Camera Settings | FUJI X WEEKLY

Is the Fujifilm X100VI Digital Teleconverter any good?

Posted on March 25, 2024 by Ritchie Roesch

*Fujifilm X100VI — 50mm Digital Teleconverter*

Let’s talk about the X100VI Digital Teleconverter! Beginning with the X100F, Fujifilm has included a Digital Teleconverter on each of their X100-series cameras. The X100VI also has this feature, but it works just a little different. What’s divergent and how it might be useful is something I’ll discuss in this article.

The X100VI, like all the previous X100-series cameras, has a 23mm lens, which is 35mm full-frame equivalent, permanently attached to the front. While 35mm is a very useful focal-length, obviously it is also quite a constraint. You have to embrace the one-camera-one-lens philosophy; since limitations improve art, this can be greatly beneficial. Still, there are times when a little additional versatility is appreciated.

*Fujifilm X100VI — 70mm Digital Teleconverter*

To add some versatility to your X100VI, you could use the WCL and TCL conversion lenses, which can be attached to the front of the camera in order to make it more wide-angle or telephoto. This obviously makes the camera bigger and heavier, and you’ve got to carry a lens or two with you. It’s not an ideal situation, but not really any different than if you had an interchangeable-lens model with a few lenses, except probably still more compact and lightweight.

The other option is a feature built into the camera called the Digital Teleconverter. This is a digital zoom that crops the picture to either 32mm (50mm full-frame equivalent) or 46mm (70mm full-frame equivalent). I have mentioned several times that the 40mp sensor makes sense on an X100 camera because of the Digital Teleconverter; otherwise, 40mp is overkill for most photographers—only those who crop really deeply or print their pictures huge need that much resolution. For most people, 20mp is plenty enough. More resolution can cause storage issues and take longer to transfer and all sorts of other things, so sometimes less is more. Anyway, with the fixed-lens limitation, in situations where additional versatility is needed, the extra resolution can come in handy.

For the Digital Teleconverter on the X100F and X100V, Fujifilm did an upscale trick that increased the apparent resolution of the picture to 24mp or 26mp, respectively. Obviously upscaling can’t add details that weren’t there in the first place, but it appeared to do so. Basically, the camera takes the data from the surrounding pixels, and makes new “pixels” in-between from that information, than applies a little micro-sharpness to crisp it up. The reality is that there is only (for example) 6.5mp of data on the X100V using the 70mm Digital Teleconverter, but it appears that there is a lot more than that, perhaps closer to 12mp—that’s clearly not 26mp, but still significantly more apparent resolution than 6.5mp. I thought it was pretty slick, although the 70mm Digital Teleconverter is definitely pushing the boundary of what could and should be done; the 50mm Digital Teleconverter is much more practical. Yes, one can upscale using software, but I always appreciate when the camera can do something for me, so that I don’t have to sit at a computer and fiddle with software—I have better things to do with my time.

The Digital Teleconverter on the X100VI works a little differently. Gone is the upscale; it’s just a crop. The 50mm Digital Teleconverter crops the picture to 20mp, which is still plenty of resolution for most people. The 70mm Digital Teleconverter crops the picture to 10mp, which is fine for social media and web use, but is limiting for prints—12″ x 18″ is definitely the upper limit of how large you can go. I would like an option, which could be enabled or disabled, that would allow the 50mm Digital Teleconverter images to be upscaled to 40mp, and especially the 70mm Digital Teleconverter images to be upscaled to 20mp. I’d probably disable it for 50mm and enable it for 70mm. Unfortunately, this isn’t an option, but I’m sure Fujifilm could include it in a future firmware update if they wanted to, and hopefully they do (but probably won’t).

On the X100F, the Digital Teleconverter only works when the camera is set to JPEG, and you cannot use it with RAW. On the X100V and X100VI, the Digital Teleconverter will work with RAW+JPEG; you can reprocess the RAW file in-camera with or without the Digital Teleconverter crop. The RAW file is uncropped; however, the thumbnail preview of the RAW file is of the cropped JPEG.

One problem that I have with the Digital Teleconverter is that it doesn’t scale Grain size. If you have Grain size set to Small, on the 50mm Digital Teleconverter it will appear more like Medium (which, I know, doesn’t exist—but it should!), and on the 70mm Digital Teleconverter it will appear more like Large. Grain set to Large appears quite massive when using the Digital Teleconverter, especially the 70mm option; while this can be used creatively, it is otherwise not ideal, and I would avoid using Large Grain with the Digital Teleconverters. One day I hope that Fujifilm will figure out how to scale the Grain so that it appears the same size whether or not you are using this feature.

*Fujifilm X100VI — 35mm (Digital Teleconverter Off) — Weak/Large Grain*

*Fujifilm X100VI — 50mm Digital Teleconverter — Weak/Large Grain*

*Fujifilm X100VI — 70mm Digital Teleconverter — Weak/Large Grain*

Invariably, someone will say, “Just carry an interchangeable-lens model.” Of course that’s great advice if 1) that camera plus its lenses can fit into a sweater pocket, 2) it has a leaf shutter and smart fill-flash with high-speed sync, 3) has a built-in ND filter, 4) is weather-sealed, 5) isn’t prone to dust on the sensor, and 6) can change focal lengths as quickly as turning a ring. There are advantages to the X100VI that no other Fujifilm camera can match; however, like every model, there are also some disadvantages. The Digital Teleconverter is a tool to minimize one of the disadvantages.

Someone will also say, “Just accept that it is a 35mm lens, and forget about 50mm and 70mm.” I think in many situations this is a good approach, but not in all. For example, the Digital Teleconverter came in quite handy at a local airshow. Also, I think that using the X100VI as a 50mm camera could be a lot of fun, and 20mp is still plenty of resolution. I believe that some people will use the 50mm Digital Teleconverter regularly just for the fun of it, and I think it illustrates that an X100 camera with a 50mm-equivalent lens would be desirable.

The answer to the question I posed in the title of this article—is the Fujifilm X100VI Digital Teleconverter any good?—is: maybe and sometimes. On the X100VI, it’s just a crop, which you could easily do yourself. The 40mp sensor has so much resolution, that cropping is no big deal. I prefer the concept of the Digital Teleconverter with upscaling found on the X100V more than the non-upscaled X100VI, personally. I had figured that the extra resolution would make it more useful, but this change made it only about equally as useful. Since you can crop yourself without any trouble, you might find that the camera doing it for you is unnecessary; however, you might appreciate seeing exactly how that crop will look. I used the Digital Teleconverter quite extensively at the airshow, but I don’t anticipate using it all of the time. I will likely activate the 50mm option occasionally, but I will likely avoid the 70mm Digital Teleconverter, and just crop myself if I need to.

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

Fujifilm X100VI in black: Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver: Amazon, B&H, Moment, Wex, Nuzira

My 5 Favorite Film Simulation Recipes that use Velvia

Posted on March 5, 2024 by Ritchie Roesch

*Engine 237* – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v2 Recipe

Provia — Astia — Classic Chrome — PRO Neg. Hi — PRO Neg. Std — Classic Negative — Nostalgic Neg. — Eterna — Eterna Bleach Bypass — Acros

There are 20 different film simulations on the new Fujifilm X100VI. Since there are likely many newcomers to Fujifilm who aren’t all that familiar with the various film sims and Film Simulation Recipes, I thought it would be worthwhile to discuss each one in more detail, and offer my personal favorite Recipes for each. I don’t (yet) have access to the new Reala Ace film simulation, so that one will be excluded from this (for now, anyway). Also, I’ll combine the four Acros film sims into one article, and the four Monochrome film sims (and probably Sepia, too) into another.

The Velvia film simulation (a.k.a. Velvia/Vivid) is named after the Velvia line of slide films by Fujifilm. Back in the film days, Velvia was a popular choice for vibrant landscapes, with it’s over-the-top wild colors. When Fujifilm designed the Velvia film simulation, they brought in some people from the film department who had developed the actual Velvia emulsion to assist with the film simulation; however, it wasn’t until X-Trans III cameras, plus the introduction of Color Chrome Effect, that they were satisfied with the results.

*Arizona Aspens* – Flagstaff, AZ – Fujifilm X100V – The Rockwell

The Velvia film simulation is great for colorful landscape photography. It’s the most vibrant of all the film sims, so it will make your pictures pop. It has a little more contrast than Provia. If you are after bold pictures, consider using Velvia. It’s probably one of the last film simulations that you’d choose for portrait photography, as it can give someone a sunburn who doesn’t have one. While Velvia isn’t especially versatile, it’s very good at what it does: colorful pictures.

The five Film Simulation Recipes below are my favorites that use Velvia as the base. Everyone has different tastes, so you might like other ones more. I count 20 Recipes in the Fuji X Weekly App that use Velvia, so there are many to choose from. But, if you are unsure which Velvia Recipe to try, let me suggest picking one from my list below.

#1:

The Rockwell

This is the most punchy Velvia Recipe; however, be careful, as it can be too bold sometimes. Compatible with X-Trans IV (except for the X-T3/X-T30) and X-Trans V cameras. And, yes, Ken Rockwell actually used it.

#2:

Vibrant Velvia

Very similar to The Rockwell, except slightly less punchy. Compatible with X-Trans IV (except for the X-T3/X-T30) and X-Trans V cameras.

#3:

Kodak Ektachrome E100VS v2

Mimics the look of Kodak’s most vibrant slide film. More contrasty but less vibrant than the two Recipes above. Compatible with X-Trans IV (except for the X-T3/X-T30) and X-Trans V cameras.

#4:

Velvia v2

Bright and colorful; not too dissimilar from the Vibrant Velvia Recipe (above) and the Velvia Recipe (below). Compatible with the X-T3 and X-T30 cameras, plus can be used on the GFX 50R and GFX 50S.

#5:

Velvia

This Recipe is probably the closest to actual Velvia film. Compatible with the X-T3 and X-T30 cameras, plus can be used on the GFX 50R and GFX 50S.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

My 5 Favorite Film Simulation Recipes that use Provia

Posted on March 5, 2024 by Ritchie Roesch

*Barn in the Field* – Prefumo Canyon, CA – Fujifilm X-E4 – Provia 400 Recipe

Velvia — Astia — Classic Chrome — PRO Neg. Hi — PRO Neg. Std — Classic Negative — Nostalgic Neg. — Eterna — Eterna Bleach Bypass — Acros

The Provia film simulation (a.k.a. Provia/Std) is named after the Provia line of slide films by Fujifilm; however, it was not intended to closely mimic the emulsion. The Astia film simulation is actually a little closer approximation of Provia film, but it is not an especially close match, either. When Fujifilm designed the Provia film simulation, they intended to make a color profile that “looks beautiful” to those who come from a digital-photography background, and in doing so they discovered that those who have a film-photography background don’t tend to like it as much (I learned photography on film, so you can probably tell already which way I lean). In other words, if you want a close replication of Provia slide film, default Provia/Std will leave you disappointed.

*Follow the Bird to Salt Lake* – Salt Lake City, UT – Fujifilm X-H1 – Cross Process Recipe

While the Provia film simulation can indeed “look beautiful” (as Fujifilm put it), it’s not my personal favorite. I would describe it as being true-to-life with just a hint of contrastiness and vibrancy. It’s kind of a middle-of-the-road option that can be used for anything; a Jack of all trades, but a master of none. I don’t find it to be especially analog-like, if you are hoping for a film look. That doesn’t mean it should be avoided, because it is possible to get good results from Provia—it can even be used to replicate some emulsions and analog processes—it’s just not my personal first choice. Or second choice. Or third. You get the idea. Still, there are some pretty good Film Simulation Recipes that use Provia as the base, and I definitely do enjoy using this film simulation from time-to-time.

