Camera Settings | FUJI X WEEKLY

My Fujifilm X-T30 Jeff Davenport Night Recipe

Posted on March 23, 2020 by Ritchie Roesch

Reflected Red – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

I was asked to create a film simulation recipe that mimics the aesthetics of photographer Jeff Davenport. Interestingly enough, Jeff uses Fujifilm cameras (X100F and X-H1). He shoots RAW and has his own post-processing workflow that allows him to create the specific looks that he wants. He has a few different styles, depending on what (and what time) he’s shooting. Jeff has several different photographic series, and each has its own look. My attempt here was to create something in-camera that produces results similar to his night pictures.

This recipe, which I call Jeff Davenport Night, isn’t an exact match to Jeff’s look, but it’s pretty close. His blue tends to lean slightly more towards green, but if I replicate that it throws everything else off. Orange in his pictures tend to turn red, which is something I can’t replicate. I think a lot of how a picture looks (both in Jeff’s case and with these settings) depends on the light in the scene. Results can vary greatly. Jeff might possibly use flash with colored gels, as well (something you could try if you wanted). Anyway, despite not being exact, this recipe is pretty close to recreating his look in-camera on my Fujifilm X-T30.

If you want a recipe that is good for night photography, this is one you should consider, along with my CineStill 800T recipe, because of the Kelvin temperature of the white balance, which goes well with artificial light. You don’t have to use it exclusively after dark, as results can be interesting sometimes when used in daylight. It’s fun to experiment with! For night photography, this will be one of your best options.

Pleiku – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

When I attached my camera to a tripod, I used ISO 1600 or lower. When I did hand-held photography, I used up to ISO 6400. I think if you can take your time and use a tripod, it’s good to use a lower ISO, but you can still get good results with higher ISOs. Because of the use of the Color Chrome Effect, this recipe is intended for X-Trans IV cameras, but feel free to try it on your X-Trans III camera; it will look very similar, but not exactly the same.

PRO Neg. Hi
Dynamic Range: DR400
Highlight: +1
Shadow: +0
Color: +2
Noise Reduction: -4
Sharpness: +1
Grain Effect: Weak
Color Chrome Effect: Strong
White Balance: 2650K, -1 Red & +4 Blue

Example photographs, all camera-made JPEGs using this “Jeff Davenport Night” recipe on my Fujifilm X-T30:

Button – Salt Lake City, UT – Fujifilm X-T30

Unlucky 13 Take Out – Salt Lake City, UT – Fujifilm X-T30

Blue Street – Salt Lake City, UT – Fujifilm X-T30

Blue Buildings – Salt Lake City, UT – Fujifilm X-T30

Blue Lights – Salt Lake City, UT – Fujifilm X-T30

So Much Bicycling – Salt Lake City, UT – Fujifilm X-T30

Red – Salt Lake City, UT – Fujifilm X-T30

Closed Red Umbrellas – Farmington, UT – Fujifilm X-T30

Parked Car at Night – Farmington, UT – Fujifilm X-T30

Night Hotel – Farmington, UT -Fujifilm X-T30

Caution Poles – Farmington, UT – Fujifilm X-T30

Dumpster 204 – Farmington, UT – Fujifilm X-T30

Lights Beyond The Rooftop – Farmington, UT – Fujifilm X-T30

Nighttime Neighborhood – Farmington, UT – Fujifilm X-T30

Francis Peak at Night – Farmington, UT – Fujifilm X-T30

Reach for the Sky – Farmington, UT – Fujifilm X-T30

Illuminated Houses – Farmington, UT – Fujifilm X-T30

Wind Sock – Farmington, UT – Fujifilm X-T30

No Thanks – Salt Lake City, UT – Fujifilm X-T30

Earn Points – Salt Lake City, UT – Fujifilm X-T30

Refining – Salt Lake City, UT – Fujifilm X-T30

Night Walking – Salt Lake City, UT – Fujifilm X-T30

McKay – Salt Lake City, UT – Fujifilm X-T30

Flag & Window – Salt Lake City, UT – Fujifilm X-T30

Illuminated Blue – Salt Lake City, UT – Fujifilm X-T30

Multi-Color Triangle – Salt Lake City, UT – Fujifilm X-T30

Center Street Lamp – Salt Lake City, UT – Fujifilm X-T30

Don’t – Salt Lake City, UT – Fujifilm X-T30

Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30

Fujifilm X-T1 Agfa Optima (Provia) Film Simulation Recipe

Posted on March 22, 2020 by Ritchie Roesch

Reeds & Mountain – Farmington, UT – Fujifilm X-T1 “Agfa Optima”

The film simulation recipe in this article is my Agfa Optima recipe, which is compatible with X-Trans III & IV cameras, converted for use on my Fujifilm X-T1. While the X-T1 is an X-Trans II camera, you can also use this recipe on X-Trans I and Bayer sensor cameras. Agfa Optima is a color negative film that was around from the mid-1990’s to the mid-2000’s.

Provia
Dynamic Range: DR100
Highlight: -1 (Medium-Low)
Shadow: +1 (Medium-High)
Color: -2 (Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Daylight, -3 Red & +1 Blue
ISO: Auto, up to ISO 3200

Example photographs, all camera-made JPEGs using this Agfa Optima recipe on my Fujifilm X-T1:

Eggs in a Bowl – Farmington, UT – Fujifilm X-T1

Take a Picture Pronto – Farmington, UT – Fujifilm X-T1

Fruity Cereal – Farmington, UT – Fujifilm X-T1

Stealth Mode – Farmington, UT – Fujifilm X-T1

Suburban Alleyway – Farmington, UT – Fujifilm X-T1

Windows & Shadows – Farmington, UT – Fujifilm X-T1

Pine Tree & Sky – Farmington, UT – Fujifilm X-T1

Green & Fence – Farmington, UT – Fujifilm X-T1

Rural Metal Fence – Farmington, UT – Fujifilm X-T1

Marshland Sky – Farmington, UT – Fujifilm X-T1

My Fujifilm X-T30 Classic Slide Film Simulation Recipe

Posted on March 21, 2020 by Ritchie Roesch

Winter Reeds – Farmington, UT – Fujifilm X-T30 “Classic Slide”

A lot of my film simulation recipes lean towards a warm cast. In the film days, many different films, especially those by Kodak, tended to lean warm. I often used a warming filter for my landscape photography, which made an even more pronounced color cast. This was all very common and normal. But not all films were balanced that way, not even all of Kodak’s. Since films have a specific Kelvin temperature (often “daylight balanced”), the light conditions could create a cool cast even on a warm-toned film. I decided that I needed another film simulation option with a cool color cast, because film isn’t always warm, and sometimes the scene demands something that’s cool.

I call this film simulation recipe “Classic Slide” because it has a slide-film aesthetic, in my opinion. I didn’t go about trying to mimic the look of any specific film. I think it’s in the neighborhood of Ektachrome 100G, or Elite Chrome 100, or Provia 100F and 400X, although it’s not an exact match to any of those films. It’s probably a bit closer to Provia than Ektachrome. It has a general color reversal film look, without matching any one in particular.

Indoor Green – Farmington, UT – Fujifilm X-T30 “Classic Slide”

To create this film simulation recipe I began with my Kodachrome 64 recipe. You might notice many similarities. In fact, the white balance shift is the biggest change. I adjusted Sharpness down one notch just because Kodachrome was known as a “sharp” film, and this isn’t Kodachrome, but, in reality, the difference between +1 and +2 is tiny. I also set Color Chrome Effect to Off, which makes it completely compatible with all X-Trans III & IV cameras.

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +2
Color: 0
Sharpening: +1
Noise Reduction: -4
Grain: Weak
Color Chrome Effect: Off
White Balance: Daylight, -2 Red & +3 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

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

Yellow Couch – Layton, UT – Fujifilm X-T30

Chair & Blue Pillow – Farmington, UT – Fujifilm X-T30

Green Leaves Indoors – Layton, UT – Fujifilm X-T30

Dresser Decor – Farmington, UT – Fujifilm X-T30

Laying in the Light – Farmington, UT – Fujifilm X-T30

Blinded by the Light – Farmington, UT – Fujifilm X-T30

Duck out of Water – Farmington, UT – Fujifilm X-T30

Crossing Flags – Farmington, UT – Fujifilm X-T30

Remaining Relic in Disrepair II – Farmington, UT – Fujifilm X-T30

Francis Peak in Evening Light – Farmington, UT – Fujifilm X-T30

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12 New Film Simulation Recipes in 2020, And Counting…

Posted on March 10, 2020 by Ritchie Roesch

So far this year I have published 12 new film simulation recipes: six for “newer” Fujifilm cameras, such as my X-T30, and six for “older” models, such as my X-T1. Actually, one article contained three different recipes, so technically we’re up to 14. Yet there will be more! I have several ideas and aesthetics that I am working on. 2020 might be the biggest year yet for film simulation recipes!

