a Fuji X Weekly App Patron, there is an Early-Access Recipe (actually, two) called Vintage Eterna that unintentionally has some similarities to Nostalgic Neg., and I invite you to give that a try, too.

Eterna
Dynamic Range: DR200
Highlight: +1
Shadow: -1
Color: +3
Noise Reduction: -4
Sharpness: 0
Clarity: -2
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

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

Candle – Buckeye, AZ – Fujifilm X100V
Drab Pink Blossom – Buckeye, AZ – Fujifilm X100V
Rainy Day Lightbulb – Buckeye, AZ – Fujifilm X100V
Joyful Corridor – Buckeye, AZ – Fujifilm X100V
Coffee, Waiting – Buckeye, AZ – Fujifilm X100V
Dear Santa – Buckeye, AZ – Fujifilm X100V
Oh Christmas Tree – Buckeye, AZ – Fujifilm X100V
North Pole Post – Buckeye, AZ – Fujifilm X100V
Saint Nicholas – Buckeye, AZ – Fujifilm X100V
Metalic Pinecone – Buckeye, AZ – Fujifilm X100V
Oleander Evening – Buckeye, AZ – Fujifilm X100V
Downtown Dusk – Buckeye, AZ – Fujifilm X100V
Color Transparencies – Buckeye, AZ – Fujifilm X100V
Night Lights – Buckeye, AZ – Fujifilm X100V
O Tannenbaum – Buckeye, AZ – Fujifilm X100V
Fountain – Buckeye, AZ – Fujifilm X100V
Green Leaf – Buckeye, AZ – Fujifilm X100V
Aslan – Buckeye, AZ – Fujifilm X100V
Upward Abstract – Buckeye, AZ – Fujifilm X100V
Palm Sky Vapor – Buckeye, AZ – Fujifilm X100V
Autumn Gold – Buckeye, AZ – Fujifilm X100V
Transition – Buckeye, AZ – Fujifilm X100V
Bougainvillea & Changing Weather – Buckeye, AZ – Fujifilm X100V
Bougainvillea in Autumn – Buckeye, AZ – Fujifilm X100V

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

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Kodak Vericolor Warm — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Right Around the Bend – Arlington, AZ – Fujifilm X-T5 – “Kodak Vericolor Warm”

I wasn’t sure if I should publish this Film Simulation Recipe, but then I thought, why not? Initially, the intention was simply to see how the Nostalgic Neg. film simulation looks with Dynamic Range set to DR100, and how the X-T5 images look at ISO 125, which is the base-ISO of X-Trans V cameras. I didn’t model these settings after any specific film aesthetic; instead, I borrowed the GAF 500 Film Simulation Recipe‘s white balance (modified just a little after a couple test shots), and was also inspired by Kodak Portra 400 and Reggie’s Portra recipes. I wasn’t sure what to expect from this, but I ended up really liking it!

So what does this Film Simulation Recipe most closely resemble? Unintentionally, I think it has some similarities to Kodak Vericolor film. What’s Kodak Vericolor? Originally introduced in 1971 as an ISO 100 professional color negative film, Kodak made two version of Vericolor: NPS (also known as S-Type) for short exposures (Daylight balanced) and NPL (also known as L-Type) for long exposures (Tungsten balanced). Just a few years later Kodak improved the emulsions and in 1974 introduced Vericolor II NPS and NPL, which was also ISO 100. In 1983 Kodak improved the emulsion once again and introduced Vericolor III, which was ISO 160 for NPS and ISO 100 for NPL; however, the NPL version was later spun off as Ektacolor Pro Gold 100T and later Portra 100T, while Vericolor III NPS was renamed Vericolor III 160. Later (sometime in the late-1980’s, although I couldn’t pinpoint a specific year), Kodak introduced a new high-ISO version called Vericolor III 400. Vericolor III 160 and 400 were replaced by Portra 160 and 400 in 1998. This recipe by chance shares a resemblance to Vericolor III 160 or perhaps Vericolor II NPS, but I think it is more warm, and perhaps more like if an 81A Color Correction Filter was used in conjunction with the film, a common technique in the film era, and maybe a CPL filter, too.