The five Film Simulation Recipes below are my favorites that use Provia as the base. Everyone has different tastes, so you might like other ones more. I count 26 Recipes in the Fuji X Weekly App that use Provia, so there are many to choose from. But, if you are unsure which Provia Recipe to try, let me suggest picking one from my list below.

#1:

Fujichrome Sensia 100

Intended the Fujifilm X-T3 and X-T30, plus X-Trans III cameras; set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0 for use on newer X-Trans IV models and X-Trans V. Great for sunny daylight and especially sunset photography.

#2:

Provia 400

This Recipe is for the GFX 50R and GFX 50S. It’s compatible with the X-T3 and X-T30, but will render slightly different; for newer X-Trans IV and X-Trans V, set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.

#3:

Cross Process

Mimics the look of slide film developed in C41 chemistry, this Recipe is for X-Trans III cameras. It’s a lot of fun when used occasionally.

#4:

Standard Provia

A better look than default Provia, compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.

#5:

KodaNeg VC

A vibrant and warm Recipe with some similarities to a couple of Kodak emulsions. Compatible with X-Trans IV (except the X-T3/X-T30) and X-Trans V cameras.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

Fujicolor Natura 1600 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on February 29, 2024 by Ritchie Roesch

*Lantana Blooms* – Buckeye, AZ – Fujifilm X-T5 – Fujicolor Natura 1600

Fujifilm produced Fujicolor Natura 1600, a high-ISO color negative film, from 2003 through 2017. It was only sold in Japan, but it became renown worldwide as word got out about this wonderful emulsion. A lot of speculation has surrounded it. Is it simply renamed Fujicolor Superia 1600? Many people think so. Is it slightly modified Superia 1600 for Japanese skin-tones? Some people think so. Is it slightly modified Superia 1600 made specifically for the Fujifilm Natura camera? Perhaps so. I haven’t found any definitive evidence to conclude if Natura 1600 is unmodified Supera 1600 or a slightly modified variant of it; if it isn’t identical, it’s very similar.

I have a Fujicolor Superia 1600 Film Simulation Recipe already, and it’s a Recipe that I personally quite like. One film can have many different aesthetics, depending on a whole host of factors, including (but not limited to) how it was shot, developed, and scanned. In a sense, you could consider this a v2 of the Fujicolor Superia 1600 Recipe; however, it was modeled after examples of Fujicolor Natura 1600 scans that I found online (and not Superia). This Fujiclor Natura 1600 Recipe isn’t new, but simply a modification of the X-Trans IV version for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on some film simulations, a slight change was needed to Color Chrome FX Blue, but otherwise the two versions are identical.

*Fiat* – Buckeye, AZ – Fujifilm X-T5 – Fujicolor Natura 1600

This Fujicolor Natura 1600 Film Simulation Recipe is intended for fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, and X100VI. For X-Trans IV, use the X-Trans IV version (click here). For newer GFX cameras, you can use this Recipe, but know that it will render slightly different (try it anyway). Click here if you’re not sure how to program a Film Simulation Recipe into your Fujifilm camera.

Film Simulation: Classic Negative
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 5500K, -1 Red & -2 Blue
Highlight:-1.5
Shadow: +1.5
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Fujicolor Natura 1600 Film Simulation Recipe on my Fujifilm X-T5:

*Newly Sprouted Bougainvillea Branch* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea in the Neighborhood* – Buckeye, AZ – Fujifilm X-T5

*A Frame, Dormant Tree* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea by Twin Windows* – Buckeye, AZ – Fujifilm X-T5

*Americana Suburbia* – Buckeye, AZ – Fujifilm X-T5

*Suburban Spanish Architecture* – Buckeye, AZ – Fujifilm X-T5

*Sunset over Suburban Home* – Buckeye, AZ – Fujifilm X-T5

*Apartments behind Pond* – Goodyear, AZ – Fujifilm X-T5

*Tree Reflections* – Goodyear, AZ – Fujifilm X-T5

*Reflection Abstract* – Goodyear, AZ – Fujifilm X-T5

*Sunset Light on Jonathan* – Buckeye, AZ – Fujifilm X-T5

*Parking Garage at Dusk* – Goodyear, AZ – Fujifilm X-T5

*Parking Garage at Night* – Goodyear, AZ – Fujifilm X-T5

*Library Shelves* – Goodyear, AZ – Fujifilm X-T5

*Don’t Look* – Goodyear, AZ – Fujifilm X-T5

*Dying Blossoms* – Goodyear, AZ – Fujifilm X-T5

*Pallets & Blocks* – Goodyear, AZ – Fujifilm X-T5

*Caution Light* – Goodyear, AZ – Fujifilm X-T5

*Car Light* – Buckeye, AZ – Fujifilm X-T5

*Rover Mini Headlamps* – Buckeye, AZ – Fujifilm X-T5

*Mini Wheel* – Buckeye, AZ – Fujifilm X-T5

*Car Rider* – Buckeye, AZ – Fujifilm X-T5

Comparison:

*Fujicolor Natura 1600 Film Simulation Recipe*

*Fujicolor Superia 1600 Film Simulation Recipe*

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

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

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

How to Program Film Simulation Recipes to your Fujifilm Camera

Posted on February 27, 2024 by Ritchie Roesch

My Film Simulation Recipes are popular, but programming them into your Fujifilm camera can be confusing for those trying to use them for the first time. A little over three years ago I published an article explaining how, but I think, with the new X100VI coming out, it would be worthwhile to try again, and perhaps offer a little more clarity. If you are new to Film Simulation Recipes, then this article is for you!

To start with, there are some variances between models. It’s important to read your camera’s manual, which thankfully Fujifilm makes easy: click here to find your owner’s manual online. For most cameras, within the manual, navigate to the Shooting Menus set, select Image Quality Setting (Still Photography), and finally Edit/Save Custom Setting. For example, click here to view this for the X-T5. Also, I’ve included a screenshot of this section from the X100V manual below. Everything you need to know for your specific camera is found in your manual, so that’s why it’s important to review it first.

There’s an easy shortcut for navigating to the Edit/Save Custom Settings Menu. Simply press the Q-Button, which brings up the Quick Menu, then press-and-hold the Q-Button, which activates the Edit/Save Custom Settings Menu. This shortcut works on most Fujifilm cameras. A shortcut to edit the Quick Menu is to press-and-hold the Q-Button from outside of the Quick Menu.

A Film Simulation Recipe is simply a set of JPEG parameters that produce a certain look straight-out-of-camera, mostly inspired by film stocks. Each Recipe contains a specific set of settings that must be programmed into your camera, either in the Edit/Save Custom Settings Menu or the IQ Menu. The newer the camera, the more options and parameters there are to program.

*Duck Pond* – Tempe, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

On the latest cameras, a Film Simulation Recipe contains: Film Simulation, Dynamic Range, Grain Effect, Color Chrome Effect, Color Chrome FX Blue, White Balance and WB Shift, Highlight, Shadow, Color, Sharpness, Noise Reduction, Clarity, ISO, and Exposure Compensation. All of those settings together make up a Recipe. The older the camera, the fewer parameters there are, and might only include: Film Simulation, Dynamic Range, White Balance and WB Shift, Highlight, Shadow, Color, Sharpness, Noise Reduction, ISO, and Exposure Compensation. On the newer models, Noise Reduction was renamed High ISO NR (it is the same thing) and Highlight and Shadow were combined into Tone Curve.

One parameter that cannot be saved is “Typical Exposure Compensation.” On most Fujifilm cameras, there is an Exposure Compensation knob on the top of the camera, which is where this is adjusted (unless you are in Manual Mode, in which case you’ll have to do it manually). An important note is that the suggested Exposure Compensation in each Recipe is only meant to be a starting point, and not a rule; each exposure should be judged individually. Also, most often I use Auto-ISO, but it is certainly alright to manually set the ISO. You might prefer different ISO parameters than what I like, and that is perfectly fine. It’s always ok to “season to taste” any Recipe to make it work better for you.

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

Most Fujifilm cameras have seven Custom Settings (sometimes called Custom Presets), that are often referred to as C1-C7. The X-S10 and X-S20 have only four (C1-C4), and I believe there are some GFX cameras with six (C1-C6). Edit/Save Custom Settings is where you’ll program Film Simulation Recipes into your camera; however, some older Fujifilm models don’t have Custom Settings. In that case, you’ll program the desired Recipe parameters into the IQ Menu subset. Also, the newest Fujifilm models will allow you to program a Recipe into the IQ Menu subset in addition to the Custom Settings presets (basically, a bonus Recipe).

An important side note is that the Fujifilm X-T3 and X-T30 (however, not the X-T30 II), along with all of the cameras that came before it—X-Trans I, X-Trans II, X-Trans III, and older GFX—cannot save a White Balance Shift within the Custom Settings. Only the newer cameras can: X-Trans IV (except for the X-T3/X-T30), X-Trans V, and newer GFX. For those models that cannot save a WB Shift within the Custom Settings, you’ll have to program it from within the White Balance Menu found within the IQ Menu set. Also, those cameras will only remember one WB Shift per WB type, so choosing Recipes that either share the same WB Shift or use different WB types will make the user experience more enjoyable.

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

I don’t have any step-by-step instructions to program a Film Simulation Recipe into your specific camera, because there are variances between some models, and each step can be slightly different. It’s not difficult to program a Film Simulation Recipe, and once you’ve done it a couple of times it becomes quite easy. It’s just getting through the first time or two that can be confusing. Should you find yourself stuck, there are a few videos on YouTube that walk you through the process. If you are a visual learner, you might find these especially helpful to you: How to Save Fujifilm Simulation Recipes by Scott Dawson, Fujifilm Film Simulation Recipes — How to Find & Save Them by Craig Pitts, and What are Fuji Film Simulation Recipes — Getting Started by TB-Photography. Even if you have a different model than what’s in those videos, the process for most cameras is similar enough that you should be able find your way through.

For those with the newest cameras, Custom Settings saves more than just your Recipes, but literally most camera settings, including focus preferences and even sound settings. My best recommendation is to program C1 with everything just as you want it to be, then copy that preset to the other C2-C7 (or C2-C4), so that they’re all exactly the same. Then, you just have to update them with the Film Simulation Recipe parameters for the specific Recipes that you wish to program. I also recommend disabling Auto Update Custom Setting. If your camera doesn’t have those options, then disregard this paragraph.

*Arizona Barn* – Sedona, Arizona – Fujifilm X-T5 – Vibrant Arizona Recipe

A common question is what about the settings that aren’t in the Film Simulation Recipe? What should those be set to? There are some options that are user-preference, so I don’t provide those as Recipe parameters. Choose whatever works for you. Let me touch on a few of them real quick, though.

I most often choose Image Size Large 3:2. I used to shoot with Image Quality Fine, but now choose Fine+RAW, as the RAW files can be reprocessed in-camera, which makes creating new Film Simulation Recipes much easier. My RAW files are Uncompressed. I choose JPEG over HEIF because Clarity isn’t available with HEIF (by the way, Clarity causes a short storing pause when set to anything other than 0). I don’t like Smooth Skin Effect personally, so I set it to Off. Lens Modulation Optimizer is often set to On, but it can be interesting when set to Off. Color Space is sRGB, as I had a bad experience once many years ago with AdobeRGB and have avoided it ever since. I usually use Multi Mode for metering (Photometry), but sometimes I use Spot.