One of these days I hope to have the new Classic Negative and Bleach Bypass film simulations available to use. I think both, but especially Classic Negative, have the potential to be great starting points for new recipes. I’m not “upgrading” my camera right now, though, as there’s not really a need to, so unfortunately that will have to wait until Fujifilm makes those available to the X-T30 via firmware updates (which may or may not happen), or I buy a new model sometime down the road (it won’t be soon).

Which of the recipes below are your favorites? Are you using any of them right now? Is there one that you haven’t yet used but are planning to soon? Even though I have five listed under “X-Trans IV” you can still use them with X-Trans III cameras. You just don’t have Color Chrome Effect, which doesn’t make a big difference, so the results will be quite similar.

X-Trans IV

Analog Color

Cut Strawberries – Farmington, UT – Fujifilm X-T30

Vintage Color Fade

Young Boy with an Old Camera – Farmington, UT – Fujifilm X-T30

Bleach Bypass

Instamatic Mourning – Farmington, UT – Fujifilm X-T30

Dramatic Monochrome

Shadow Ware – Farmington, UT – Fujifilm X-T30

Split-Toned B&W

Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30

X-Trans III & IV

Fujicolor Pro 400H Overexposed

I Will Always Love You – Farmington, UT – Fujifilm X-T30

X-Trans II

Kodachrome 64

Suburban Silver Lining – Farmington, UT – Fujifilm X-T1

Kodachrome II

The Wetlands of Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Kodacolor

Man In Red – Farmington, UT – Fujifilm X-T1

Classic Chrome

Praying the Order is Right – Salt Lake City, UT – Fujifilm X-T1

X-Trans I & II

Ektachrome 100SW

Windows & Reflections – Salt Lake City, UT – Fujifilm X-T1

Velvia

Pink Penguin – Salt Lake City, UT – Fujifilm X-T1

Monochrome

Rebuilt 24 – Farmington, UT – Fujifilm X-T1

Faded Monochrome

Thought – Farmington, UT – Fujifilm X-T1

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My Fujifilm X-T30 Analog Color Film Simulation Recipe

Posted on March 8, 2020 by Ritchie Roesch

Pentax – Farmington, UT – Fujifilm X-T30 “Analog Color”

Sometimes accidents are happy, such as with this film simulation recipe, which I call Analog Color. I was attempting to make a recipe that mimics the looks of Kodak Portra 400 that’s been overexposed, but I was unsuccessful (at least for now); however, in the process I accidentally created this one. It was a mistake, but I liked how it looked, so I shot a bunch of pictures with it. This recipe reminds me of Fujicolor C200 or Agfa Vista 200, or perhaps even Kodak Gold 200. It’s in the neighborhood of ColorPlus 200, as well. But, it doesn’t exactly resemble any of those films perfectly. What I appreciate about this Analog Color film simulation is that it has a film-like quality to it, with a real color negative aesthetic, even if it’s not an exact match to any film that I’m aware of.

How this film simulation recipe looks depends on the light. This is true of all the recipes that don’t use auto white balance, but it seems especially so with this particular recipe. It can have a warm cast sometimes and cool cast other times, or even occasionally both a cool and warm cast within the same image. Perhaps this is one of the things that make it appear film-like. I do think that there’s something special about this recipe.

Route Running – Farmington, UT – Fujifilm X-T30 “Analog Color”

I like Color set to -1, but feel free to play around with that. If you want something more saturated, increase Color to 0 or +1. If you don’t like grain, set it to Weak or off. If you like lots of grain, keep the ISO high, perhaps no lower than ISO 1600. I think that this recipe will pair well with vintage lenses, and that’s something else you can experiment with.

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

Example photographs, all straight-out-of-camera JPEGs captured using my Fujifilm X-T30 Analog Color film simulation recipe:

Red Window – Monument Valley, AZ – Fujifilm X-T30

Cut Strawberries – Farmington, UT – Fujifilm X-T30

Joshua Smiling – Farmington, UT – Fujifilm X-T30

Girl in a Blue Sweater – Farmington, UT – Fujifilm X-T30

Living Room Bass Pro – Farmington, UT – Fujifilm X-T30

Backlit Jon – Farmington, UT – Fujifilm X-T30

Succulent on a Shelf – Farmington, UT – Fujifilm X-T30

Time’s Fun When You’re Having Flies – Farmington, UT – Fujifilm X-T30

46 Minutes to Ogden – Farmington, UT – Fujifilm X-T30

Empty Seats – Farmington, UT – Fujifilm X-T30

The Bags We Carry – Farmington, UT – Fujifilm X-T30

No Storage – Farmington, UT – Fujifilm X-T30

Rain God Mesa – Monument Valley, AZ – Fujifilm X-T30

Tree In The Dirt – Monument Valley, AZ – Fujifilm X-T30

Monument Valley Afternoon – Monument Valley, AZ – Fujifilm X-T30

Monument Valley After Sunset – Monument Valley, AZ – Fujifilm X-T30

Comparing Film Simulation Recipes

Posted on July 20, 2019 by Ritchie Roesch

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

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

Color

Classic Chrome

Dramatic Classic Chrome

Vintage Agfachrome

Vintage Kodachrome

Kodachrome II

Kodacolor

Astia

PRO Neg. Hi

Fujicolor Industrial

Fujicolor Superia 800

Fujicolor Pro 400H

Ektar 100

Velvia (X-T30)

Velvia (X100F)

Aged Color

Agfa Optima

Eterna (X-T30)

Expired Eterna

CineStill 800T

Cross Process

Redscale

B&W

Acros (X100F)

Acros (X-T30)

Agfa Scala

HP5 Plus

Acros Push-Process

My Fujifilm X-T30 Kodacolor Film Simulation Recipe

Posted on July 19, 2019 by Ritchie Roesch

Summit Merc – Coalville, UT – Fujifilm X-T30 – Kodacolor

This is the film simulation recipe that you’ve been waiting for! Well, maybe that’s an exaggeration, but if you like my Kodachrome II or Portra 400 recipes, which are both very popular, you’ll likely also appreciate this one. It’s in the same neighborhood as those, producing a classic Kodak analog aesthetic. I think many of you will like this film simulation recipe.

Last week I was contacted by a Fuji X Weekly reader who wanted help creating an in-camera look that was similar to the pictures from this other photographer. It didn’t take me long to realize that the photographer in question was using a digital camera (Nikon D750) and applying a plugin preset (most likely VSCO) to achieve the desired look. If I had to take a guess, I would say that the preset is supposed to resemble Kodak Portra 400, although probably one of the alternative versions and not the straight Portra 400 preset. Anytime that I get one of these requests I always make an attempt to create it, although oftentimes my efforts are not successful and no recipe is made. This time, my first stab at it was pretty close, and a little refining made it even closer. I was able to quickly create a film simulation recipe that produces similar results in-camera to what that other photographer is getting with software.

The reason that I named this recipe Kodacolor and not Portra is that, to me, it looks more like Kodacolor VR than Portra, although the aesthetics of these two films are quite similar. Portra is the better film with improved grain, more tolerance to under and over exposure, and slightly more accurate skin tones, but overall the films produce very similar looks. Kodak originally developed Kodacolor VR film in the early 1980’s for their Disc cameras, which used a film cartridge resembling a computer floppy disc (or the “save icon”), allowing the camera to be small and easy to use. It made tiny exposures on the disc of film, and the film prior to Kodacolor VR, which was called Kodacolor II, was too grainy and not sharp enough for the small exposure to produce good results. Kodak’s solution was to create a sharper film with finer grain, which they originally named Kodacolor HR, and quickly renamed Kodacolor VR after making a small improvement. Kodacolor VR was available in ISO 100, 200, 400 and 1000 film speeds. This film simulation recipe most closely resembles Kodacolor VR 200, in my opinion. Kodacolor VR was replaced by Kodacolor VR-G in the mid 1980’s, which was later renamed Kodak Gold. Kodacolor VR was technically discontinued in 1986, but the ISO 200 version was renamed Kodacolor 200 and later ColorPlus 200, which is surprisingly still available today.