Hanging Garden Light – Buckeye, AZ – Fujifilm X-T5 – “Kodak Vericolor Warm”

This Kodak Vericolor Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, consider the Kodak Portra 160, Kodak Portra 400, and Reggie’s Portra as alternatives for those with X-Trans IV models. This Kodak Vericolor Warm recipe is especially well-suited for daylight photography, but can also be used during “blue hour” and overcast situations.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 3000K, +8 Red & -9 Blue
Dynamic Range: DR100
Highlight: -2
Shadow: -1
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodak Vericolor Warm” Film Simulation Recipe on my Fujifilm X-T5:

Blue Sky Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Rose in the Garden – Buckeye, AZ – Fujifilm X-T5
Triple Leaves – Buckeye, AZ – Fujifilm X-T5
Water Pipe – Arlington, AZ – Fujifilm X-T5
Trioliet – Arlington, AZ – Fujifilm X-T5
Tired Old Bus – Arlington, AZ – Fujifilm X-T5
Four Lights – Arlington, AZ – Fujifilm X-T5
Tractor Pipe – Arlington, AZ – Fujifilm X-T5
Cattle Co – Arlington, AZ – Fujifilm X-T5
Industrial Water – Arlington, AZ – Fujifilm X-T5
Tree on the Bank – Arlington, AZ – Fujifilm X-T5
Fujifilm Photographer – Arlington, AZ – Fujifilm X-T5
Roadside Memorial – Arlington, AZ – Fujifilm X-T5
Feed Barn – Palo Verde, AZ – Fujifilm X-T5
Metal Garage – Arlington, AZ – Fujifilm X-T5
Rust & Lock – Arlington, AZ – Fujifilm X-T5
Ome – Arlington, AZ – Fujifilm X-T5
No Loitering on Bridge – Arlington, AZ – Fujifilm X-T5
Love the Bridge – Arlington, AZ – Fujifilm X-T5
Goat Man – Arlington, 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!

Help Fuji X Weekly

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Superia Xtra 400 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Red & Green Bush – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

This is a simple update to the Superia Xtra 400 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Negative. For this recipe, simply setting Color Chrome FX Blue from Strong to Weak makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.

Thomas Schwab created the Superia Xtra 400 recipe by capturing a roll of actual Superia Xtra 400 film while also capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, he worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating it! He shared with me some of his side-by-side pictures—comparing the film with his recipe—and it was tough to figure out which was which—they looked so close! Also, just recently another photographer shot a roll of Superia Xtra 400 film and used the Superia Xtra 400 recipe on his Fujifilm camera, and he shared with me the similar results he got between the two. Amazing! Of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic of one emulsion can vary significantly.

Lemon Bowl – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”

Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years. This recipe is for Fujifilm X-Trans V cameras. Those with newer GFX models can use it, too, although it will likely render slightly differently.

Film Simulation: Classic Negative
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Weak
White Balance: Auto, +3 Red & -5 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: +4
Sharpness: -1
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Superia Xtra 400” Film Simulation Recipe on my Fujifilm X-T5:

Forwards or Backwards – Buckeye, AZ – Fujifilm X-T5
Standing Tall – Buckeye, AZ – Fujifilm X-T5
Hiding Saguaro – Buckeye, AZ – Fujifilm X-T5
Don’t Touch – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Dark Desert – Buckeye, AZ – Fujifilm X-T5
Misty Desert – Buckeye, AZ – Fujifilm X-T5
Clearing Clouds & Desert Mountain – Buckeye, AZ – Fujifilm X-T5
Ground Fall – Buckeye, AZ – Fujifilm X-T5
Wet Blossom – Buckeye, AZ – Fujifilm X-T5
Wet Rosebud – Buckeye, AZ – Fujifilm X-T5
Early Morning Lamp – Buckeye, AZ – Fujifilm X-T5
Night Blossoms – Buckeye, AZ – Fujifilm X-T5
Western Boots – Buckeye, AZ – Fujifilm X-T5

See also:
Fujifilm X-Trans V Film Simulation Recipes
Fujifilm X-Trans IV Film Simulation Recipes

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

Fujifilm 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!