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

There are over 300 Film Simulation Recipes in the Fuji X Weekly App, which is free (consider becoming an App Patron to unlock the best experience and to support this website), and available for both Android and Apple. Otherwise, find them here:

EXR Recipes
Bayer Recipes
GFX Recipes
X-Trans I Recipes
X-Trans II Recipes
X-Trans III Recipes
X-Trans IV Recipes
X-Trans V Recipes

If you are not sure which Film Simulation Recipes to try first, no problem! I have several articles that might help with this, including:
Which Film Simulation Recipe, When?
The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First
Try These 3 Film Simulation Recipes, No Matter Your Fujifilm Camera
Helping You Decide Which Film Simulation Recipes to Choose

Fujicolor Superia 1600 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on February 25, 2024 by Ritchie Roesch

*Senna Shrub Blossom* – Buckeye, AZ – Fujifilm X-T5 – Fujicolor Superia 1600

Fujifilm introduced Superia 1600 in 2000. It was the highest ISO version of Superia, and was one of the best ultra-high ISO color negative films ever made. There are some reports that both Natura 1600 and Press 1600 were the same emulsion as Superia 1600, but they might be slightly varied; Fujifilm was known for keeping their “best” emulsions in Japan, sometimes tweaking the film to best reproduce Japanese skin tones. Whatever the case, there were plenty of photographers who were disappointed by its discontinuation in 2016.

This is a quick update to the X-Trans IV Fujicolor Superia 1600 Film Simulation Recipe for compatibility for fifth-generation X-Trans cameras. Because X-Trans V cameras render blue more deeply on some film simulations, including Classic Negative, a small tweak to Color Chrome FX Blue is necessary. Aside from that small change, this Recipe is identical to the X-Trans IV version. If you have a fifth-generation X-Trans camera, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, and X100VI, use this version of Fujicolor Superia 1600.

*Desert Sunset 1* – Buckeye, AZ – Fujifilm X-T5 – Fujicolor Superia 1600

Film Simulation: Classic Negative
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: Daylight, +3 Red & +1 Blue
Highlight:0
Shadow: +2
Color: -3
Sharpness: -1
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400 — for best results: 1600 to 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Fujicolor Superia 1600 Film Simulation Recipe on my Fujifilm X-T5:

*Standing Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Senna Along Fence* – Buckeye, AZ – Fujifilm X-T5

*Vines on Cinderblock Wall* – Buckeye, AZ – Fujifilm X-T5

*Window into the Abandoned* – Buckeye, AZ – Fujifilm X-T5

*Bench & Trashcan* – Buckeye, AZ – Fujifilm X-T5 – Photo by Jon Roesch

*Light on a Tree Trunk* – Buckeye, AZ – Fujifilm X-T5 – Photo by Jon Roesch

*Unlit Light* – Buckeye, AZ – Fujifilm X-T5

*Crawling Thru* – Goodyear, AZ – Fujifilm X-T5

*iMaGiNe* – Goodyear, AZ – Fujifilm X-T5

*Desert Sunset 2* – Buckeye, AZ – Fujifilm X-T5

*Palm Trees at Night* – Goodyear, AZ – Fujifilm X-T5

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

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

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

Kodak Portra 800 v3 — Fujifilm X-T5 (X-Trans V) & X-E4 (X-Trans IV) Film Simulation Recipe

Posted on February 14, 2024 by Ritchie Roesch

*South Rim Sunrise* – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Portra 800 v3

My wife recently challenged me to create a Film Simulation Recipe that mimics the aesthetic of Kodak Portra 800 film that Peter McKinnon has been sharing on Instagram and YouTube. I’m really drawn to his analog photography—I think they’re some of his best photographs. While there were plenty of examples of his Portra 800 to examine, I found it to be a difficult endeavor to replicate on my Fujifilm cameras.

As I’ve said many times, one film can produce many different looks based on a whole host of factors: how shot (film format, lens, exposure, filters, light, etc.), how developed (push/pull, brand of chemicals, freshness of chemicals, timing, temperature and pH of the water, etc.), how printed (paper, chemicals, timing, filters, etc.) and/or how scanned (brand of scanner, correction profiles, post-editing, etc.). Even within one photographer’s collection of one specific emulsion, there can be some noticeable variances. In the specific case of Peter McKinnon and his Kodak Portra 800, there is indeed significant divergences in the exact look of different pictures.

*Mineral Stains on a Dry Fountain* – Buckeye, AZ – Fujifilm X-E4 – Kodak Portra 800 v3

Before I get any deeper into this, let me give a brief history of Kodak Portra 800 and my Film Simulation Recipes that mimic this film. Kodak introduced Portra 800 in 1998 at the same time as Portra 160 and Portra 400. Portra 160 and Portra 400 both originally came in a “VC” (vivid color) and “NC” (neutral color) versions, which were later merged into in-between emulsions that still exists today; however, Portra 800 only ever came in one variety. I don’t know if it is true, but I read that Portra 800 was based on the older Vericolor/Vision2 technology, while Portra 160 and Portra 400 were based on T-Grain/Vision3 advancements. In any event, all of these films have been tweaked and updated by Kodak several times over the years. While it has become increasingly expensive, all three ISO versions of Portra are still being manufactured today by Kodak. In fact, the current version of Lomography 800 is supposedly repacked Portra 800 (although it might be a run that didn’t pass quality control).

My original Kodak Portra 800 Film Simulation Recipe was a joint venture between myself and Thomas Schwab based on “memory color” (as Fujifilm likes to put it) of the film. The next version, Kodak Portra 800 v2, was created entirely by Thomas Schwab after he shot a roll of the film and his Fujifilm X-Pro3 camera side-by-side. This new third version was created by me after carefully examining Peter McKinnon’s pictures of Kodak Portra 800 film.

*Pink Girl on a Green Slide* – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 800 v3

I divided Peter’s Portra 800 pictures into seven groups. Each group contained photos that seemed similar in overall aesthetics to each other. The commonality within each group tended to be (for the most part) the lighting condition that the film was shot in (although it was not universally so). I picked one group, and tried to replicate the look of it as closely as possible using the options available on my Fujifilm X-T5 (or should I say my Kodak Retina camera?), choosing similar light and colors for my pictures. Once I was satisfied that I was close, I used those settings to create images similar to the photographs in the other groups; however, this is where it fell apart. One Recipe was not able to replicate multiple aesthetics from the same film, which is not surprising. I made a bunch of small modifications until I had one Film Simulation Recipe that was a fairly faithful facsimile to multiple groups of Peter’s Portra 800 pictures. I say “fairly faithful” because compromises had to be made in order to match multiple groups. These settings are in the ballpark of four of the seven groups (and most similar to just two), and not especially close to the other three, unfortunately. This is not a 100% faithful recreation of any of his picture aesthetics, but in being less faithful to one specific look, I was better able to replicate the film examples overall.

This new Kodak Portra 800 v3 Film Simulation Recipe is intended for fifth-generation Fujifilm X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20 (yes, the X-S20), and the upcoming X100VI. To make this Recipe compatible with some X-Trans IV models—specifically, the X-T4, X-S10, X-E4, and X-T30 II—I simply set Color Chrome FX Blue to Weak instead of Off, since X-Trans V cameras render blue more deeply on some film simulations. For those with the X-Pro3 or X100V, consider setting Shadow to 0 instead of 0.5. I do think that the original Kodak Portra 800 Recipe, as well as Kodak Portra 400 v2, are not very far off from Peter’s pictures, and could be good alternatives.

*Minolta* – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 800 v3

The Kodak Portra 800 v3 Film Simulation Recipe is great for both golden-hour and midday light. While it is intended for sunny daylight conditions, it does pretty well in shade, too. It’s alright for overcast days, depending on the specific cloud cover conditions. It’s great for natural-light indoors, and surprisingly decent for nighttime photography, but I’d avoid it for artificial light scenarios with warm bulbs. This Recipe is fairly versatile, despite it’s warm Kodak-like colors. In the right light, it can look pretty darn close to some of the Kodak Portra 800 scans that Peter McKinnon has been sharing on his social media channels. Interestingly, there’s also similarities to some of the Kodak Portra 400 images in Kyle McDougall’s An American Mile series. I have a feeling that this will quickly become a favorite option for many of you—personally, I really love this one!

Film Simulation: Classic Chrome
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Off (X-Trans V); Weak (X-Trans IV)
White Balance: 6600K, -1 Red & -3 Blue
Highlight: -2
Shadow: -0.5
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Portra 800 v3 Film Simulation Recipe on my Fujifilm X-E4:

*Morning Lightbulbs* – Buckeye, AZ – Fujifilm X-E4

*Read Leaves on a Block Wall* – Buckeye, AZ – Fujifilm X-E4

*Rounded Light on an Circular Table* – Buckeye, AZ – Fujifilm X-E4

*Orange Tables and Leaf* – Buckeye, AZ – Fujifilm X-E4

*Main Street Market* – Buckeye, AZ – Fujifilm X-E4

*Sunny Suburbia* – Buckeye, AZ – Fujifilm X-E4

*Ready for an Adventure* – Buckeye, AZ – Fujifilm X-E4

*Rainy Day Rose Blossom* – Buckeye, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this Kodak Portra 800 v3 Film Simulation Recipe on my Fujifilm X-T5:

*Sunrise Beyond Grandeur Point* – Grand Canyon NP, AZ – Fujifilm X-T5

*Dead Tree at the Rim’s Edge* – Grand Canyon NP, AZ – Fujifilm X-T5

*Golden Sunset inside the Grand Canyon* – Grand Canyon NP, AZ – Fujifilm X-T5

*Morning at the Rim* – Grand Canyon NP, AZ – Fujifilm X-T5

*Maricopa Point at Midday* – Grand Canyon NP, AZ – Fujifilm X-T5

*Canyon Ridge in Golden Light* – Grand Canyon NP, AZ – Fujifilm X-T5

*Sunrise over icy South Rim Trail* – Grand Canyon NP, AZ – Fujifilm X-T5

*Bright Angel Trail from Above* – Grand Canyon NP, AZ – Fujifilm X-T5

*Too Close to the Icy Ledge* – Grand Canyon NP, AZ – Fujifilm X-T5

*Lookout Studio* – Grand Canyon NP, AZ – Fujifilm X-T5

*Grand Canyon Railway 237* – Grand Canyon NP, AZ – Fujifilm X-T5

*Williams Flyer* – Grand Canyon NP, AZ – Fujifilm X-T5

*American Painted Horse* – Litchfield Park, AZ – Fujifilm X-T5

*Swift Trailer* – Litchfield Park, AZ – Fujifilm X-T5

*Blue Barrel, Red Bricks* – Litchfield Park, AZ – Fujifilm X-T5

*Raindrop on a Lightbulb* – Buckeye, AZ – Fujifilm X-T5

*Raindrops of Fall Leaves* – Buckeye, AZ – Fujifilm X-T5

*Hanging Lightbulbs* – Buckeye, AZ – Fujifilm X-T5

*Fingers as Carrots* – Litchfield Park, AZ – Fujifilm X-T5

*Sitting Siblings* – Buckeye, AZ – Fujifilm X-T5

*Minolta & Film Book* – Buckeye, AZ – Fujifilm X-T5

*Camera, Books* – Buckeye, AZ – Fujifilm X-T5

*Busy Parking Lot* – Goodyear, AZ – Fujifilm X-T5

*Window Paperclip* – Buckeye, AZ – Fujifilm X-T5

*Window Light* – Buckeye, AZ – Fujifilm X-T5

*Hanging Plastic Golfballs* – Buckeye, AZ – Fujifilm X-T5

*Blossoming Trumpet Flower* – Buckeye, AZ – Fujifilm X-T5

*Hazy Tree Leaves* – Buckeye, AZ – Fujifilm X-T5

*Desert Spring* – Buckeye, AZ – Fujifilm X-T5

*Hill behind Yellow* – Buckeye, AZ – Fujifilm X-T5

*Go Right* – Buckeye, AZ – Fujifilm X-T5

Comparison:

*Kodak Portra 800 Film Simulation Recipe*

*Kodak Portra 800 v2 Film Simulation Recipe*

*This new Kodak Portra 800 v3 Film Simulation Recipe*

*Kodak Portra 400 v2 Film Simulation Recipe*

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 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Vintage Eterna — Fujifilm X-Trans V, X-Trans IV, & X-H1 Film Simulation Recipes

Posted on February 5, 2024 by Ritchie Roesch

*Cactus Spikes* – Buckeye, AZ – Fujifilm X-E4 – Vintage Eterna Recipe

The premise of this Film Simulation Recipe was simple: what would my Vintage Kodachrome Recipe look like if I used Eterna instead of Classic Chrome? As it turns out, it looks alright; however, after I made a few more modifications, it looks much better!