Kodak Flying Disc – South Weber, UT – Fujifilm X-T30 – Kodacolor

One characteristic of Kodacolor VR is that it’s not particularly tolerant to underexposure (for color negative film), so a common technique was to overexpose the film (to prevent accidental underexposure). The side-effect of this, which is a common side-effect of most Kodak color negative films, but it’s especially pronounced on this particular film, is cyan sky. Blues tend to become an unnatural lighter color. That’s what this film simulation recipe looks like: Kodacolor VR 200 that’s been overexposed. It’s also a close proximity to Portra 400 that’s been overexposed, although it’s not quite as strong of a match for that as Kodacolor VR.

Classic Chrome
Dynamic Range: DR400
Highlight: -1
Shadow: +2
Color: -2
Sharpening: +2
Noise Reduction: -4
Grain: Strong
Color Chrome Effect: Off
White Balance: 6300K, -1 Red & -4 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +2/3 to + 1-1/3 (typically)

Example photographs, all camera-made JPEGs captured using my Kodacolor film simulation recipe on my Fujifilm X-T30:

Echo Canyon Morning – Echo, UT – Fujifilm X-T30 – Kodacolor

Morning Light In Echo Canyon – Echo, UT – Fujifilm X-T30 – Kodacolor

Tree On The Rocky Ledge – Echo, UT – Fujifilm X-T30 – Kodacolor

Western Cliff – Echo, UT – Fujifilm X-T30 – Kodacolor

Rock Bowl – Echo, UT – Fujifilm X-T30 – Kodacolor

Echo Mesa – Echo, UT – Fujifilm X-T30 – Kodacolor

Summer Witches – Echo, UT – Fujifilm X-T30 – Kodacolor

Trees Dotting The Rock – Echo, UT – Fujifilm X-T30 – Kodacolor

Blue Sky Rocks – Echo, UT – Fujifilm X-T30 – Kodacolor

Weber River Thistle Blooms – Coalville, UT – Fujifilm X-T30 – Kodacolor

Yucca Blossoms – South Ogden, UT – Fujifilm X-T30 – Kodacolor

Sky Tree – South Weber, UT – Fujifilm X-T30 – Kodacolor

Sycamore Seeds – South Weber, UT – Fujifilm X-T30 – Kodacolor

Green Cottonwood Leaf – South Weber, UT – Fujifilm X-T30 – Kodacolor

Cottonwood Sun – South Weber, UT – Fujifilm X-T30 – Kodacolor

Vintage Sunset – Ogden, UT – Fujifilm X-T30 – Kodacolor

Blue Hole – South Weber, UT – Fujifilm X-T30 – Kodacolor

Summer Clouds Behind The Green Hill – South Weber, UT – Fujifilm X-T30 – Kodacolor

Summer Blue & Green – South Weber, UT – Fujifilm X-T30 – Kodacolor

Big Cloud Behind The Mountain – South Weber, UT – Fujifilm X-T30 – Kodacolor

Grey Sky Hill – South Weber, UT – Fujifilm X-T30 – Kodacolor

Car Wash – South Ogden, UT – Fujifilm X-T30 – Kodacolor

Burger Umbrellas – Ogden, UT – Fujifilm X-T30 – Kodacolor

Renew or Replace – Riverdale, UT – Fujifilm X-T30 – Kodacolor

Red Curve – Riverdale, UT – Fujifilm X-T30 – Kodacolor

Red Corner – South Ogden, UT – Fujifilm X-T30 – Kodacolor

Moore Motor – Coalville, UT – Fujifilm X-T30 – Kodacolor

Better Days Behind – Coalville, UT – Fujifilm X-T30 – Kodacolor

Building For Sale – Coalville, UT – Fujifilm X-T30 – Kodacolor

Brick Angles – Coalville, UT – Fujifilm X-T30 – Kodacolor

Suburban Garage – South Weber, UT – Fujifilm X-T30 – Kodacolor

Gas – Echo, UT – Fujifilm X-T30 – Kodacolor

Gas Cafe – Echo, UT – Fujifilm X-T30 – Kodacolor

Neighborhood Fence – South Weber, UT – Fujifilm X-T30 – Kodacolor

The Joy of Driving Rain – Layton, UT – Fujifilm X-T30 – Kodacolor

Man of Steel – Coalville, UT – Fujifilm X-T30 – Kodacolor

Bicycle Back Tire – South Weber, Utah – Fujifilm X-T30 – Kodacolor

Chaos Wheel – South Weber, UT – Fujifilm X-T30 – Kodacolor

Hat On A Bed – South Weber, UT – Fujifilm X-T30 – Kodacolor

Couch Pillows – South Weber, UT – Fujifilm X-T30 – Kodacolor

Wall Curtain – Layton, UT – Fujifilm X-T30 – Kodacolor

Intelligence Game – Layton, UT – Fujifilm X-T30 – Kodacolor

The Trouble With Age – Layton, UT – Fujifilm X-T30 – Kodacolor

Ketchup – Riverdale, UT – Fujifilm X-T30 – Kodacolor

Orange – South Ogden, UT – Fujifilm X-T30 – Kodacolor

Playing With Fire – South Ogden, UT – Fujifilm X-T30 – Kodacolor

Mastrena – South Weber, UT – Fujifilm X-T30 – Kodacolor

Be The Light – Ogden, UT – Fujifilm X-T30 – Kodacolor

Adidas – South Weber, UT – Fujifilm X-T30 – Kodacolor

Balloon Maker – South Weber, UT – Fujifilm X-T30 – Kodacolor

Standing In The Water Balloon Pool – South Weber, UT – Fujifilm X-T30 – Kodacolor

Water Balloon Fight – South Weber, UT – Fujifilm X-T30 – Kodacolor

Recording Summer Fun – South Weber, UT – Fujifilm X-T30 – Kodacolor

Wearing Grandpa’s Hat – South Weber, UT – Fujifilm X-T30 – Kodacolor

Johanna – South Weber, UT – Fujifilm X-T30 – Kodacolor

Echo Canyon Morning Freight – Echo, UT – Fujifilm X-T30 – Kodacolor

Freight Train At Echo – Echo, UT – Fujifilm X-T30 – Kodacolor

Eastbound Freight Through Echo Canyon – Echo, UT – Fujifilm X-T30 – Kodacolor

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Kodachrome vs. Ektachrome – A Film Simulation Showdown

Posted on January 12, 2019 by Ritchie Roesch

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I have two very similar film simulation recipes that both produce results quite close to their namesake slide films: Kodachrome II and Ektachrome 100SW. Even though the settings are nearly the same, the looks that they produce are quite different. As I was thinking about this, I was reminded of the old “Kodachrome vs. Ektachrome” debate from the days of film. There were people who preferred one over the other for various reasons. Kodachrome was more iconic. Ektachrome had more variations. Despite the fact that they were both color transparencies made by the same company, I could probably write a long article about the differences between the two films, but this blog is about Fujifilm X cameras and not Kodak film stocks.

What I wanted to do here is compare the two film simulation recipes side by side. I will show them both, and you can decide which is best for you. It’s kind of a revival of the old debate, but with a modern twist. Kodachrome or Ektachrome? You get to decide which is the better film simulation recipe!

Take a look at the pictures below:

Welcome to Ogden – Ogden, UT – Fujifilm X-T20 “Kodachrome II”

Winter Mountain – Ogden, UT – Fujifilm X-T20 “Ektachrome 100SW”

Desert Juniper – Zion NP, UT – Fujifilm X100F “Kodachrome II”

Juniper – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

Pueblo de Taos – Taos, NM – Fujifilm X-Pro2 “Kodachrome II”

View From Mount Carmel Tunnel – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

Kodak Transparencies – South Weber, UT – Fujifilm X-T20 “Kodachrome II”

Kodak Transparencies – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

What I like about the Kodachrome II recipe is that it produces a vintage color look that reminds me of the images found on the pages of old magazines, such as National Geographic and Arizona Highways. As I look through my grandparent’s old slide collection (which I have at home), I can see this look in their old photographs from 50 or so years ago. It’s such a fantastic recipe for Fujifilm X cameras, and I just love it!

What I like about the Ektachrome 100SW recipe is that it produces a color look that reminds me of some images that I have captured with the actual film. The film was good for western landscapes or any situation where you needed some color saturation with a warm color cast. It wasn’t around for very long because it was only marginally commercially successful, but it was one of the better variations of Ektachrome film in my opinion.