Help Fuji X Weekly

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

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Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe: Mystery Chrome

Posted on by Ritchie Roesch

Backlit Lightbulbs – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

During this last SOOC broadcast, we attempted something never done before by anyone ever: create a new Film Simulation Recipe live on YouTube (which you can find at the 2:09:19 mark, if you missed the show). It was all done randomly. We spun wheels, used random number apps and programs, picked paper out of a hat, conducted a couple polls, and even had a kid pick a number—this recipe was a group effort created by you using chance. A special Thank You to everyone who participated! This was, of course, for fun. I would say that this is the least serious recipe ever to be published on this website, but that doesn’t mean you can’t use it for serious photography, because you absolutely can!

After completing the recipe, we took up name suggestions from the audience, and then ran a poll to decide which to go with, and “Mystery Chrome” won by a significant margin. The mystery is, perhaps, whether or not this is any good, or if anyone will actually use it—or maybe because it was all a mystery as it was being formed, parameter-by-parameter. We (as in the hosts, the guests, and those in the audience) also programmed this recipe into our cameras right away, and while still broadcasting live, we captured a picture, uploaded it, and shared them in the show (my picture is below). That’s the power of Fujifilm cameras and Film Simulation Recipes: within minutes of creating a recipe, people can program it into their cameras, capture an image, and share it across the globe—it can be that quick. Amazing!

Slides – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

Interestingly, this recipe—completely by luck—has a Kodak-like reversal film look, thanks to Classic Chrome, the white balance, and Highlight/Shadow settings. I think it’s somewhat similar to Kodachrome 200—it’s not quite right for that, but certainly in the ballpark, and probably the closest recipe on this website for that film. This is a high-contrast recipe, and is best for use in low-contrast situations or to achieve bold results in mid or high contrast scenarios. It certainly has the potential to be well-liked, but I don’t suspect it will be anyone’s go-to recipe for everyday photography.

If it were up to me, I would make one modifications to Mystery Chrome: Noise Reduction to -4 instead of +4. I’m not a big fan of the in-camera Noise Reduction, and I like to take it all the way down. For internet viewing, and even 8″ x 12″ prints, you’ll have a hard time even noticing the difference between +4 and -4, but if you zoom in or print larger, it becomes more obvious. Maybe you prefer the increased Noise Reduction; personally, I do not. All of the photos in this article were captured with Noise Reduction set to +4.

Twin Flags – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”

This Mystery Chrome Film Simulation Recipe is compatible with all Fujifilm X-Trans III cameras—X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1—plus the X-T3 and X-T30 by simply setting Color Chrome Effect to Off. For newer X-Trans IV cameras, additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large)—if you use it on X-Trans V cameras, blues will render slightly more deeply. For GFX, shadows will render slightly less dark, which you might actually prefer.

Classic Chrome
Dynamic Range: DR400
Highlight: +3
Shadow: +4
Color: 0
Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30)
Sharpness: -4
Noise Reduction: +4
Grain: Strong
White Balance: Daylight, +3 Red & -5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Mystery Chrome” Film Simulation Recipe on my Fujifilm X-H1:

Slides Plus Canisters – Buckeye, AZ – Fujifilm X-H1
Corvette Abstract – Buckeye, AZ – Fujifilm X-H1
Taco Lamp – Buckeye, AZ – Fujifilm X-H1
Happy Girl – Buckeye, AZ – Fujifilm X-H1
Late Bloomer – Buckeye, AZ – Fujifilm X-H1
Rainbow Trumpets – Buckeye, AZ – Fujifilm X-H1
Wren in Rome – Buckeye, AZ – Fujifilm X-H1
Traffic Flag – Buckeye, AZ – Fujifilm X-H1
Pergola Lights – Buckeye, AZ – Fujifilm X-H1
Autumn Rainbow – Buckeye, AZ – Fujifilm X-H1
Amber Autumn – Buckeye, AZ – Fujifilm X-H1
Brilliant Leaf – Buckeye, AZ – Fujifilm X-H1
Yellow Tree – Buckeye, AZ – Fujifilm X-H1
Bougainvillea & Palm Fronds – Buckeye, AZ – Fujifilm X-H1
Contrasty Tree – Buckeye, AZ – Fujifilm X-H1
Saguaro Brothers – Buckeye, AZ – Fujifilm X-H1
Tall Saguaro – Buckeye, AZ – Fujifilm X-H1
Little Cactus – Buckeye, AZ – Fujifilm X-H1
Brixton Boy – Buckeye, AZ – Fujifilm X-H1
Out of the Shadows – Buckeye, AZ – Fujifilm X-H1
Blending In – Buckeye, AZ – Fujifilm X-H1