The Vintage Eterna Film Simulation Recipe is actually three Recipes: one for the X-H1, X-T3, and X-T30, another for the other X-Trans IV models (X-Pro3 and newer), and one for X-Trans V cameras. I initially created this on my Fujifilm X-E4, but then I wanted a version for my X-H1, so I made a recipe compatible with that camera, and also used it on my X-T30. Later, I made a small modification for use on my X-T5, since X-Trans V cameras render blue more deeply on some film simulations. If you have an X-H1 or any X-Trans IV or V camera, you can use the Vintage Eterna Recipe—just find the version below that’s compatible with your model.

*Bougainville Branch Blossom* – Buckeye, AZ – Fujifilm X-H1 – Vintage Eterna Recipe

While this Recipe wasn’t modeled after any specific emulsion, it definitely has a vintage film vibe. It’s vaguely reminiscent of color photographs from the 1950’s or ’60’s shot on Kodak film. It also has a bit of a cinematic quality to it. I don’t think this will be anyone’s favorite Recipe for everyday photography, but I suspect that some of you will love it for occasional use when retro results are desired. It pairs well with vintage glass or cheap third-party lenses with character.

This was a Fuji X Weekly App Patron Early-Access Recipe, but it has been replaced by a different Early-Access Recipe, so now everyone can use it! One perk of being an App Patron subscriber is that you get early access to some new Film Simulation Recipes, including the one that replaced this Recipe.

*Rainy Day in the Neighborhood* – Buckeye, AZ – Fujifilm X-T5 – Vintage Eterna Recipe

Vintage Eterna for the Fujifilm X-H1, X-T3, & X-T30

Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong
Color Chrome Effect: Off or N/A
White Balance: Auto, +2 Red & -5 Blue
Highlight: +3
Shadow: -1
Color: +2
Sharpness: -1
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to 0 (typically)

Example photographs, all camera-made JPEGs using this Vintage Eterna Film Simulation Recipe on my Fujifilm X-H1 and Fujifilm X-T30:

*Cloud Above Roof* – Buckeye, AZ – Fujifilm X-H1

*Summer Blossoms* – Buckeye, AZ – Fujifilm X-H1

*Sky Vines* – Buckeye, AZ – Fujifilm X-H1

*Backlit Leaves of Summer* – Fujifilm X-H1

*Hummingbird Feeder* – Buckeye, AZ – Fujifilm X-H1

*Golden Trumpets* – Buckeye, AZ – Fujifilm X-H1

*Yellow Trumpet Flower* – Buckeye, AZ – Fujifilm X-H1

*Red Trumpet Flower* – Buckeye, AZ – Fujifilm X-H1

*Garden Wall Light* – Buckeye, AZ – Fujifilm X-T30

Vintage Eterna for Fujifilm X-Trans IV

Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Strong
White Balance: Auto, +2 Red & -5 Blue
Highlight: +3
Shadow: -1
Color: +2
Sharpness: -1
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 Eterna Film Simulation Recipe on my Fujifilm X-E4:

*Labyrinth* – Litchfield Park, AZ – Fujifilm X-E4

*Sky Dome* – Litchfield Park, AZ – Fujifilm X-E4

*Little Desert Berries* – Buckeye, AZ – Fujifilm X-E4

*Saguaro & Storm* – Buckeye, AZ – Fujifilm X-E4

*Birdie Footprints* – Buckeye, AZ – Fujifilm X-E4

*Distant Downtown* – Buckeye, AZ – Fujifilm X-E4

*Sky Rays* – Buckeye, AZ – Fujifilm X-E4

*Saguaro Silhouette* – Buckeye, AZ – Fujifilm X-E4

*Purple Plant* – Buckeye, AZ – Fujifilm X-E4

Vintage Eterna for Fujifilm X-Trans V

Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome FX Blue: Weak
White Balance: Auto, +2 Red & -5 Blue
Highlight: +3
Shadow: -1
Color: +2
Sharpness: -1
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 Eterna Film Simulation Recipe on my Fujifilm X-T5:

*Sunset Light on the North Rim* – Grand Canyon NP, AZ – Fujifilm X-T5

*Covered Horse* – Litchfield Park, AZ – Fujifilm X-T5

*See Fingers as Carrots* – Litchfield Park, AZ – Fujifilm X-T5

*Buckets* – Litchfield Park, AZ – Fujifilm X-T5

*Wet Bougainvillea Flower* – Buckeye, AZ – Fujifilm X-T5

*Wet Lightbulb* – Buckeye, AZ – Fujifilm X-T5

*Sunlit Yellow Bloom* – Buckeye, AZ – Fujifilm X-T5

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

Kodak Emulsion — Fujifilm X100V (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe

Posted on February 5, 2024 by Ritchie Roesch

*Blooms by the Pavilion* – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe

I love this new Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great!

Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.

This Kodak Emulsion Film Simulation Recipe is compatible with all “newer” X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II), but not the X-T3 or X-T30. Technically it is compatible with X-Trans V models, but, because X-Trans V renders blue more deeply on some film simulations, it will look slightly different (try it anyway!). I’m sure that you can also use this Recipe on newer GFX cameras; however, I don’t have any personal experience with that, and I’m sure it will render slightly different (again, give it a try, as you might like it).

*Fallen Giant* – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe

This Kodak Emulsion Film Simulation Recipe is an App Patron Early-Access Recipe. The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is that you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

If you are a Fuji X Weekly Patron, it’s available to you right now on the App!

Example photographs, all camera-made JPEGs using this Kodak Emulsion Film Simulation Recipe on my Fujifilm X100V:

*Autumn Sun* – Buckeye, AZ – Fujifilm X100V

*Autumn Tree Leaves on a Shrub* – Buckeye, AZ – Fujifilm X100V

*Minolta SLR* – Buckeye, AZ – Fujifilm X100V

*Homework* – Buckeye, AZ – Fujifilm X100V – Flash On

*Vines Along a Shaded Wall* – Buckeye, AZ – Fujifilm X100V

*Sunlit Table & Chairs* – Buckeye, AZ – Fujifilm X100V

*Potted Flowers & Pavilion* – Buckeye, AZ – Fujifilm X100V

*Flowers at a Neighborhood Park* – Buckeye, AZ – Fujifilm X100V

*Palm Tree & White Building* – Buckeye, AZ – Fujifilm X100V

*Hanging Lightbulbs* – Buckeye, AZ – Fujifilm X100V

*Flag in the Wind* – Buckeye, AZ – Fujifilm X100V

*Bougainvillea Branch on a Bright Day* – Buckeye, AZ – Fujifilm X100V

*Yellow Wildflowers in the Desert* – Buckeye, AZ – Fujifilm X100V

*Yellow Flowers Blooming* – Buckeye, AZ – Fujifilm X100V

*Tall Saguaro Behind Dead Tree* – Buckeye, AZ – Fujifilm X100V

*Reaching Saguaro Fingers* – Buckeye, AZ – Fujifilm X100V

*Damaged Saguaro* – Buckeye, AZ – Fujifilm X100V

*A Desert Landscape* – Buckeye, AZ – Fujifilm X100V

*Dirt Road After Rain* – Buckeye, AZ – Fujifilm X100V

Expired ECN-2 100T — Fujifilm X-Trans IV & X-Trans V Film Simulation Recipe

Posted on February 1, 2024 by Ritchie Roesch

*Palm Trunk & Arches* – Buckeye, AZ – Fujifilm X-E4 – “Expired ECN-2 100T”

Eastman Color Negative II 100T, which was also known as ECN-2 Type 5247/7247, was a 100 ASA Tungsten-balanced motion picture film made by Kodak between 1974 and 1983 (although, apparently, it could still be found and was used into the early 1990’s). A lot of iconic movies used this emulsion for at least some shots, including Star Wars, Back to the Future, Raiders of the Lost Ark, and many more. This Film Simulation Recipe is intended to mimic the aesthetic of this film stock that’s long-expired and developed in C41 chemistry after having the Remjet layer removed. In other words, this recipe isn’t intended to look like the film as it’s seen in the movies, but expired film that’s been developed in C41 chemistry instead of the ECN-2 process.

Tungsten film was intended for use in artificial light; for use in daylight, a Color Correction filter would be attached to the lens to adjust the white balance. This “Expired ECN-2 100T” Recipe does not replicate the use of Color Correction filters, and is more like shooting without it. The results can be quite unusual, especially in daylight. But if you are looking for something unusual, maybe this Film Simulation Recipe is for you. I don’t think it will be anyone’s go-to option, but for occasional use, if you want a lomo-like look, give this one a try. Also, it’s pretty decent for nighttime. This Recipe produces a green or yellow cast (depending on the light) when used at night, and a strong teal-ish cast when used in daylight.

*Truck Tire* – Buckeye, AZ – Fujifilm X-E4 – “Expired ECN-2 100T”

The Expired ECN-2 100T Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe; however, it has been replaced by a different Early-Access Recipe, so now everyone can use it. It is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, plus fifth-generation models, which are the X-H2s, X-H2, X-T5, X-S20 (yes, the X-S20), and the upcoming X100VI, by selected Color Chrome FX Blue Weak (instead of Strong). I believe it will also work on newer GFX cameras, although I have not tried it myself.