What do you think, Kodachrome or Ektachrome? Let me know in the comments which film simulation recipe you like best!

When Does ISO Matter?

Posted on January 12, 2019 by Ritchie Roesch

Modern cameras have amazing high-ISO capabilities. Back in the days of film, ISO 400 was considered high-ISO by many (including Fujifilm, who designated all their ISO 400 films with the letter “H” for high-speed), and ISO 1600 was ultra-high-ISO, used only out of absolute necessity or by the brave who wanted a certain gritty look. Nowadays some photographers don’t even think of ISO 1600 as a high-ISO setting, and don’t think twice about using it. For many, high-ISO doesn’t really begin until ISO 3200, and ultra-high-ISO doesn’t begin until you go above ISO 6400. It’s really unbelievable!

The real question is this: when does ISO matter? Since modern cameras make such good-looking images at incredibly high sensitivities, when should you start considering image quality degradation? When is a certain ISO setting too high? That’s what I want to answer.

Of course, since this is the Fuji X Weekly blog, I’m discussing Fujifilm X cameras, specifically X-Trans III. This won’t apply 100% to other cameras, but it’s still relevant to some degree no matter the camera make and model. If you are reading this with another camera in mind, take everything said here with a small grain of salt.

I did a little experiment just to better understand all of this ISO stuff. I already knew the answer from experience even before beginning the experiment, but I wanted to see if my instincts matched reality. I captured a few sets of identical pictures, all straight-out-of-camera JPEGs from a Fujifilm X-T20, using ISO 400 and ISO 6400. I made sure that all of the settings were the same between the identical pictures except for ISO and shutter speed. This isn’t 100% scientific, but it’s a controlled-enough test to draw some conclusions about ISO capabilities.

Here are the original pictures:

ISO 400 – my Ektachrome 100SW recipe

ISO 6400

ISO 400 – my Velvia recipe

ISO 6400

ISO 400 – my Acros Push-Process recipe

ISO 6400

There’s not a lot that can be learned by looking at the above images, other than when viewing images on the web the ISO doesn’t matter whatsoever because it’s incredibly difficult to spot the differences even when comparing side-by-side. In real life nobody does side-by-side comparisons, that’s pretty much an internet-only thing, so it would be impossible to tell if a picture was captured using a low-ISO or high-ISO just by looking at it on your screen. We need to look much closer to really gain anything from this test. Below are some crops from the above images.

ISO 400

ISO 6400

ISO 400

ISO 6400

ISO 400

ISO 6400

If you study the color crops carefully, you’ll notice that the ISO 400 images are cleaner, sharper and have just a hair more dynamic range, but the differences are quite small and subtle. You really have to look carefully to find them. With the black-and-white image, the differences are even less obvious, and I actually prefer the ISO 6400 version, as it seems to have a more film-like quality. Looking at the crops clarifies things a little, but what kind of conclusions can we really draw?

My opinion with regards to color photography and ISO is this: if I’m printing smaller than 16″ x 24″ or displaying the pictures on the web, I don’t find any practical difference between base ISO and ISO 6400. Even ISO 12800 can be acceptable, especially if I’m not going to print the picture. If I’m going to print 16″ x 24″ or larger, a lower ISO is better, preferably less than ISO 3200, but it’s not a big deal to use up to ISO 6400. The ISO that I select does not make a huge difference to the outcome of the image, so I don’t worry a whole lot about it. Put more simply, if I print large, it’s preferable but not critical that I use a lower ISO, and if I don’t print large it doesn’t matter at all.

My opinion with regards to black-and-white photography and ISO is this: the ISO doesn’t matter much at all no matter how large I’m printing, and I often prefer (just by a little) high-ISO over low-ISO because it looks more analog. I freely use without hesitation any ISO up to 12800. Thanks to the Acros film simulation, Fujifilm X cameras are some of the best monochrome cameras on the market, and with that film simulation, often times the higher the ISO the better.

These are, of course, my opinions, and not everyone is going to agree with them, and that’s perfectly alright. Find what works for you. Use a higher ISO or lower ISO if that’s what you need for your pictures, because, after all, they’re your pictures. I’m not here to judge your camera setting choices, only to offer mine, which I’m hoping is helpful to some of you. I hope that this article makes sense and clarifies some things regarding high-ISO on Fujifilm X cameras.

Below is a video that I made on this topic:

Fujifilm Acros Film Simulation Recipes

Posted on January 10, 2019 by Ritchie Roesch

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

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

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

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

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

Original Acros

Acros Push-Process

Agfa Scala

Ilford HP5 Plus

Tri-X Push Process

Fujifilm Classic Chrome Film Simulation Recipes

Posted on January 6, 2019 by Ritchie Roesch

Classic Chrome is one of the most popular film simulations available on Fujifilm X-Trans cameras. It produces a look similar to quintessential Kodak color transparency films like Kodachrome and Ektachrome, which graced the pages of publications like National Geographic and Arizona Highways for many years. With all things vintage being in style, there is a huge draw to the analog-esque results produced by the Classic Chrome film simulation.

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

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

Even though the different recipes say X100F, X-Pro2, and X-T20, they are completely compatible with any Fujifilm X-Trans III or IV camera. For example, you don’t have to use the X100F recipes exclusively on the X100F. You can use any of my recipes on any X-Trans III camera.

My original Classic Chrome recipe.

My dramatic Classic Chrome recipe.

My Vintage Kodachrome recipe.

My Kodachrome II recipe.

My Vintage Agfacolor recipe.

My Kodak Portra recipe.

My Fujifilm X-T20 Fujicolor Pro 400H Film Simulation Recipe

Posted on December 23, 2018 by Ritchie Roesch

Taking Out The Trash – Ogden, UT – Fujifilm X-T20 “Pro 400H”

Fujifilm Pro 400H is a color negative film that was first introduced in 2002 (originally named NPH400). It’s a popular print film that has survived the digital era, as Fujifilm continues to manufacture Pro 400H to this very day, while many other films have seen the chopping block. It’s a fine-grain (for ISO 400), natural-color, versatile film that’s especially good for weddings and portraits. I have used it a couple times myself, although not anytime recently. I do remember some of the idiosyncrasies of the film. Interestingly, the “H” in the name stands for “high speed,” which is the designation that Fujifilm gave to all their ISO 400 films.

I’ve tried in the past to create a Pro 400H recipe for Fujifilm X cameras, but I was never happy with the results. In fact, you might recall that I suggested Fujifilm include this as a new film simulation in future cameras. Recently a Fuji X Weekly reader, Mauricio, shared with me his settings for Pro 400H, and he asked my thoughts on it. I was able to try it out and I liked it! His settings were indeed close, although I felt it needed some tweaking to better mimic the film.

Anytime that you are attempting to recreate the look of a certain film with a digital camera, there are variables that make it difficult. How was it shot? How was it developed? Was it printed, and how so? Was it scanned, and how so? Those are common challenges, plus more. With Pro 400H, there is an additional challenge: the film can look much different depending on the light and exposure. There are several distinct looks that can be achieved using the film, and it’s not possible to recreate all of those aesthetics with a film simulation recipe. Despite all of the challenges, I do feel that I was able to create a look that is in the ballpark of the film, thanks to the help of Mauricio.

There were several compromises that I had to make. I tried many different things to get the aesthetics as close as I could. For example, the film is known for cool blueish shadows and a warm pinkish highlights. Split toning is not possible on Fujifilm X cameras. I could get the shadow color cast more accurate but at the expense of the highlight color, or I could get the highlight color cast more accurate but at the expense of the shadow color. The white balance shift that I settled on, which is the same one that was suggested to me in the first place, isn’t spot-on accurate for the shadows or highlights, but it’s a nice middle ground that’s close enough to both to be convincing. What you get is a cool color cast showing through in the shadows and a slight red color cast showing up in the highlights. The light and exposure of an image will change the look of it in a similar fashion to the actual film, although not completely the same. It’s as close as I could get it.