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

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Which Film Simulation Recipes, When? — Part 4 (X-Trans II)

Posted on by Ritchie Roesch

Hummingbird Feeder Along a Wall – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

Part 1 – Part 2 – Part 3 – Part 5

When should you use which Film Simulation Recipes on your Fujifilm X-Trans II camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is imperative to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.

One thing to note about X-Trans II cameras is that not all of them have the Classic Chrome film simulation, including the X100S, X20, and XQ1. Unfortunately, if you have one of those models, this list is slightly less useful to you, although I hope you still find it helpful. For those with an X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, or XQ2, this list is fully compatible with your camera.

Like Parts 2 & 3, I set out to recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type or, if they do, they also share the same shift, because X-Trans II cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipes at the same time, which is the one downside to doing this. It was a difficult task, but I think I came up with a good set for you.

Let’s take a look!

C1 — Classic Kodak Chrome — Golden Hour

Purple Mountains – Buckeye, AZ – Fujifilm X-T1 – “Classic Kodak Chrome”

The Classic Kodak Chrome Film Simulation Recipe is a great option for sunrise or sunset photography, or pretty much anytime of the day or night. This is my current favorite recipe for X-Trans II cameras—I shoot with it often, more than all of the other X-Trans II recipes combined. This is my top allrounder choice! Almost no matter the subject, situation, or light, this is the recipe that I go with. Classic Kodak Chrome uses the Auto white balance type; if I wasn’t concerned about white balance type, I’d go with this recipe or Ektachrome 100SW whenever the sun is low to the horizon.

Alternatives for “golden hour” photography:

Ektachrome 100SW
Kodacolor
Velvia
Eterna

C2 — Kodak Portra 160 — Midday

An Arizona Autumn – Buckeye, AZ – Fujifilm X-T1 – “Kodak Portra 160”

Whenever the sun is not low to the horizon, my top-choice for daylight photography is the Kodak Portra 160 recipe, although it is good for “golden hour” too, and can be used anytime the sun is out. This is one of my favorite X-Trans II recipes, and is especially good for portrait photography, or whenever you want warm Kodak-like negative film colors. Kodak Portra 160 uses the Daylight white balance type; if I wasn’t concerned about white balance type, this or any in the “alternatives” list would be good options.

Alternatives for “midday” photography:

Kodachrome II
Kodachrome 64
Portra v2
Color Negative Film
Astia

C3 — Fujichrome Slide — Overcast

A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

I really like the Fujichrome Slide recipe, but it’s not my first option for overcast conditions. It does well enough, but I’d go with Classic Kodak Chrome instead (which is already in the C1 custom preset slot). Unfortunately, there aren’t a lot of good options for dreary days that don’t use a white balance type that’s already taken for another category. Fujichrome Slide uses the Fluorescent 1 white balance type; if I wasn’t concerned about white balance type, I would consider Winter Slide or Porto 200 as better alternatives.

Alternatives for “overcast” photography:

Winter Slide
Porto 200
Kodacolor 200
Jon’s Classic Chrome

C4 — Kodak Color Negative — Indoor

Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”

The Kodak Color Negative Film Simulation Recipe is pretty versatile and does well in a number of situations—indoor is just one of them. It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, I’d still choose it, but Agfa Optima would be a good alternative.

Alternatives for “indoor” photography:

Agfa Optima
Classic Chrome

C5 — CineStill 800T — Nighttime

Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”

The CineStill 800T recipe for X-Trans II cameras is my absolute favorite nighttime option, period. If it’s after dark and I’m photographing artificial lights, this is the recipe I’m using. CineStill 800T uses the Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this one.