Film Simulation: Eterna Bleach Bypass
Dynamic Range: DR400
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong — Weak for X-Trans V
White Balance: 6000K, -9 Red & -6 Blue
Highlight: +0.5
Shadow: -1
Color: +1
Sharpness: -3
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Expired ECN-2 100T Film Simulation Recipe on my Fujifilm X-E4:

*Saguaro Green* – Buckeye, AZ – Fujifilm X-E4

*Stop, All Ways* – Buckeye, AZ – Fujifilm X-E4

*Truck Mirror* – Buckeye, AZ – Fujifilm X-E4

*Lightning McQueen’s Home* – Buckeye, AZ – Fujifilm X-E4

*Texting & Walking* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea Over Wall* – Buckeye, AZ – Fujifilm X-E4

*Backlit Bougainvillea & Lens Flare* – Buckeye, AZ – Fujifilm X-E4

*Light Pink Blooms* – Buckeye, AZ – Fujifilm X-E4

*Sunlit Trumpets* – Buckeye, AZ – Fujifilm X-E4

*Shaded Hummingbird Feeder* – Buckeye, AZ – Fujifilm X-E4

*Sidewalk Chalk & Red Bucket* – Buckeye, AZ – Fujifilm X-E4

*Red Soccer Ball* – Buckeye, AZ – Fujifilm X-E4

*Friendly Skeleton* – Buckeye, AZ – Fujifilm X-E4

*Kodak Instamatic Camera* – Buckeye, AZ – Fujifilm X-E4

Example photographs, all camera-made JPEGs captured using this Expired ECN-2 100T Film Simulation Recipe on my Fujifilm X-T5:

*Night Board* – Tempe, AZ – Fujifilm X-T5

*Empty at Night* – Tempe, AZ – Fujifilm X-T5

*Flag and Lights* – Tempe, AZ – Fujifilm X-T5

*Plant at Night* – Tempe, AZ – Fujifilm X-T5

*Closed Door* – Tempe, AZ – Fujifilm X-T5

*Bokeh Behind Chainlink* – Tempe, AZ – Fujifilm X-T5

*Lamp & Gated Patio* – Litchfield Park, AZ – Fujifilm X-T5

*A-Team* – Litchfield Park, AZ – Fujifilm X-T5

*Blue Barrel* – Litchfield Park, AZ – Fujifilm X-T5

*Mailbox, Maybe* – Litchfield Park, AZ – Fujifilm X-T5

*Unlit hanging Bulbs* – Litchfield Park, AZ – Fujifilm X-T5

*No Teasing* – Litchfield Park, AZ – Fujifilm X-T5

*Patriotic Equine* – Litchfield Park, AZ – Fujifilm X-T5

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

McCurry Kodachrome — A Fujifilm X-Trans IV Film Simulation Recipe

Posted on January 25, 2024 by Ritchie Roesch

*Morning at the South Rim* – Grand Canyon NP, AZ – Fujifilm X100V – McCurry Kodachrome

I received an email from Anders Lindborg back in November, and the subject line read, “The Last Roll.” Anders explained to me that himself and John Sevigny had co-created a Kodachrome 64 Film Simulation Recipe based on Steve McCurry’s last roll of Kodachrome film, which was (as you likely know) famously developed on July 12, 2010, at Dwayne’s Photo in Parsons, Kansas.

Over the last several years, Anders has made a number of Film Simulation Recipes that have been published on Fuji X Weekly, including Kodak Tri-X 400, Ilford FP4 Plus 125, Ilford HP5 Plus 400, Ilford Pan F Plus 50, Kodak Gold v2, seven Fujicolor Pro 160NS Recipes, and seven Fujicolor Pro 400H Recipes. Anders and John collaboratively made the Kodak T-Max P3200 Recipe. They had intended to share this new Recipe with everyone, but were waiting until after the finishing touches were complete on a book that John was intending to publish. Sadly, before that happened, John Sevigny died on November 9th, after suffering a massive stroke.

Writing this article has been difficult for me, because of John’s passing. But I hope that this is somehow honoring to him. He was an extraordinarily knowledgable photographer who was always eager to help. It’s a humble privilege for me to share with all of you this Recipe that Anders and John co-created.

*Orange Pot, Tables & Leaf* – Buckeye, AZ – Fujifilm X-T30 – McCurry Kodachrome

“The goal was to create a recipe that both looked and behaved like Kodachrome 64,” Anders wrote. “It should also be based on science, not just trying to look like the real thing during very special conditions. Our starting reference were the photos taken by Steve McCurry on the quite-famous last roll of Kodachrome project. We also studied every little detail of the documentary to find out the exact conditions for how the photos were made. Even that was not enough, so we started to hunt down every single Kodachrome 64 photo we could possibly find. Luck was on our side, as we managed to locate a whole bunch that were actually developed by Dwayne’s Photo.”

Anders continued, “After about eight months of testing every single scenario we could come up with, using similar lighting equipment that was used for the last roll project, we started to feel like we had done all that was possible with the given tools. Everything matched our reference photos, and we both got stunning results with every test we made, but we still decided to test it for just a bit longer to make sure we actually had captured the true spirit of this film. John also travelled parts of the USA and South America, shooting nothing but this recipe for color work.”

Kodachrome was first introduced in 1935, and was discontinued in 2009. There are three distinct eras of the film, and Kodachrome 64, which was introduced in 1974, was in the third and final era. Kodachrome was actually a black-and-white film, and the color dyes were added during the development process. Because of this, it is probably the most difficult film to scan, and, if not properly color corrected, will often have a pronounced blue cast. Even a scan that is carefully corrected can lean slightly blue compared to the slide being projected or viewed on a light table. McCurry’s “last roll” slides were scanned by Richard Jackson, who was regarded as a leading expert on Kodachrome scanning.

*Kodachrome 64 slides on a light table* – Fujifilm X100V – McCurry Kodachrome

There are some differences between this McCurry Kodachrome Recipe and my Kodachrome 64 Recipe, but there are also a lot of similarities. My Recipe is more like Kodachrome as viewed via a slide projector or light table, while the McCurry Kodachrome Recipe is more like quality scans of the film. There’s a comparison of the two Recipes at the very bottom of this article.

Like the actual film, this McCurry Kodachrome Recipe has a narrow dynamic range, and must be carefully exposed. Pay extra attention to the highlights, because they can clip easily. Also, try to keep the ISO as low as practical. I used this Recipe with the ISO all the way to 6400, and it was fine, but for best results that better match the film, don’t go above ISO 1600. McCurry Kodachrome is fully compatible with all X-Trans IV models—including the X-T3 and X-T30; for X-Trans V, blues will render slightly more deeply, so the results will be just a tad different, but feel free to try anyway.

Film Simulation: Classic Chrome
Dynamic Range: DR100
Grain Effect: Weak, Small — Weak for X-T3/X-T30
Color Chrome Effect: Strong
Color Chrome FX Blue: Off — N/A for X-T3/X-T30
White Balance: 5900K, -1 Red & +4 Blue
Highlight: 0
Shadow: 0
Color: +2
Sharpness: -2
High ISO NR: -2
Clarity: 0 — N/A for X-T3/X-T30
ISO: Auto, up to ISO 1600
Exposure Compensation: -1/3 to +1/3 (typically)

Example photos, all camera made JPEGs using this McCurry Kodachrome Film Simulation Recipe on my Fujifilm X-T30:

*Siblings Playing Video Games* – Buckeye, AZ – Fujifilm X-T30

*Little Palms in a Pot* – Buckeye, AZ – Fujifilm X-T30

*Promenade* – Buckeye, AZ – Fujifilm X-T30

*Broken Haircut Chair* – Buckeye, AZ – Fujifilm X-T30

*Bougainvillea Below Window* – Buckeye, AZ – Fujifilm X-T30

*Bougainvillea & Stucco* – Buckeye, AZ – Fujifilm X-T30

*Blossom Along Sidewalk* – Buckeye, AZ – Fujifilm X-T30

*Sunny Day Along Suburban Wall* – Buckeye, AZ – Fujifilm X-T30

*Palm Trunk & Palm Shadow* – Buckeye, AZ – Fujifilm X-T30

*Rainbows on Sunny Day* – Buckeye, AZ – Fujifilm X-T30

*Walkway Chair* – Buckeye, AZ – Fujifilm X-T30

*Block Wall* – Buckeye, AZ – Fujifilm X-T30

*Primetime Vannin’* – Buckeye, AZ – Fujifilm X-T30

Example photos, all camera made JPEGs using this McCurry Kodachrome Film Simulation Recipe on my Fujifilm X100V:

*Red Scion* – Buckeye, AZ – Fujifilm X100V

*Colorful Shoes* – Buckeye, AZ – Fujifilm X100V

*Jon Dressed Up* – Buckeye, AZ – Fujifilm X100V

*It’s a Dreary Day in the Neighborhood* – Buckeye, AZ – Fujifilm X100V

*Old Chair Swing* – Litchfield Park, AZ – Fujifilm X100V

*Glass Maker* – Harmony, CA – Fujifilm X100V

*Joshua Playing Air Hockey* – Tempe, AZ – Fujifilm X100V

*Red Blanket* – Buckeye, AZ – Fujifilm X100V

*Winter Morning at the Rim* – Grand Canyon NP, AZ – Fujifilm X100V

*Canyon Behind Trees* – Grand Canyon NP, AZ – Fujifilm X100V

*Tree & Canyon* – Grand Canyon NP, AZ – Fujifilm X100V

*Cold Canyon* – Grand Canyon NP, AZ – Fujifilm X100V

*The Big, Giant Hole in the Ground* – Grand Canyon NP, AZ – Fujifilm X100V

*Moon over Dilapidated Barn* – Prefumo Canyon, CA – Fujifilm X100V

*Roofline & Wall* – Buckeye, AZ – Fujifilm X100V

*Suburban Skies* – Buckeye, AZ – Fujifilm X100V

*Growing Bougainvillea* – Buckeye, AZ – Fujifilm X100V

*Bougainvillea & Cinder Block Wall* – Buckeye, AZ – Fujifilm X100V

*Pops of Yellow* – Flagstaff, AZ – Fujifilm X100V

*Golden Hour Girl* – Buckeye, AZ – Fujifilm X100V

*Backyard Sunset* – Buckeye, AZ – Fujifilm X100V

*Suburban Desert Sunset* – Buckeye, AZ – Fujifilm X100V

*Sunset Over Desert Brush* – Buckeye, AZ – Fujifilm X100V

*Golden Coast Blossoms* – Laguna Beach, CA – Fujifilm X100V

Comparison:

*Kodachrome 64 Film Simulation Recipe (Fujifilm X-E4)*

*McCurry Kodachrome Film Simulation Recipe (Fujifilm X-E4)*

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

White Balance & Film Simulation Recipe Versatility

Posted on January 16, 2024 by Ritchie Roesch

Which Film Simulation Recipes are the most versatile? What makes a particular Recipe especially versatile, anyway? What does White Balance have to do with any of it? These are questions that I get asked pretty regularly, so I thought I would answer them today.

Let’s start with White Balance, including White Balance Shift. In the analog days, with a few exceptions, film was either Daylight-balanced or Tungsten-balanced. Daylight-balanced film, as you can imagine, was intended for use in sunny daytime scenarios, with a Kelvin temperature around 5500-5600K. Tungsten film was intended for artificial light scenarios, with a Kelvin temperature around 3200K. Because film was made for one of two specific light situations, you had three basic options for use outside of those scenarios: 1) accept the results for what they are, 2) use Color Correction Filters to adjust the Kelvin temperature to more closely match the light, or 3) use lighting equipment to artificially make the light match the film.

*Fujifilm X100V — Fujicolor NPS 160 Pulled*

Digital cameras have a large number of White Balance options, which, when combined with WB fine-tuning (Fujifilm calls it WB Shift), can match the precise light that you are photographing in. If the White Balance is exactly correct for the light, things that are pure white in real life will appear pure white in the photograph, no color tint. But, just because the White Balance is technically correct, doesn’t mean that it is artistically correct. Nobody said that the White Balance must always be spot-on accurate—maybe you don’t want it to be, for aesthetic reasons. In fact, in the film days, it was quite common for the Kelvin temperature to be a mismatch for the light, at least a little. Kodak—the most popular film maker—was known for making emulsions with a warm color cast. In other words, achieving a perfectly accurate White Balance, which wasn’t particularly common until somewhat recently, might not be desirable. However, in the digital age with Auto White Balance, we’re often used to having a highly accurate White Balance in our photographs, and seeing it not spot-on accurate can perhaps be a bit unnerving, especially if it is pretty far off.