Holiday Decor – S. Weber, UT – Fujifilm X-T20 “Pro 400H”

Fujifilm Pro 400H film has a huge latitude in the highlights. You can overexpose it by three stops easily (maybe four) and get a good print. In fact, a lot of people purposefully overexpose the film because the colors turn pastel and the images become more warm and vibrant. The X-Trans III sensor has a lot of dynamic range, but it cannot hold up to a three stop overexposure. I found that DR200 is a good setting in many circumstances, but in high-contrast scenes, DR400 might be a better option. I used DR200 for all of the pictures in this article, but some might have benefited from the higher dynamic range setting. I think in high contrast scenes, in order to prevent clipped highlights, if you aren’t going to select DR400, perhaps set highlights to -1. I debated on whether +2 or +3 is the best setting for shadows. I think a +2.5 option would be most correct, but unfortunately that doesn’t exist. My recommendation would be to use +2 in higher contrast scenes and +3 in lower contrast scenes. I used +3 for all of the photos here.

Another setting that I debated on was color saturation. I settled on +4, which I think is the most correct for simulating slightly overexposed Pro 400H. An argument could be made that +3, +2 and +1 are also correct, depending on how the film was exposed and handled. If you think that +4 is too saturated for your tastes, simply find the color setting that works best for you. Pro 400H is definitely a tough film to make a recipe for. I think these settings are going to be your best bet for achieving a look straight out of camera that mimics the film’s aesthetic. Even though I captured these photographs using an X-T20, this film simulation recipe is compatible with all Fujifilm X-Trans III and IV cameras.

PRO Neg. STD
Dynamic Range: DR200
Highlight: 0
Shadow: +3
Color: +4
Grain: Weak
Noise Reduction: -3
Sharpening: 0
White Balance: Auto, +2 Red & +1 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all straight-out-of-camera JPEGs captured using my Fujifilm X-T20 Fujicolor Pro 400H Film Simulation recipe:

Red Chairs In Snow – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Up From The Snow – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Second Day of Winter – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Frosted Trees & Winter Sun – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Cold Neighborhood Morning – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Some Lady’s Book Store – Ogden, UT – Fujifilm X-T20 “Pro 400H”

TV Fiasco – Ogden, UT – Fujifilm X-T20 “Pro 400H”

Pierre’s Miniature Bakery – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Christmas Decoration – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Faith – South Weber, UT – Fujifilm X-T20 “Pro 400H”

FED 5c Rangefinder – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Bolsey Behind Bars – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Fake Grass In A Box – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Lavender & Twine – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Pentax & Fujifilm – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Three 35mm Film Canisters – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Vase Arm – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Red Fire Hydrant – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Neighborhood Window – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Dead Rose Bush Leaves – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Frozen Leaf – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Moon Rise Over The Mountain – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Snow Dusted Peak – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Mountain & Cloud – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Brick Wall Boy – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Car Play – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Girl By The Window Light – South Weber, UT – Fujifilm X-T20 “Pro 400H”

Green Night Shed – Layton, UT – Fujifilm X-T20 “Pro 400H”

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My Fujifilm X-T20 Kodak Ektachrome 100SW Film Simulation Recipe

Posted on December 2, 2018 by Ritchie Roesch

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Ektachrome was a line of color transparency (slide) films made by Kodak that used the E-6 development process. Some people preferred it to Kodachrome because of the faster ISO (100 vs 64 or 25), more saturated colors and easier development (although Kodachrome had finer grain, a larger dynamic range and didn’t fade as easily). A lot of National Geographic photographs were shot on Ektachrome back in the day.

There were a number of varieties of Ektachrome produced over the years, and I’ve used five of them myself. My favorite was Ektachrome 100VS (VS = “very saturated”), which was Kodak’s attempt at Fujifilm Velvia. Occasionally I used Ektachrome 100SW (SW = “saturated warm”), which was introduced in 1996 and produced vivid photographs with a warm color balance. Kodak stopped production of Ektachrome 100SW in 2002 and all Ektachrome film in 2012. Just a few months ago a brand new Kodak Ektachrome film was released, although I have not tried it yet.

A Fuji X Weekly reader, Ilya Struzhkov, took my Kodachrome II recipe and made a simple modification: he used Velvia instead of Classic Chrome. He shared the results on Instagram and I immediately felt like the images had a Kodak Ektachrome 100SW aesthetic. I had to try it out myself! Sure enough, the results looked a lot like the film: saturated colors (not as much as Velvia but more than most films), a warm color balance, and shadows that easily turned black. It’s amazing that this one change to the recipe could transform it from 1970’s Kodachrome to 1990’s Ektachrome.

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The title of this film simulation recipe says “Fujifilm X-T20” but it can be used on any X-Trans III or IV camera. In fact, at the bottom of this article you’ll find some Fujifilm X100F examples. The only other change I made (besides Velvia instead of Classic Chrome) is that I set sharpening to 0 instead of +1 on the X-T20, but it’s set to +1 on the X100F. That’s just how I set up the cameras, and there really isn’t much of a differences between 0 and +1 sharpening, so either one is fine. Because the settings are essentially the same as my Kodachrome II recipe, it’s super easy to toggle between the two when out shooting. Really, it’s just brilliant!

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

Example photos, all camera-made JPEGs using my Fujifilm X-T20 Kodak Ektachrome 100SW Film Simulation recipe:

Light Dust of Snow – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

Frozen Fall – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

Frosty Leaf & Grass – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

Sandstone Peaks – Snow Canyon SP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Evening Moonrise – Snow Canyon SP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Zion Sun – Zion NP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Evening On The Cliffs – Snow Canyon SP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Amanda & Ritchie – Antelope Island SP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Still Water & Rocky Shore – Antelope Island SP, UT – Fujifilm X-T20 “Ektachrome 100SW”

Old Dry Lavender – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

Boots – South Weber, UT – Fujifilm X-T20 “Ektachrome 100SW”

Fujifilm X100F:

Autumn Tree Below Bridge Mountain – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

View From Mount Carmel Tunnel – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

Juniper – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

Sandstone Trees – Zion NP, UT – Fujifilm X100F “Ektachrome 100SW”

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My Fujifilm X100F Ilford HP5 Plus Film Simulation Recipe

Posted on December 1, 2018 by Ritchie Roesch

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Back when I shot lots of film, my favorite black-and-white options were Ilford Delta 100, and Ilford Delta 400 when “high ISO” was necessary, as back then I considered ISO 400 to be high ISO. I didn’t use Ilford HP5 Plus very often, but I have used it on several occasions. I still have a few rolls of the film lying around, which I should go out and use just for the fun of it. The differences between Delta 400 and HP5 Plus aren’t huge. Delta 400 uses tabular-grain, which is supposed to be a finer grain that produces sharper images, but I think in real-world use it’s not really noticeable. Delta 400 has a hair more contrast than HP5 Plus and in my opinion is a bit better for push-processing, but HP5 Plus seems to have more exposure latitude, making it more forgiving if you didn’t get the exposure quite right. Overall the two films produce very similar results.

I’ve been asked a number of times to make an Ilford HP5 Plus film simulation recipe for Fujifilm X-Trans III cameras. The title of this article says “Fujifilm X100F” but these settings can be used on any X-Trans III or IV camera. In fact, you’ll find a few Fujifilm X-T20 examples at the bottom. I already have a number of different black-and-white film simulation recipes that I like, so I didn’t really need to make a new one, but I enjoyed doing this and I’m pleased with how it turned out.

A few days ago I was asked if my Agfa Scala recipe is a close match to HP5 Plus, and as I thought about it I realized that it’s not all that far off, and only some small changes would be necessary to get it right. Of course, any time that you attempt to mimic a certain film the problem is that the film can vary in look. How was it shot? Developed? Printed? Scanned? There isn’t necessarily one aesthetic that’s right because there are so many variables. Still, I feel like this is recipe is in fact pretty close to Ilford HP5 Plus film.

I captured the photograph below, Airport Lobby, using a Canon AE-1 about 20 years ago using Ilford Delta 100 film. I printed it on Agfa Classic paper using a split-filter technique and toned it with sepia (just barely). This is a (rather poor) scan of the print. I included it in this article for the heck of it, as it doesn’t really have much to do with this film simulation recipe. My experience with Ilford films goes back pretty far, and perhaps that’s the point of including the picture with this article.

Airport Lobby – McKinney, TX – Ilford Delta 100 printed on Agfa Classic paper.

You could modify this recipe to shadows +3 if you need more contrast or shadows +1 if you needed less, or highlights to +3 if you need to prevent clipped highlights. If you feel as though the recipe needs some changes to best capture an image, don’t be afraid to make those adjustments. I don’t always stick rigidly to my recipes, and I’m not afraid to adjust them when needed. The example photographs in this article are all the exact recipe, but with some other pictures (that I didn’t include) I made some modifications to the settings because the scene required it. A few of the pictures here might have been better off with a modification to the shadow or highlight, but I wanted to demonstrate the aesthetic of this recipe as is.