Alternatives for “nighttime” photography:

Scanned Negative

C6 — Lomography Color 100 — Wildcard

Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”

In Parts 1-3, this category is called Alternative Process; however, for X-Trans II there’s only one recipe for that category—Cross Process—and it uses a white balance type that’s already taken. So I changed the rules a little, and called this category Wildcard instead, which is simply a recipe that’s included just because. Lomography Color 100 can produce good results in a number of situations, including golden hour, midday, shade, and indoors. It’s good for landscapes, street, and portrait photography. However, it has a little different aesthetic than the other recipes in this list. Lomography Color 100 uses the Shade white balance type; if I wasn’t concerned about white balance type, I’d choose Cross Process instead.

Alternatives for “wildcard” photography:

Cross Process
Yosemite Velvia
Kodak Platinum 200

C7 — Monochrome Red — B&W

Jonathan with a Smile – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”

The Monochrome Red Film Simulation Recipe is an excellent option for black-and-white photography. It’s especially well suited for blue-sky landscapes, but it does pretty well in other situations, too. It uses the Fluorescent 1 white balance type and shares the same shift as Fujichrome Slide, so both can occupy a slot in the C1-C7 custom presets simultaneously; if I wasn’t concerned about white balance type, the Monochrome recipe is a pretty good alternative—you really can’t go wrong with either.

Alternatives for “B&W” photography:

Monochrome
Faded Monochrome

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Timeless Negative — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Soft Rose – Buckeye, AZ – Fujifilm X-T5 – “Timeless Negative”

On February 3, 2021, Fujifilm shared the very first Nostalgic Neg. Film Simulation Recipe. As part of their promotion for the GFX100S, which was the first camera to have the new Nostalgic Neg. film sim, Fujifilm Japan shared a YouTube video, and hidden within was a recipe put together by the creators of Nostalgic Neg. “Nostalgic Negative is tuned for the best allrounder settings, but if you want to tweak it to get that classic American New Color look from the ’70’s, there are some adjustments you should make.” Fujifilm recommended, when using the Nostalgic Neg. film simulation, to set everything to 0, Off, or Auto, except for three things: shift Auto White Balance to +2 Red & -3 Blue, adjust Shadow to -2, and reduce Color to -2. Additional to that, I recommend using -4 High ISO NR.

I’m not a huge fan of Nostalgic Neg. set to factory defaults. It’s not bad, but it’s not what it purports to be, which is a vintage 1970’s aesthetic inspired by Eggleston, Shore, Sternfeld, and Misrach. I think Fujifilm should have had the courage to make their recipe the default, and not worry so much that it wasn’t the “best allrounder” film simulation. Fujifilm’s suggested adjustments do improve Nostalgic Neg. and bring it closer to a ’70’s vibe, but I felt I could improve it just a little more. Of course, that’s all subjective, and you might prefer factory default Nostalgic Neg., or Fujifilm’s recommended recipe, or something different altogether—in other words, when I say that this is “improved” it’s perfectly alright to disagree with that assessment, but hopefully many of you will agree that this is indeed better—at least a little, as my adjustments to Fujifilm’s recipe are pretty subtle. This particular recipe seems to be especially versatile, and can be used for many different genres of photography and in various light conditions—it looks good most anytime of the day or night.

Evening Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – “Timeless Negative”

This Timeless Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, Nostalgic Neg. isn’t too dissimilar from Eterna, so perhaps consider the Arizona Analog, SantaColor, Eterna V2, and Polaroid recipes as potential alternatives for those with X-Trans IV models.

Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, +2 Red & -3 Blue
Dynamic Range: DR400
Highlight: +2
Shadow: -2
Color: -3
Sharpness: 0
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X-T5:

Dark Coffee – Buckeye, AZ – Fujifilm X-T5
Night Train – Williams, AZ – Fujifilm X-T5
Color Behind Frosted Glass – Williams, AZ – Fujifilm X-T5
Hot Hot Hot – Williams, AZ – Fujifilm X-T5
Sleigh Bell – Williams, AZ – Fujifilm X-T5
Round Trip Ticket – Williams, AZ – Fujifilm X-T5
Dusk Train – Williams, AZ – Fujifilm X-T5
Keep Off – Williams, AZ – Fujifilm X-T5
Please… Use RitchieCam – Williams, AZ – Fujifilm X-T5
Barricades – Williams, AZ – Fujifilm X-T5
ATSF Caboose – Williams, AZ – Fujifilm X-T5
Route 66 Gift Shop – Williams, AZ – Fujifilm X-T5
Car Above, Coke Below – Williams, AZ – Fujifilm X-T5
UnAmerican Experience – Williams, AZ – Fujifilm X-T5
Stop Route 66 – Williams, AZ – Fujifilm X-T5
Los Angeles, 1978 – Buckeye, AZ – Fujifilm X-T5
Looney Tune – Buckeye, AZ – Fujifilm X-T5
Backyard Trumpet Blossoms – Buckeye, AZ – Fujifilm X-T5