Many of the Fuji X Weekly Film Simulation Recipes are facsimiles of actual film stocks, and often that means using a fixed White Balance. Unless you have Color Correction Filters or are artificially lighting the scene to match the White Balance (both of which are unlikely), if the scene’s light is a mismatch for the Recipe, you can get undesirable results sometimes (just like with film). My best advice is to use a Film Simulation Recipe that is a match for the scene. For example, Fluorescent Night might be a better choice for nighttime photography than 1970’s Summer, since the former is more like Tungsten-balanced and the latter is more like Daylight-balanced. Sometimes the best Recipe for a particular light situation might be obvious, and other times it might not be, and trial-and-error is necessary to figure it out—my Which Film Simulation Recipe, When? series is intended to help out with this.

Not all of the Recipes use a fixed White Balance; instead, some call for Auto White Balance. Newer Fujifilm cameras actually have three AWB options: Auto White Priority, Auto, and Auto Ambience Priority. White Priority leans cooler in artificial light than standard Auto, while Ambience Priority leans a little warmer in artificial light. All three AWB options are intended to produce reasonably accurate White Balances in all light situations. Because of this, Recipes that use AWB tend to be a lot more versatile than Recipes with a fixed White Balance, since you can use them in all sorts of light situations, and not just one. This is much less film-like, but perhaps can be equated to carrying a bunch of different Color Correction Filters with you all of the time. The easiest way to find my Film Simulation Recipes that use AWB is to Filter By White Balance (available to App Patrons) in the Fuji X Weekly App.

White Balance and WB Shift are probably the largest factor in determining the versatility of a particular Recipe, but it’s far from the only factor. Film Simulation, Dynamic Range, Highlight and Shadow, Color, etc., all play a role. One Recipe that uses AWB might be more versatile than another that also uses AWB, and some Recipes that use a fixed White Balance can be surprisingly versatile. However, what one person likes might be different from another, since each person has their own unique tastes. I might like a particular Recipe for a specific scenario, but you might dislike it for that exact same situation.

The pictures in this article were all captured with Film Simulation Recipes that use AWB and that I find to be especially versatile. Use them anytime of the day or night, in any light situation, and for any subject. If you want a versatile option to program into your Fujifilm camera, those are ones to consider. But they are far from the only versatile Recipes, and they might not be the best, either. If one of them stands out to you, I definitely invite you to try it.

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
Fujifilm X100V in black: Amazon   B&H  Moment
Fujifilm X100V in silver: Amazon B&H  Moment

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

Fujicolor C200 v2 — Fujifilm X100V (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe

Posted on January 12, 2024 by Ritchie Roesch

*Cold Morning at the South Rim* – Grand Canyon NP, AZ – Fujifilm X100V – Fujicolor C200 v2

The original Fujicolor C200 Film Simulation Recipe is great! This isn’t intended to replace that Recipe—there’s no need to replace it, since it’s excellent—but instead provide an alternative option for those looking for something slightly different. One film can produce many different looks, depending on a host of factors, including how it was shot, developed, and printed or scanned. In this case, a Fuji X Weekly reader wanted a Recipe that more closely matched his particular Fujicolor C200 scans. Oh, and it needed to be compatible with the Fujifilm X100V and X-Pro3, which the original version is not.

Fujifilm introduced Fujicolor C200 in 1990 as a low-budget, consumer-grade color negative film. I’ve shot a few rolls of it over the years, although it was never my go-to option. Fujifilm gave it a small refresh in 2017. Sadly, in late 2021, Fujifilm began selling rebranded Kodak Gold 200 as Fujicolor C200. Even though C200 is a cheap color film, it has a cult-like following, and many people enjoy its aesthetic and choose it over more expensive emulsions.

*Bougainvillea Peeking over Wall* – Buckeye, AZ – Fujifilm X100V – Fujicolor C200 v2

This Fujicolor C200 v2 Film Simulation Recipe is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. With the exception of the X-T3 and X-T30, it is fully compatible with X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For fifth generation models, simply set Color Chrome FX Blue to Weak instead of Strong.

Example photographs, all camera-made JPEGs using this Fujicolor C200 v2 Film Simulation Recipe on my Fujifilm X100V and Fujifilm X-E4:

*Main Street* – Buckeye, AZ – Fujifilm X-E4

*Dim Light & Neon Reflections* – Tempe, AZ – Fujifilm X100V

*Coffee Shop Christmas Tree* – Phoenix, AZ – Fujifilm X100V

*Backlit Potted Palm* – Buckeye, AZ – Fujifilm X100V

*Afternoon Jo* – Buckeye, AZ – Fujifilm X100V

*Sitting on a Backyard Bench* – Buckeye, AZ – Fujifilm X100V

*Swinging Seat* – Litchfield Park, AZ – Fujifilm X100V

*Potted Blossoms* – Litchfield Park, AZ – Fujifilm X100V

*Artificial Flowers* – Litchfield Park, AZ – Fujifilm X100V

AC – Litchfield Park, AZ – Fujifilm X100V

*The Grinch that Stole a Golf Cart* – Buckeye, AZ – Fujifilm X100V

*Autumn Path* – Buckeye, AZ – Fujifilm X100V

*Autumn Canopy* – Buckeye, AZ – Fujifilm X100V

*Bird on a Cross* – Litchfield Park, AZ – Fujifilm X100V

*Icy Morning at the Rim* – Grand Canyon NP, AZ – Fujifilm X100V

*Canyon Between the Pines* – Grand Canyon NP, AZ – Fujifilm X100V

*Morning Shadows* – Grand Canyon NP, AZ – Fujifilm X100V

Comparison:

*Original Fujicolor C200 Film Simulation Recipe (Fujifilm X-E4)*

*This new Fujicolor C200 v2 Film Simulation Recipe (Fujifilm X-E4)*

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

Vintage Print — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on January 12, 2024 by Ritchie Roesch

*Bell Tower* – Litchfield Park, AZ – Fujifilm X-E4 – Vintage Print Recipe

This Film Simulation Recipe began when my wife suggested that I should try to emulate a certain look that she had found. I wasn’t successful, but in my efforts I discovered these settings, which I thought looked interesting nonetheless. They remind me of vintage color prints—not from any specific film or process, but just my “memory color” (as Fujifilm puts it) of some old prints that I’ve seen in the past. It has almost a classic magazine quality to it, or even a bit of a post-card resemblance. Whatever it may or may not look like, it definitely has a vintage-like aesthetic that some of you might really appreciate.

Most of these pictures were captured using manual vintage lenses, including—actually, mainly—a Helios 44-2. I also used a 5% CineBloom or 10% CineBloom filter with about half of them. I did this to help achieve an analog aesthetic. The use of vintage glass and diffusion filters aren’t required for this recipe, but you are certainly welcome to do so if you want—I think they help a little to take the digital edge off of the pictures.

*Suburban Saguaro* – Buckeye, AZ – Fujifilm X-E4 – Vintage Print Recipe

This Vintage Print Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For use on fifth-generation models, set Color Chrome FX Blue to Weak (instead of Strong), because those cameras render blue more deeply on certain film simulations. Those with newer GFX cameras can use it, too; however, it will render slightly differently. This was a Fuji X Weekly App Patron Early-Access Recipe, but has been replaced by a different Recipe, so now it’s available to everyone.

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

Example photographs, all camera-made JPEGs captured using this “Vintage Print” Film Simulation Recipe on my Fujifilm X-E4:

*Pops of Bougainvillea Red* – Buckeye, AZ – Fujifilm X-E4

*Growing Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Joshua at a Stucco Wall* – Buckeye, AZ – Fujifilm X-E4

*Big Storm Looming in the Background* – Buckeye, AZ – Fujifilm X-E4

*Lake, House* – Litchfield Park, AZ – Fujifilm X-E4

*Jon is Happy* – Litchfield Park, AZ – Fujifilm X-E4

*Labyrinth Church* – Litchfield Park, AZ – Fujifilm X-E4

*Saguaro & Dust* – Buckeye, AZ – Fujifilm X-E4

*Twin Saguaros* – Buckeye, AZ – Fujifilm X-E4

*Saguaro as Seen Through a Saguaro* – Buckeye, AZ – Fujifilm X-E4

*Teddy Bear Cholla* – Buckeye, AZ – Fujifilm X-E4

*Desert Spikes* – Buckeye, AZ – Fujifilm X-E4

*Desert Barrel* – Buckeye, AZ – Fujifilm X-E4

*Trumpets Down* – Buckeye, AZ – Fujifilm X-E4

*Bright Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

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

The Essential 7 Film Simulation Recipes to Program Into Your Fujifilm Camera First — Part 6: X-Trans I

Posted on January 10, 2024 by Ritchie Roesch

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

Part 1 — X-Trans V, Part 2 — X-Trans IV, Part 3 — X-T3/X-T30, Part 4 — X-Trans III, Part 5 — X-Trans II

I frequently get asked: which seven Film Simulation Recipes should I program into my camera first? I’ve published over 300 on this website and in the Fuji X Weekly App, and the choices can become overwhelming. I’ve attempted to help out with this dilemma several times, including the Which Film Simulation Recipe, When? series, Try These 3 Film Simulation Recipes No Matter Your Fujifilm Camera, The 10 Best Film Simulation Recipes on the Fuji X Weekly App, Top 25 Most Popular Film Simulation Recipes of 2023, and many others. My hope is that these types of articles help you to find some good Recipes to try, in case you’re not sure where to begin or what to use. This post is Part 6 of the series, and the final installment.

The list of Film Simulation Recipes below are my “Essential 7” for X-Trans I cameras, which are the X-Pro1, X-E1, and X-M1 (the X-M1 doesn’t have the PRO Neg. Hi and PRO Neg. Std film sims, so it is a bit more limited; it doesn’t have C1-C7, either). If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.

*Arched Window* – Ogden, UT – Fujifilm X-Pro1 – Kodachrome I

A couple of important side notes here. First, this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Also, X-Trans I models cannot save a White Balance Shift within the C1-C7 Custom Presets. You can only save one WB Shift per White Balance type, which means you’ll have to remember to adjust the WB Shift each time you change Recipes. Since X-Trans I was excluded from the Which Film Simulation Recipe, When? series, I decided to take WB Shift into account for this article, and choose Recipes with a variety of WB types. This will make the user experience more enjoyable, but it does exclude some Recipes that might be preferable over others, since I’m avoiding multiple Recipes with the same WB type. For the 7th Recipe, use Daylight/Fine instead of Auto; by doing so, you’ll still get a similar result, and, since the two Daylight WB Recipes share the same WB Shift, you’ll be good to go.

The Essential 7 Film Simulation Recipes to program into your X-Trans I camera first:

C1 — Kodachrome II — Auto WB

Kodachrome II

C2 — Punchy Velvia — Daylight/Fine WB

Punchy Velvia

C3 — Color Negative Film — Kelvin WB

Color Negative Film

C4 — Superia Xtra 400 — Shade WB

Superia Xtra 400

C5 — Vivid Color — Fluorescent 1 WB

Vivid Color

C6 — Provia — Incandescent WB

Provia

C7 — Sepia — *Use Daylight/Fine WB (instead of Auto)*

Sepia

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

How to Create Film Simulation Recipes

Posted on December 21, 2023 by Ritchie Roesch

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

Anders Lindborg has created or co-created a number of Film Simulation Recipes found on Fuji X Weekly, including my personal favorite: Kodak Tri-X 400. Some others are Kodak T-Max P3200, Kodak T-Max 400, Ilford FP4 Plus 125, Ilford HP5 Plus 400, Ilford Pan F Plus 50, Kodak Gold v2, seven Fujicolor Pro 160NS Recipes, and seven Fujicolor Pro 400H Recipes. He also made an important D-Range Priority discovery. Oh, and more are coming soon!