Acros (Acros+Y, Acros+R, Acros+G)
Dynamic Range: DR200
Highlight: +4
Shadow: +2
Noise Reduction: -3
Sharpening: 0
Grain Effect: Strong
ISO: Auto up to ISO 6400
Exposure Compensation: 0 (typically)

Example photos, all camera-made JPEGs captured using my Fujifilm X100F Ilford HP5 Plus Film Simulation recipe:

Grey Salt Lake – Antelope Island SP, UT – Fujifilm X100F “Ilford HP5 Plus”

Kids On The Salt Lake Shore – Antelope Island SP, UT – Fujifilm X100F “Ilford HP5 Plus”

Hurry Up & Wait – Antelope Island SP, UT – Fujifilm X100F “Ilford HP5 Plus”

Downtown Workday – SLC, UT – Fujifilm X100F “Ilford HP5 Plus”

Monochrome Caution – SLC, UT – Fujifilm X100F “Ilford HP5 Plus”

Window Pentax – South Weber, UT – Fujifilm X100F “Ilford HP5 Plus”

Tunnel Chevy – Zion NP, UT – Fujifilm X100F “Ilford HP5 Plus”

Virgin River From Canyon Jct Bridge – Zion NP, UT – Fujifilm X100F “Ilford HP5 Plus”

Monochrome Vista In Zion – Zion NP, UT – Fujifilm X100F “Ilford HP5 Plus”

Zion Juniper – Zion NP, UT – Fujifilm X100F “Ilford HP5 Plus”

Rock & Trees – Zion NP, UT – Fuji X100F “Ilford HP5 Plus”

Fujifilm X-T20:

Frozen Leaf & Grass – South Weber, UT – Fujifilm X-T20 “Ilford HP5 Plus”

The Last Leaf – South Weber, UT – Fujifilm X-T20 “Ilford HP5 Plus”

Morning Clouds Around The Mountain – South Weber, UT – Fujifilm X-T20 “Ilford HP5 Plus”

Grey Sky Over Antelope Island – Antelope Island SP, UT – Fujifilm X-T20 “Ilford HP5 Plus”

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My Fujifilm X-T20 Aged Color Film Simulation Recipe

Posted on November 17, 2018 by Ritchie Roesch

White Duck – Ogden, UT – Fujifilm X-T20 “Aged Color”

During World War II there was a shortage of rubber, and an effort was put forth to create synthetic rubber. There were many ideas and experiments to create rubber in the lab, most of which failed. One of those failures was a silicone-based elastic substance that could bounce, float in water, and lift print off of newspaper. This substance was created by mistake while trying to invent something else. It was a twist of fate. It was a happy accident. It was Silly Putty.

Recently I was experimenting with the JPEG settings on a Fujifilm X-T20, trying to replicate the look of some different films. I’ve been working on four different film simulation settings for several months, only hitting dead ends. I haven’t been able to achieve the desired results, but I did stumble across an interesting look. Like the discovery of Silly Putty, I made a happy accident! Even though I used an X-T20 for this recipe, you could apply these settings to any X-Trans III camera and get the same exact results.

This look doesn’t quite resemble any specific film that I’m aware of. I think it produces an analog film aesthetic, even though I couldn’t tell you which one. There are a couple of films that I can see maybe some resemblance, but overall it’s not an exact match. Actually, what it reminded me of is a group of four Alien Skin Exposure presets under the “Color Films – Aged” tab called Color Photo. These presets are similar to each other but each one has a slightly varied look. My new film simulation, which I’ve named Aged Color, produces a look that resembles those Exposure presets, although I will admit that it’s more of general aesthetic than a carbon copy. It’s just what I think it most closely resembles, by coincidence.

Below are three pictures of mine that were edited with those Alien Skin Exposure Color Photo presets:

Hidden Waterfall – Lava Hot Springs, ID

South Pasadena – Pasadena, CA

Three Kids In The Water – Carlsbad, CA

While Alien Skin Exposure gives you four preset options for this look, and each of those can be heavily customized, I only have one Aged Color recipe, but you are more than welcome to tweak it to your liking. I find that it produces muted yet lovely colors and slightly faded shadows. If the scene doesn’t have a lot of contrast the images can come out a little flat. The skin tones in the pictures below show a lot of red, but some of that can be attributed to cold temperatures, and I think that under normal conditions skin will look a little more natural. This film simulation recipe is an interesting option to achieve a look that is perhaps unexpected from a digital camera and looks a bit more film-like. I doubt that it’s everyone’s cup of tea, but I think some of you will really appreciate it.

PRO Neg. Std
Dynamic Range: DR400
Highlight: +2
Shadow: +3
Color: +4
Noise Reduction: -3
Sharpening: 0
Grain Effect: Strong
White Balance: Auto, +5 Red & -3 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 (typically)

Example photos, all straight-out-of-camera JPEGs captured on a Fujifilm X-T20 using my Aged Color Film Simulation recipe:

Brother & Sister Fun – Ogden, UT – Fujifilm X-T20

Playground Play – Ogden, UT – Fujifilm X-T20

Joshua Throwing Leaves – Ogden, UT – Fujifilm X-T20

Evening Leaves – South Weber, UT – Fujifilm X-T20

Swingset Post – Ogden, UT – Fujifilm X-T20

Oak Tree Autumn Sun – Ogden, UT – Fujifilm X-T20

Last Leaves – South Weber, UT – Fujifilm X-T20

Sunlight Through The Branches – Ogden, UT – Fujifilm X-T20

Ducks Swimming In A Pond – Ogden, UT – Fujifilm X-T20

Late Blooms – Ogden, UT – Fujifilm X-T20

Dry & Yellow – South Weber, UT – Fujifilm X-T20

Old Town Clock – South Weber, UT – Fujifilm X-T20

Little White Pumpkin On The Mantel – South Weber, UT – Fujifilm X-T20

Lego Food Stand Creation – South Weber, UT – Fujifilm X-T20

Boy Reading – South Weber, UT – Fujifilm X-T20

Hot Coffee Brew – South Weber, UT – Fujifilm X-T20

Potted Succulent – South Weber, UT – Fujifilm X-T20

Asahi Pentax SLR – South Weber, UT – Fujifilm X-T20

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My Fujifilm X100F Cross Process Film Simulation Recipe

Posted on October 15, 2018 by Ritchie Roesch

Silos – Waco, TX – Fujifilm X100F “Cross Process”

Cross processing film is a technique where you develop a film in chemicals intended for another film. For example, the most common cross process is to develop color transparencies, which require the E-6 process, using color negative film chemicals, which is known as the C-41 process. For slide film, the photographs typically increase in contrast and grain and the colors shift dramatically. There are other types of cross processing, as well. I’ve done cross processing before, and the results can be fun. It’s a great experiment if you’ve never done it before!

Different films will look different when they are cross processed. Overexposing or underexposing or even how the development is handled can effect how the image is rendered. The aesthetic can vary significantly, but usually you can spot a cross processed photograph when you see it. Below are a few examples of actual film that I’ve cross processed:

Westbound CA HWY 58 – Tehachapi, CA – Fujifilm Velvia 50 cross process

Flare & Flag – Barstow, CA – Fujifilm Velvia 50 cross process

Old Tractor – Tehachapi, CA – Kodak Gold 400 cross process

Notice how the three photographs are quite a bit different from each other. There is not a singular look that is cross process, but rather an aesthetic spectrum. The images tend to be less literal and more abstract.

There is a significant challenge in developing a film simulation that mimics the look of cross processing. Most notably, which film and process? There are so many, and besides, one film can give many different looks. For example, the two Velvia images above were from the same 36 exposure roll of film, and one has a much more pronounced yellow-green cast than the other. What I decided to do was create something that could conceivably fall within the aesthetic spectrum, while not copying any specific film.

While this film simulation recipe does not copy one specific film, I do think it’s close to Kodak EliteChrome that’s been cross processed, or perhaps Ektachrome 100G. I think it’s close to Fujifilm Sensia sometimes, although I’d emphasis the word sometimes. These settings are never going to produce results that will always match a certain film because one film can vary in look from frame-to-frame. It’s convincing, but should be thought of in generic terms.