Comparison

Factory default Nostalgic Neg., except High ISO NR set to -4.
Nostalgic Neg. with Fujifilm’s suggested adjustments.
This new Timeless Negative Film Simulation Recipe.
1970’s Summer Film Simulation Recipe.
Nostalgia Negative Film Simulation Recipe.
Pacific Blues Film Simulation Recipe, except Color Chrome FX Blue set to Weak.

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!

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Kodachrome 64 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – “Kodachrome 64”

This isn’t a new Film Simulation Recipe; it’s simply a slight modification of my Kodachrome 64 recipe for X-Trans IV cameras to make it compatible with X-Trans V models. The adjustments are pretty simple: set Color Chrome FX Blue to Off and Shadow to +0.5. Why the Color Chrome FX Blue adjustment? I discovered that with Classic Chrome (and some other film simulations), X-Trans V cameras render blue deeper. Why the change to Shadow? I stated in the X-Trans IV version, “I would set Shadow to +0.5 if I were using these settings on [a] camera [with that option].” With those two modifications, the Kodachrome 64 recipe is ready for your Fujifilm X-Trans V camera!

Kodachrome was a brand-name of color reversal film made by Kodak between 1935 and 2009. There were three eras of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era produced a slightly different look, and the third era is the one you’re probably most familiar with. This recipe is intended to mimic the aesthetic of the third era of Kodachrome, specifically the ISO 64 emulsion.

Arizona Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – “Kodachrome 64”

This Kodachrome 64 Film Simulation Recipe is intended for Fujifilm X-Trans V models, which (as of this writing) include the X-H2, X-H2S, and X-T5 cameras. It’s compatible with newer GFX models too, but will likely render slightly different on those cameras. Those with an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodachrome 64 recipe for those models (click here). Those with an X-T3 or X-T30, try the Kodachrome 64 recipe for those cameras (click here). For those with an X-Trans II model, there’s a Kodachrome 64 recipe for you, too (click here).

Film Simulation: Classic Chrome
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, +2 Red & -5 Blue
Dynamic Range: DR200
Highlight: 0
Shadow: +0.5
Color: +2
Sharpness: +1
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodachrome 64” Film Simulation Recipe on my Fujifilm X-T5:

Palm Tree Closeup – Palo Verde, AZ – Fujifilm X-T5
Abandoned Mobile Home – Arlington, AZ – Fujifilm X-T5
Store & Bar – Hassayampi, AZ – Fujifilm X-T5
Narrow Bridge – Arlington, AZ – Fujifilm X-T5
Concrete Railroad Ties & Steel Bridge – Arlington, AZ – Fujifilm X-T5
Gillespie Dam – Arlington, AZ – Fujifilm X-T5
Gila River Reeds – Arlington, AZ – Fujifilm X-T5
Flag, Bell, Cross – Arlington, AZ – Fujifilm X-T5
Princess Garden – Buckeye, AZ – Fujifilm X-T5
Secret Garden – Buckeye, AZ – Fujifilm X-T5
Blossomed Garden Rose – Buckeye, AZ – Fujifilm X-T5
Farm Truck – Buckeye, AZ – Fujifilm X-T5
Wall Shadow & Empty Pot – Buckeye, AZ – Fujifilm X-T5
Dusk Lamp – Buckeye, AZ – Fujifilm X-T5
Girl on Swing – Buckeye, AZ – Fujifilm X-T5
Desert Sunset – 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!