This morning I awoke to an email in my inbox from Anders. As a Christmas gift to you, he wanted to share his methods for creating Film Simulation Recipes that he has developed and put to use. This formula can be used by anyone. I have taken a similar approach a number of times myself (I do it in-camera, and not with X RAW Studio), although—for me—Recipes can come about many different ways; I don’t have one single method, but perhaps a handful of various approaches. I discussed it a bit in my Emulsion ’86 article.

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

Anders’ step-by-step formula is a path that you can follow to create your own Recipes that are certain to be accurate to any film aesthetic that you’d like to mimic. Oftentimes you can easily find the film spec sheets with a quick Google search, but for some emulsions you’ll have to dig deeper, or maybe you won’t find them at all. Many spec sheets for Kodak films are readily available, for example, but you may have trouble finding them for other brands or long-discontinued emulsions. If you can locate the spec sheet, then you can begin Step 1. If you don’t have or use X RAW Studio, you can do this in-camera, but it is probably a little easier to do with X RAW Studio; either way, it does require shooting RAW+JPEG so that you can reprocess the RAW file.

Thank you, Anders Lindborg, for sharing this with everyone! Even if you have no interest in creating a Film Simulation Recipe yourself, perhaps this gives you an idea of the incredible effort that sometimes goes into creating one.

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

Anders’ Film Simulation Development Method

Download all reference material you need, including film spec sheets. This is really important to have, if you want to create a realistic simulation. You will need a good chart of color wavelength in nanometers as well, to be able to use this method.
Load some reference photos into X Raw Studio. Select a good one that is taken at noon, as this used to be the official reference for film daylight temperature.
Note: The time when the photo is taken is important. Don’t cheat!
Select the base Film Simulation you think is most similar to the film you actually want to simulate. Sometimes, the general characteristics are more important than the color scheme being spot on.
Choose the Dynamic Range you think is most correct for your simulation. The characteristic curves chart from the spec sheets can be a lot of help here.
Set the White Balance (in kelvin) to a value that corresponds to the color of the film base layer. This will most likely make your colors look really off, but don’t worry about that right now.
Note: It helps knowing where the film was created, as the daylight temperature varies quite a bit depending on where in the world you are located.
Check the spec sheets and find out what colors of the second and third (with Fuji, sometimes a fourth) layers are. Look at the spectral sensitivity chart to find how the colors are distributed and which color is most prominent. Locate the highest peak of the dominant color and check the specified wavelength of the peak.
Look in the color wavelength chart and find the color that corresponds to the wavelength reading from the previous step. Now go back to X Raw Studio and open the WB Shift panel and locate the exact color you found. This takes some practice, but after doing it a few times it’s quite easy.
Now look at the colors of your photo and check the color distribution compared to the spectral sensitivity chart. Make any adjustments needed to balance out the color distribution.
Look in the spec sheets again and locate the spectral dye density curves chart. This chart describes the tonality of the film. Adjust Highlight, Shadow, and Clarity as needed.
Any other parameters needed should be set at this step. These include Grain, Sharpness, Color Chrome Effects, Noise Reduction, etc.. Note that changing a single parameter can have a huge impact, so be careful here!
Look at your photo again. Do the colors look like they should? If not, make more adjustments to either your selected White Balance or WB Shift. Only minor adjustments should be needed at this step.
Save your current recipe and apply it to your other reference photos in X Raw Studio. Compare them to photos found on Flickr and film review sites. Keep in mind that many of them are developed and scanned at home, so you need to learn how different development and scanning methods affect the final result! Adjust the recipe as needed and keep reapplying it to your reference photos and double check them over and over again.
If you think you might be done, it’s time to test it for real! Load the recipe into your camera and get out there. Try taking photos that mimics what you’ve found on the Internet so they are somewhat comparable. It’s all about details here, so keep iterating from Step 8 until you are happy. With hard work and a bit of luck, you’ll have a spot on clone of the original film!

“Don’t forget to share your creation with the world,” Anders Lindborg wrote, “and feel happy about contributing to the community! Just keep in mind that this is more of learning how to best mimic the original film, rather than creating an exact copy. There are so many variables that can affect the final result of real film and the most important part here is that the general behavior is the same. This method is proven to work for both color and black & white simulations and is all based on color science. Several successful simulations have been created while developing the method, so this is several years of blood, sweat and tears that have been compressed into these steps. While this method might look very advanced, trust me when I say that it works and that it’s worth the effort! Not only the general look of the film will be simulated, but also its behavior in different situations, including weird color shifts and other general quirks. The results have amazed me several times!”

Kodak Vision3 250D v2 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on December 19, 2023 by Ritchie Roesch

*Layers of Urban Construction* – Phoenix, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2

Recently, I published my adaptation of the Kodak Vision3 250D Film Simulation Recipe, which is for X-T3 and X-T30 cameras, for use on the “newer” X-Trans IV models, which are the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. This is one of my personal favorite Recipes—if you have a compatible camera, you should definitely give it a try! Unfortunately, for 5th-generation models—currently, the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!)—it will look slightly differently (but try it anyway), because blue renders more deeply on some film simulations.

As I was contemplating how I might approach the use of this Recipe on my X-T5, a Fuji X Weekly reader suggested that I should modify it by using the Nostalgic Neg. film simulation instead of Eterna. Because there are some similarities between those two film sims, there is potential for crossover. Sure enough, with the right modifications, I was able to recreate the look and feel of the Kodak Vision3 250D Recipe using Nostalgic Neg.; however, it’s not an identical rendering, especially the shadows, which are a little warmer. There are other small differences, too. As you know, one film can have many different looks depending on how it was shot, developed, and scanned or printed, so you could consider this v2 version of Kodak Vision3 250D to be a divergent (yet still similar) aesthetic that replicates a different handling of the film.

*Pots & Arches* – Buckeye, AZ – Fujifilm X-T5 – Kodak Vision3 250D v2

If you have a camera with the Nostalgic Neg. film simulation, I invite you to try this new Kodak Vision3 250D v2 Film Simulation Recipe! You should also try the version that uses Eterna, too, and see which one you like better. While the “v1” Recipe has been my favorite for years, I think I like this new v2 version just a little more. It definitely produces an analog-like look that is easy to appreciate.

Film Simulation: Nostalgic Neg.
Dynamic Range: DR200
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Fluorescent 1, -5 Red & 0 Blue
Highlight: +4
Shadow: +3
Color: -1
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 captured using this Kodak Vision3 250D v2 Film Simulation Recipe on my Fujifilm X-T5:

*Public Telephone* – Scottsdale, AZ – Fujifilm X-T5

*Spinning Carousel* – Scottsdale, AZ – Fujifilm X-T5

*Snack Stop* – Scottsdale, AZ – Fujifilm X-T5

*Nighttime at Circle K* – Surprise, AZ – Fujifilm X-T5

*Urban Bougainvillea* – Phoenix, AZ – Fujifilm X-T5

*Little Plant in a Courtyard* – Phoenix, AZ – Fujifilm X-T5

*Sitting & Waiting* – Phoenix, AZ – Fujifilm X-T5

*Outdoor Dining* – Phoenix, AZ – Fujifilm X-T5

*Vines & Concrete* – Phoenix, AZ – Fujifilm X-T5

*Reflected Light on a Tall Building* – Phoenix, AZ – Fujifilm X-T5

*High Rise Condo* – Phoenix, AZ – Fujifilm X-T5

*Constructing a Tall Building* – Phoenix, AZ – Fujifilm X-T5

*Jon* – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch

*95 LED Shoes* – Phoenix, AZ – Fujifilm X-T5

*Parking Garage* – Phoenix, AZ – Fujifilm X-T5

*Urban Vine* – Phoenix, AZ – Fujifilm X-T5

*No Left Turn* – Phoenix, AZ – Fujifilm X-T5

*Holiday Guitarist* – Phoenix, AZ – Fujifilm X-T5

*Cranes & Palms* – Phoenix, AZ – Fujifilm X-T5

*Electric Construction* – Phoenix, AZ – Fujifilm X-T5

*Apartment Patio* – Phoenix, AZ – Fujifilm X-T5

*Autumn Rooftop* – Buckeye, AZ – Fujifilm X-T5

*Gazebo Roof* – Buckeye, AZ – Fujifilm X-T5

*Rainbows & Bougainvillea* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Veiling Palm* – Buckeye, AZ – Fujifilm X-T5

*Pink Blossoming Flowers* – 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 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Top 10 Fujicolor Film Simulation Recipes

Posted on December 2, 2023 by Ritchie Roesch

*Spooner Cove* – Montaña de Oro SP, CA – Fujifilm X100V – Fujicolor 100 Gold

When I published my Top 25 Most Popular Film Simulation Recipes of 2023 (so far…), what was surprisingly absent were any that were modeled after or inspired by Fujifilm emulsions. The Top 25 were almost entirely Kodak-like Recipes. That shouldn’t be too surprising since Kodak was the most popular film manufacturer, so the desire for a Kodak rendering is to be expected. But, personally, I really appreciate many of the Fujicolor Recipes, and their complete exclusion from the Top 25 list was a bit unexpected.

Someone suggested that I should make a new list, this one showcasing the most popular Fujifilm-like Recipes. Just like the Top 25 list, this one is based on page-view website statistics. It’s a flawed method, but the best that I have available to me. I included the overall ranking, too, just so that you can see where they stand in the big picture.

The number one most popular Fujicolor Recipe is for X-Trans III cameras (plus the X-T3 and X-T30), as is number eight. The tenth spot is an X-Trans V Recipe. All the others are for X-Trans IV cameras. Eight of these use Classic Negative as the base, one uses PRO Neg. Std, and one uses Velvia. Some of these are personal favorite Recipes of mine, while some of my other personal favorite Recipes that are modeled after or inspired by Fujifilm emulsions didn’t make this list.

Without any further delay, here are the Top 10 Fujicolor Film Simulation Recipes:

#1 (#30 overall):

Fujicolor Superia 800

#2 (#41 overall):

Fujicolor Superia 800

#3 (#53 overall):

Fujicolor Natura 1600

#4 (#54 overall):

Fujicolor Superia 100

#5 (#57 overall):

#6 (#60 overall):

#7 (#61 overall):

#8 (#70 overall):

#9 (#72 overall):

#10 (#76 overall):

Find these Film Simulation Recipes and many more on the Fuji X Weekly App!

More on using AI to make Film Simulation Recipes

Posted on November 25, 2023 by Ritchie Roesch

Captured with the AI-made Urban Dreams Film Simulation Recipe on my Fujifilm X100V.

In early 2023, Artificial Intelligence burst onto the Film Simulation Recipe scene, and, at the request of photographers across the world, AI began creating all sorts of camera settings to emulate all sorts of different aesthetics for Fujifilm models. I was on the leading edge of this, and in March published Using AI to Create Film Simulation Recipes, which included the ChatGPT-created Urban Dreams Recipe.

I didn’t stop there. In April I published a YouTube video (which you’ll find below) entitled Kodachrome X Fujifilm Recipe made by ChatGPT vs Fuji X Weekly Kodachrome II. I don’t publish very many YouTube videos (only three in 2023); however, I felt this topic was important enough to dedicate a video to it. Shortly thereafter, also in April, I published a companion article called Can AI Make a Fujifilm Recipe?, which included the ChatGPT-created Kodak Ektachrome E100VS v1 Recipe (along with the non-AI v2).