Truck Stop Cross Process – Bowie, TX – Fujifilm X100F “Cross Process”

Because the results of actual cross process film can vary so much, it would be fun to change up this recipe as you shoot. Maybe add a little more to the shadows or highlights sometimes and change the white balance shift a little after a few frames. I haven’t tried this, but it sounds like a good idea. I did change the Dynamic Range setting a number of times, going between DR100, DR200 and DR-Auto. After some playing around I settled on DR200, although I think you’d be fine with whichever Dynamic Range setting you’d prefer.

Provia
Dynamic Range: DR200
Highlight: +2
Shadow: +3
Color: +4
Noise Reduction: -3
Sharpening: 0
Grain Effect: Strong
White Balance: Auto, -3 Red & -8 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +2/3 (typically)

Example photos, all camera-made JPEGs using my Fujifilm X100F Cross Process Film Simulation recipe:

Taos Umbrella – Taos, NM – Fujifilm X100F “Cross Process”

Pentax Shutter Dial – South Weber, UT – Fujifilm X100F “Cross Process”

Get 1 Back – Draper, UT – Fujifilm X100F “Cross Process”

Umbrella Tie – Layton, UT – Fujifilm X100F “Cross Process”

Covered Hoppers – Westlake, TX – Fujifilm X100F “Cross Process”

Counters – McKinney, Texas – Fujifilm X100F “Cross Process”

Kitchen Cross Process – Waco, TX – Fujifilm X100F “Cross Process”

Speaker – Riverdale, UT – Fujifilm X100F “Cross Process”

Grain Elevator – Kaysville, UT – Fujifilm X100F “Cross Process”

Two Towers Cross Process – Dallas, TX – Fujifilm X100F “Cross Process”

The Power of White Balance Shift

Posted on October 11, 2018 by Ritchie Roesch

Truck Stop Cross Process – Bowie, TX – Fujifilm X100F

My Fujifilm film simulation recipes often call for a white balance shift. A couple of weeks ago I was thinking that I’ve never explained what a white balance shift is, how it changes an image, and how to use it. Then last week a Fuji X Weekly reader asked if I would write an article on this topic, so I knew it was time to demonstrate what this is.

White balance is the Kelvin temperature of an image. There are different temperatures so that the image color matches the light in the scene. If the white balance temperature is too cool, your photograph will have a blue cast. If the white balance temperature is too warm, your photograph will have a yellow cast. Most people use auto white balance and let the camera figure it out, but you can set it manually. In fact, some photographers purposefully use a “wrong” white balance to make their images have a cool or warm feel. I could write a whole article explaining white balance, but what I want to talk about in this post is white balance shift, which is related but different.

Many cameras, including Fujifilm, have an option to customize the white balance by shifting the color cast. In fact, Fujifilm allows you to choose between over 300 different color casts! You can shift the colors quite subtlety or obviously. White balance shift is a great tool for creating a specific look, and that’s why I rely on it for creating my film simulation recipes.

Different color films had different color casts. Different films showed color differently, and, because of this, some films were better for landscapes and some were better for portraits. Some people preferred one film over another because of how it rendered images. Not every film is for everyone or every purpose, but one can create a variety of looks depending on which films they choose and how they process those films.

Taos Umbrella – Taos, NM – Fujifilm X100F

White balance shift allows one to create a variety of different looks for different purposes and situations, much like one would choose different films for different looks and purposes. It’s simple to give a photograph an orange cast or green cast or blue cast, etc., etc., which will alter how the image renders colors, by using white balance shift. It’s possible to mimic film aesthetics or create something new using the tools that Fujifilm provides on their cameras.

When you change the color cast, you do a couple of different things to your pictures. The first is that you give your image feeling, either warm or cool. A warm image will portray happiness, like an inviting warm light inside a house at dusk. A cool image will portray sadness, like endless grey skies on a lonely winter day. You can change the emotional response from viewers by adjusting the color cast to either a warm or cool color. The side effect of adjusting the color cast is that it changes how different colors are rendered. Blues, reds, greens–every color–changes slightly to a new shade as one shifts the white balance. You may want to pick a certain color cast because of how it shifts the colors in an image.

I created the image above to demonstrate all of this. The middle picture has the white balance shift set directly in the middle: 0 red and 0 blue. Each of the other pictures show what happens when you pick the extremes of white balance shift. Starting at the top-center and moving clockwise around: 0 red & +9 blue, +9 red & +9 blue, +9 red & 0 blue, +9 red & -9 blue, 0 red & -9 blue, -9 red & -9 blue, -9 red & 0 blue, and -9 red & +9 blue. Normally you wouldn’t choose to adjust the white balance shift to the degrees shown here, but choose something a little more subtle instead. Typically you want it to be barely or at most moderately perceivable. However, there might be times that an image would benefit from a wild white balance shift. You have a lot of color cast options, which allows you to be as creative and crazy as you’d like.

White balance shift is a great tool for customizing the look of your photographs by changing the color cast. You can control the emotion and color shade by adding or subtracting blue and red. You can create looks that mimic classic film stock or you could invent something unique. Unfortunately you cannot save anymore than one white balance shift preset. I hope that someday Fujifilm will allow you to make many different ones that can be assigned to the quick recall presets, because white balance shift is a powerful tool that I use frequently.

My Favorite Fujifilm Film Simulation Recipes

Posted on October 7, 2018 by Ritchie Roesch

Fujifilm – South Weber, UT – Fujifilm X-Pro2 & 60mm

I’ve shared many film simulation recipes for Fujifilm X-Trans III cameras, such as the X100F and X-Pro2, and some of them have become quite popular. I’ve been asked a few times to share which ones are my favorites. Which film simulation recipes do I use?

I have used all of them at one time or another, but there are a handful of recipes that I really appreciate and use regularly. I have my favorites! Let me share with you which ones I currently use.

Kodachrome II

Quaker State – Midway, UT – Fujifilm X-Pro2 & 60mm

My favorite film simulation recipe that I created is my Kodachrome II Film Simulation recipe, which I initially made for the X-Pro2 but I also use on the X100F. I really love the way these settings render color images. It gives my exposures a beautiful vintage analog look right out of camera. It takes Classic Chrome to a whole new level of goodness! I use this recipe as much as the scenes allow because I love it so much.

Velvia

Red Leaves In The Forest – Wasatch Mountain SP, UT – Fujifilm X-Pro2 & 60mm

Typically I use my Velvia Film Simulation recipe only occasionally, but with the autumn season I’m currently using it often. However, I’ve modified the original recipe to be Highlight +1, Shadow +2 and color +3 to give it more punch, while also setting Noise Reduction to -3 and Sharpening to +1. This is a better version of the recipe, except when there is a lot of contrast, which is where the original settings will likely produce better results. The great thing about these different recipes is that they can be seasoned to taste.

Upcoming Recipe??

Sundance Chair Lift – Sundance, UT – Fujifilm X100F

I’ve been working on a new film simulation recipe that I’m currently only moderately happy with. It’s a work-in-progress, and right now it only produces good results occasionally. It seems to be very situation specific, and that means it’s difficult to get enough quality example photographs to publish an article. Even if I get everything ironed out and I find the best settings, it may still be awhile before I can share it. I’ve been shooting with this now and then over the last couple of weeks, and I’ll probably continue to do so over the next several weeks or months.

Honorable Mentions

Flat Tire – South Weber, UT – Fujifilm X-Pro2 & 60mm

There are other recipes that I use for color photography, including PRO Neg. Hi, Ektar 100 and Portra 400, but as I was going over my recent photographs I realized that I haven’t used these much at all lately. It seems that my Kodachrome II recipe has essentially replaced them. That’s not to say that I won’t use them, as I like these recipes and they have their place, but I just haven’t picked them very often lately.

Tri-X Push Process

Disc 4000 – South Weber, UT – Fujifilm X-Pro2 & 60mm

This Tri-X Push Process recipe is my favorite black-and-white film simulation option, but it’s not my invention. I stole it from Luis Costa who published it on his blog. It’s absolute genius, but its limitation is that it doesn’t always work in bright-light situations because it requires a high ISO. Whenever I can use it I do use it. It produces the most film-like results that I’ve ever seen from a digital camera.

Acros Push Process

Clouds Around Timpanogos – Heber City, UT – Fujifilm X-Pro2 & 50-230mm

Whenever I want results that are similar to the Tri-X Push Process settings but I need to use a lower ISO, I choose my Acros Push Process recipe. It’s not quite as good as Tri-X Push Process, but it’s a close second best. It was my favorite monochrome recipe until I discovered Luis Costa’s settings.