Help Fuji X Weekly

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1970’s Summer — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on by Ritchie Roesch

Short Train – Buckeye, AZ – Fujifilm X-T5 – “1970’s Summer”

This Film Simulation Recipe is the aesthetic that I hoped to achieve with the new Nostalgic Neg. film simulation. What does it resemble? It very much has a nostalgic Kodak “memory color” (as Fujifilm likes to say) that is reminiscent of old color photographs from the 1970’s. You might notice some similarities to William Eggleston’s Election Eve and 2 1/4 series and some of his other work from the late-1960’s through the mid-1970’s—not every picture, but certainly several. You might spot some similarities between this look and some of Stephen Shore’s photographs from the early-to-mid 1970’s. I think there are some similarities to a few of Joel Sternfeld’s American Prospects pictures. There’s a noticeable likeness to several of Richard Misrach’s desert photographs. In other words, this recipe produces a distinct 1970’s American New Color aesthetic.

It shouldn’t surprise you that the Nostalgic Neg. film simulation produces this look because Fujifilm stated that the American New Color movement was the inspiration. Specifically, they looked at the photographs of Eggleston, Shore, Sternfeld, and Misrach, but out-of-the-box default Nostalgic Neg. doesn’t seem to resemble their work all that closely. After examining many of their photographs, and identifying a few from each with a similar aesthetic, I set out to create a Film Simulation Recipe that better mimics some of their pictures. I feel like a got pretty close, and this recipe produces a distinct 1970’s vibe—especially the warmth of summertime—and so I named it 1970’s Summer. This recipe works best in sunny daylight, and is excellent for midday photography.

Going Out of Business – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer”

This 1970’s Summer Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, if you are looking for something somewhat similar, try my Vintage Color recipe, or even Kodak Portra 400 Warm.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 6500K, -1 Red & -4 Blue
Dynamic Range: DR400
Highlight: -2
Shadow: -0.5
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “1970’s Summer” Film Simulation Recipe on my Fujifilm X-T5:

Red & Gold – Prescott, AZ – Fujifilm X-T5
Adventure’s First Stop – Prescott Valley, AZ – Fujifilm X-T5
Hyundai – Prescott, AZ – Fujifilm X-T5
Cat Clock – Prescott, AZ – Fujifilm X-T5
Propane – Hassayampa, AZ – Fujifilm X-T5
Security Light – Palo Verde, AZ – Fujifilm X-T5
Hay, Detour – – Arlington, AZ – Fujifilm X-T5
Gila River Bridge – Arlington, AZ – Fujifilm X-T5
13 FT 6 IN – Arlington, AZ – Fujifilm X-T5
Around the Bend – Arlington, AZ – Fujifilm X-T5
Gillespie Dam Bridge – Arlington, AZ – Fujifilm X-T5
Desert Dam – Arlington, AZ – Fujifilm X-T5
Julio Suarez – Arlington, AZ – Fujifilm X-T5
Dam Reflection – Arlington, AZ – Fujifilm X-T5
Broken Dam – Arlington, AZ – Fujifilm X-T5
Lakeview – Lynx Lake, AZ – Fujifilm X-T5
Attention Anglers – Lynx Lake, AZ – Fujifilm X-T5
Can’t See the Forest – Lynx Lake, AZ – Fujifilm X-T5
Rural Tree – Arlington, AZ – Fujifilm X-T5
Green Field – Buckeye, AZ – Fujifilm X-T5
Abandoned Rural Home – Palo Verde, AZ – Fujifilm X-T5
More Than Double Wide – Arlington, AZ – Fujifilm X-T5
Hole in the Wall – Arlington, AZ – Fujifilm X-T5
PRA – Arlington, AZ – Fujifilm X-T5
Abandoned & Leaning – Arlington, AZ – Fujifilm X-T5
Desert Basketball – Arlington, AZ – Fujifilm X-T5
Double Cross – Arlington, AZ – Fujifilm X-T5
Palm Trunk & Blocks – Arlington, AZ – Fujifilm X-T5
Fake Fall Flowers – Arlington, AZ – Fujifilm X-T5
Arlington Baptist Church – Arlington, AZ – Fujifilm X-T5
Gate 8 – Arlington, AZ – Fujifilm X-T5
Flowing Water & Broken Footbridge – Arlington, AZ – Fujifilm X-T5
Irrigation Mist – 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!

Help Fuji X Weekly

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

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