I didn’t quit there—not even close! In June, on the SOOC Live broadcasts, Fujifilm X-Photography Nathalie Boucry and myself chatted twice (for about three hours in total) about ChatGPT Film Simulation Recipes. If you’re curious about this topic, that’s probably the most informative discussion you’ll find. I’ve included both of those videos below.

Also in June, as a companion piece for those two SOOC Live episodes, I published an article entitled Shooting with ChatGPT AI Fujifilm Film Simulation Recipes. That article included two more AI-made Recipes: Soft Blue Classic and Vivid Summer Glow. I’ve published a total of four ChatGPT Film Simulation Recipes on this website. I think two are pretty good, and two are very mediocre—only the two that are “good” are in the Fuji X Weekly App.

While I’ve published four AI-made Recipes, I’ve asked ChatGPT to create probably close to 50 (using multiple accounts). Most of them weren’t good, so they never saw the light of day. I’ve talked about all of this before, but just to quickly rehash, here are some of the big issues with using ChatGPT to create Film Simulation Recipes for Fujifilm cameras:

AI will always give you an answer, but whether that answer has any value is another question entirely.
AI can’t see, and doesn’t know how the various camera settings translate to real-world use. It can only attempt to match descriptions.
If you ask it to create the same Recipe—using the same exact wording—on multiple accounts, you will get multiple answers, often quite divergent from each other.
I’ve never experienced an instance where all of the required Recipe parameters were included in the first try. Each time, I’ve had to identify the missing camera settings, and ask AI to add those to the Recipe.
AI will sometimes include nonexistent or nonsensical settings.
ChatGPT is very predictable, and will not usually stray outside of certain box. Ask it to make enough of these, and the box is easily identifiable.
ChatGPT doesn’t cite its sources, even when asked. It definitely operates unethically, and probably (in my opinion) illegally—eventually courts will make various rulings as they hear different lawsuits.

So why bring this up again? First, I’ve had several people over the last month comment that ChatGPT is a wonderful resource for Fujifilm Film Simulation Recipes. I strongly disagree with that for the reasons mentioned above, and I thought it worthwhile to discuss those reasons again for those who might be unaware. Second, someone asked if Google’s Bard AI was any better than ChatGPT at creating Film Simulation Recipes. I wasn’t sure, so I spent some time over Thanksgiving putting it to the test. So let’s find out!

Captured with the AI-made Soft Blue Classic Film Simulation Recipe on my Fujifilm X100V.

The first question I asked Bard was, “Make me a Film Simulation Recipe for my Fujifilm X-T5 that mimics the aesthetic of Kodachrome 64 film.” Well, I could tell very quickly that this wasn’t going to work out well, as the first setting it gave was the Acros film simulation. It included the nonsensical setting of Color +2 (you cannot select Color when using Acros). The settings that Bard failed to provide were Dynamic Range, White Balance Shift, Color Chrome Effect (although it did give Color Chrome FX Blue), and Clarity. I assume that it would have also missed Grain size, but it said to set Grain to Off.

Obviously that “Kodachrome 64 Recipe” will not look anything like actual Kodachrome 64 slides, even if it did somehow make sense. I asked Bard to cite its sources, and to my surprise it did! It gave me (broken) links to my website, including these articles: Kodachrome 64, Kodachrome 25, and Monochrome Kodachrome. Apparently, Bard has been trained using Fuji X Weekly (or to search for it… Bard is a Google product after all), but it’s not very good at it. In my opinion, AI should provide a bibliography of its sources upfront without being asked. Even Wikipedia does that, and apparently it’s not a reliable enough source for serious work. Bard will cite its sources when asked, which is better than nothing, while ChatGPT won’t even do that. If Wikipedia can’t be taken seriously, than AI should be taken even less so. It’s super sketchy that AI doesn’t cite it’s sources, but at least Bard will do so when prompted to.

I asked Bard to tell me why it chose the settings that it did. This demonstrates very clearly that trying to match descriptions of camera settings with descriptions of the film is an unrealistic method for achieving accurate approximations of various looks. For example, “Acros is a black and white film simulation that provides a good starting point for replicating Kodachrome’s tonal range and contrast.” And, “Kodachrome had a tendency to lift shadows, creating a slightly brighter and more open appearance. Raising the shadow setting by 0.5 replicates this effect.” And, “Kodachrome had a subtle ability to retain detail in highlights, preventing them from becoming blown out. Lowering the highlight setting by -1 helps achieve this result.” If you know even a little about Kodachrome 64 film and Fujifilm camera settings, you should have no issues identifying the problems there.

Bard’s “Kermit the Frog juggling Elmo Recipe” is not a good choice for portraits.

I didn’t stop with that one Recipe. I asked Bard to make many more. After a number of tries, I began to ask it for ridiculous Recipes, just to see what it would do. Make me a Film Simulation Recipe that mimics Kermit the Frog juggling Elmo. Make me a Film Simulation Recipe that mimics the look of digesting rotten apples that are crawling with spiders. Make me a Film Simulation Recipe that mimics the aesthetic of comedian Brian Regan hitchhiking across the Delaware River during the Clone Wars. In each case—instead of responding with “you are nuts” or “that makes no sense”—it provided me with a Recipe. It always will. For the Brian Regan Recipe, it tells me, in order to capture the essence of his adventure, I should photograph him on a rural road next to a river bank with some fog. Sounds intriguing, but there’s a problem.

You see, Bard has a bigger tendency than even ChatGPT to include nonexistent settings. Some of these are Color Chrome FX Red (which, arguably, could be just Color Chrome Effect), Color Chrome FX Green, Grain Effect Medium, WB Shift +1, and Image Enhancement On. This is in addition to the missing settings that are required for a Recipe but weren’t included, and the occasional nonsensical ones (like Color +2 with Acros). Sometimes it’s hard to make sense of what Bard provides when asked to make a Recipe.

For those wondering about Color Chrome FX Green, Bard had this to say: Color Chrome FX Green increases saturation and vibrancy of green pixels and slightly lifts green shadows for a more balanced tonal range. Use sparingly, as a subtle application of Color Chrome FX Green can produce pleasing results. Excessive use may make the image appear unnatural. Of course, there is no such thing as Color Chrome FX Green, but even if there was, it wouldn’t work as described by Bard.

Captured with the AI-made Kodak Ektachrome E100VS v1 Film Simulation Recipe on my Fujifilm X-T5.

The conclusion of this whole article is that ChatGPT and Bard are not good resources for Film Simulation Recipes for Fujifilm cameras. They are both capable of making Recipes (they will always give you one if you ask), but whether or not those Recipes are worth using or resemble what they’re supposed to is another story entirely. A broken clock is correct twice each day, and sometimes you can get a good Recipe by chance when using AI, but most often that won’t be the case. However, because these chatbots tend to stay within a box and don’t often stray outside of it, the Recipes that they make are often not terrible, they’re usually okay-ish. But you have to put up with the missing, nonexistent, and nonsensical settings. And you have to be alright with the unethical nature of it. My personal advice, if you want a Recipe that is more likely to give you good results, is to look no further than my website.

Someone said that AI will usually do a better job than a complete novice, but never as good as an expert. I agree with that assessment. I think if you ask ChatGPT or Bard enough times for Film Simulation Recipes, you are bound to get some that are trash, a bunch that are so-so, and a couple that are actually good. You could probably have as much luck rolling dice or throwing darts to create Recipes. That’s just the way it is. However, the technology is advancing rather quickly, and it’s only a matter of time before AI will be able to analyze pictures, have a good understanding of Fujifilm camera settings, and be able to approximate an accurate replication of picture aesthetics with the available JPEG settings. We’re not there yet, though. There’s a significant gap. I don’t doubt that the technology will get there eventually, perhaps in another five or ten years.

That will put me out of business. I understand that day is eventually coming, and that’s ok. It is what it is, as they say. The sad thing is that AI is using my own words and work against me. The more I publish, the more resources OpenAI and Google have to train their AI. It’s a type of theft. I do think that the courts will eventually rule that much of what they’ve done doesn’t qualifying as “fair use” under the law, but the damage will already have been done, and folks like me wont be compensated a dime for it. That’s the way life goes sometimes. The big guy walks all over the little guy. But, when life throws you punches, bob and weave (I’ve heard that quote attributed to Joe Frazier, but I’m not certain), which simply means that I have to evolve. As Bob Dylan sang, the times, they are a changin’. They always have been, and always will be. That’s why I spent so much time this year exploring the topic of AI Film Simulation Recipes. I had to know where Fuji X Weekly stands in all of it. This website has evolved a whole bunch since its launch in 2017, and it will continue to do so in the coming months and years. I appreciate all of those who have come along for the ride, and I look forward to seeing where this Fuji X Weekly thing goes as the future unfolds. If anything, it will be an interesting adventure, perhaps like Brian Regan’s hitchhiking escapades along the foggy Delaware River during the Clone Wars.

Kodak Vision3 250D — Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe

Posted on November 23, 2023 by Ritchie Roesch

*Working* – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe

This is a long-overdue adaptation of the X-T3/X-T30 Kodak Vision3 250D Film Simulation Recipe for use on “newer” X-Trans IV cameras. Kodak Vision3 250D is one of my favorite Recipes, but it’s only compatible with the Fujifilm X-T3 and X-T30; however, I’ve been using it on my X100V and X-E4 occasionally for years. It’s not hard to adapt X-T3/X-T30 or X-Trans III Recipes for use on newer models by simply selecting a Grain size (Small or Large), setting Color Chrome FX Blue (and Color Chrome Effect for X-Trans III Recipes) to Off, and Clarity to 0. In the case of this Recipe, I prefer Clarity set to -2 and not 0, but it’s acceptable either way.

Vision3 250D is a medium-speed daylight-balanced color motion picture film introduced by Kodak in 2009. It was a replacement for the similar (yet slightly inferior) Vision2 250D. Vison3 250D can be developed in ECN-2 chemistry or C-41. There is a lot of variation in how the film can look depending on a host of factors—especially how shot, developed, and scanned—but I’ve always been impressed with how closely this Recipe mimics some of the aesthetics produces by the emulsion.

*Colorful Landscape Flowers* – Buckeye, AZ – Fujifilm X-E4 – Kodak Vision3 250D Recipe

This Kodak Vision3 250D Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth-generation models, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), you can use this Recipe, but blue will render more deeply, so it will look slightly different.

Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Fluorescent 1, -3 Red & -1 Blue
Highlight: +3
Shadow: +4
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation Recipe on my Fujifilm X-E4:

*MartAnne’s* – Flagstaff, AZ – Fujifilm X-E4

*Dancing Joy* – Salt Lake City, UT – Fujifilm X-E4

*No Fun* – Salt Lake City, UT – Fujifilm X-E4

*Urban Daisies* – Salt Lake City, UT – Fujifilm X-E4

*Boat on Lake Hamilton* – Hot Springs, AR – Fujifilm X-E4

*Rainy Rose* – Buckeye, AZ – Fujifilm X-E4

*Willow* – Bountiful, UT – Fujifilm X-E4

*Afternoon Joy* – Buckeye, AZ – Fujifilm X-E4

*Desert Creek* – Buckeye, AZ – Fujifilm X-E4

*Arizona Date Palm* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea & Palm Trunk* – Buckeye, AZ – Fujifilm X-E4

*Potted Flower Blooms* – Buckeye, AZ – Fujifilm X-E4

*Park Gazebo* – Buckeye, AZ – Fujifilm X-E4

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