Agfa Scala

Epic Zip Line – Sundance, UT – Fujifilm X100F

When I want a black-and-white image with a little less contrast, I use my Agfa Scale Film Simulation recipe. It produces great results in higher-contrast scenes or whenever you need something that’s a little less bold than the two “push process” options. I don’t use it all of the time, but it definitely comes in handy from time-to-time.

Your Turn

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Which film simulation recipes are your favorites? It can be one of mine or your own creation. Please share in the comments what JPEG settings you use on your Fujifilm cameras because I want to know!

[Not] My Fujifilm X-Pro2 Tri-X Push-Process Film Simulation Recipe

Posted on August 25, 2018 by Ritchie Roesch

Hail Storm – Kaysville, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Fuji X Weekly reader Luis Costa shared on his website, Lifeunintended.com, a brilliant black-and-white film simulation recipe for Fujifilm X-Trans III cameras. I’ll get into why it’s genius in a moment, but I wanted to give Luis a big “thank you” for coming up with these settings and sharing them. I strongly encourage you to visit his site and check out his photography and articles, as it’s worth your time to do so.

For most of the 20 years that I’ve been making pictures, one rule of thumb has been to keep the ISO as low as you can get away with. A big reason for this is that high-ISO film typically wasn’t very good. In fact, my favorite choice for high-ISO photography was Ilford Delta 400, and if I needed something higher than ISO 400 I might push that film a stop or two. So, if I really needed to, I’d go as high as ISO 1600. I did shoot Delta 3200 once and found it barely usable. Usually ISO 800 was my limit. Most often I was shooting between ISO 50 and ISO 100.

I was a little late to the digital photography game. Even so, my first digital camera, a Pentax DSLR, didn’t look great at ISO 1600 except for “grainy” black-and-white pictures. At one time I used a Sigma Merrill camera that even ISO 400 was pushing it. The crazy high ISOs that are common today are a recent development. Now ISO 3200 doesn’t seem all that high, and many people use it freely without thinking twice about it. It’s really quite amazing!

I have found on X-Trans III cameras, such as the Fujifilm X-Pro2, that ISO 12800 is the upper limit, and it’s better for black-and-white than color. Even so, I stopped using ISO 12800 and made ISO 6400 my upper Auto-ISO limit some months ago just because I felt that ISO 6400 was a better top ISO for color photographs and I didn’t want to bother changing the ISO depending on if I was shooting color or black-and-white. Besides, ISO 6400 is plenty high for almost any situation. As it turns out, that wasn’t the greatest idea I’ve ever had, and I’ll explain why.

Shutter Speed – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Luis made a film simulation recipe that requires the ISO to be high. In fact, he uses ISO 12800, and only moves the ISO down when he has to because there is too much light. In case you didn’t catch that, he purposely chooses ISO 12800 because of how it looks. This is a radical move! It works because of the genius of the Acros film simulation. You see, Fujifilm designed Acros to have a built-in grain effect that automatically increases the graininess of the photograph as the ISO increases. At and near ISO 12800 the grain looks absolutely beautiful, and his recipe takes full advantage of that.

The film simulation recipe that Luis invented produces results that resemble Kodak Tri-X 400 film that’s been pushed one or perhaps one-and-a-half stops, and I would add using Agfa Rodinal. The grain pattern and structure isn’t a 100% match, but for straight-out-of-camera results, it’s pretty darn convincing. I’ve only been using it for a week, but it has already become one of my favorites! It’s better than my Acros Push-Process recipe that I use frequently, and I like that one a lot, too.

The one thing that I do different than Luis is I set Auto-ISO to be between ISO 3200 and 12800, with the minimum shutter speed 1/500. I find that ISO 3200 is the lowest ISO that still gives an acceptably grainy result (but the results are better when the ISO is higher). Using 1/500 as the minimum shutter speed forces the camera to use a higher ISO except for when there is a lot of light. Initially I tried a lower shutter speed, but it wasn’t pushing the ISO up enough, so I found 1/500 to be better. Now the camera will often choose an ISO of 6400 or higher, which is where this recipe shines.

Acros (Acros+Y, Acros+R, Acros+G)
Dynamic Range: DR200
Highlight: +3
Shadow: +4
Noise Reduction: -4
Sharpening: -1
Grain Effect: Off
ISO: Auto between 3200 & 12800
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all straight-out-of-camera JPEGs made using [Not] My Fujifilm X-Pro2 Tri-X Push-Process Film Simulation recipe:

Camera Shutter Dial – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Aperture – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

35mm Film Rolls – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Strange Plant – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Chair Stripes – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Canadian – Layton, UT – Fujifilm X-Pro2 & 60mm “Tri-X Push-Process”

Storm Building Over Wasatch Ridge – South Weber, UT – Fuji X-Pro2 “Tri-X Push Process”

Writing Lessons – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push-Process”

Learning The Letter S – South Weber, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Joshua Bowling – Kaysville, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Watching The Rainfall – Kaysville, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Boy On A Rocking Chair – Layton, UT – Fujifilm X-Pro2 “Tri-X Push-Process”

Cracker Barrel Checkers – Layton, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Deer On The Wall – Layton, UT – Fujifilm X-Pro2 “Tri-X Push Process”

Reverends – Layton, UT – Fujifilm X-Pro2 “Tri-X Push Process”

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My Fujifilm X-Pro2 Kodachrome II Film Simulation Recipe

Posted on August 19, 2018 by Ritchie Roesch

Drummond Ranch – Pawhuska, OK – Fujifilm X-Pro2 & 60mm “Kodachrome II”

I was asked by a couple different Fuji X Weekly readers if I could create some film simulation recipes that mimic the look of renown photographers Ernst Haas, Luigi Ghirri and William Eggleston, each of which are known for their unique style. As I was contemplating how to go about this, I learned that all three of them used Kodachrome film. Although none of them used Kodachrome exclusively, they all used it extensively at one time. If I could make a Kodachrome recipe, I would have something that covers Haas, Ghirri and Eggleston. To copy their look using this recipe, simply find color and light in the same manor as those famous photographers did (easy, right?).

You might be thinking, doesn’t Classic Chrome already look like Kodachrome? No, it actually resembles Ektachrome more than Kodachrome, but it is a good starting point since it has a general Kodak aesthetic. What about the Kodachrome recipe I already made? Actually, that mimics an earlier version of the film, which has a little different look than what I was going for here. You could use that, as I’m certain that some of Haas’ early color work was shot on that era of Kodachrome. Primarily, the Kodachrome that Haas, Ghirri and Eggleston used was Kodachrome II and Kodachrome-X.

In 1961 Kodak replaced the original Kodachrome with a new and improved version called Kodachrome II and a higher-ISO sibling called Kodachrome-X. These films had more accurate color, finer grain and faster ISOs (ISO 25 and 64, respectively, compared to ISO 10 of the original) than the previous version. It was a big leap forward for color photography, and so it is no surprise that the innovators of color photography in the 1960’s and 1970’s relied heavily on it. It’s also the version that Paul Simon sang, “They give us the greens of summer, makes you think all the world’s a sunny day.”

Kodachrome II and Kodachrome-X produced a very similar look to each other. The main differences were in grain, contrast and saturation, but overall the variations were quite minor. Kodachrome-X was slightly more bold while Kodachrome II was slightly more clean. Even so, comparing slides, it’s tough to distinguish one from the other (conveniently, I have my grandparents old slides at my home). Even though I have named this film simulation recipe “Kodachrome II” I think it more closely resembles Kodachrome-X, but I find it to be a reasonable match for both.

Chair Shadow – Pawhuska, OK – Fujifilm X-Pro2 & 60mm “Kodachrome II”

Because of the toxic chemicals used in the development of this era of Kodachrome, plus the complexity of the process, Kodak changed from K-12 development to K-14 development, which ushered in new Kodachrome in 1974, called Kodachrome 25 and Kodachrome 64. This version of the film is the one that I have personally used. Interestingly enough, even though this version wasn’t all that much aesthetically different than the previous, there was a big outcry among photographers, and a large group who used Kodachrome II and Kodachrome-X did not appreciate the change.

I believe that Haas, Ghirri and Eggleston continued to use Kodachrome even beyond 1974 when the new version came out, but it seems they used it less extensively, especially Eggleston, who became known for his work with color negatives. Still, each of these three photographers captured some of their most recognizable images on the second era of Kodachrome. And that’s the look that the film simulation recipe below is based on.

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