Camera Settings | FUJI X WEEKLY

Which Film Simulation Recipes, When? — Part 1 (X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II + X-Trans V)

Posted on October 28, 2022 by Ritchie Roesch

*Captured with a Fujifilm X-E4 using the Kodak Portra 400 Film Simulation Recipe.*

I get asked all of the time when to use which Film Simulation Recipe. With over 250 on the Fuji X Weekly App to choose from, it can be difficult to know when each recipe should be chosen. Besides, you only have C1-C7 Custom Presets on your Fujifilm camera (most of you, anyway). Which seven recipes should you have programed? When should you select them?

The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular recipe will work for you or not. Only you can answer that for yourself, and you have to try a recipe to know. With that said, I attempt to give good advice. In each SOOC broadcast I recommend a few recipes for various situations. Still, I’ve really struggled with how to be helpful to those asking for direction—that is until I watched a video by Grainydays, a YouTube channel about film photography, in which photographer Jason Kummerfeldt tries to give advice on when to use which film stocks. You can view it below:

Jason has a similar dilemma. Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution is simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too; I’m going to do the same thing for recipes. I’ll tell you what my preferences are, and invite you to try them too if you want. If you don’t want, that’s cool. There’s not any one way—and especially no right or wrong way—to do this. Instead, figure out what works for you, and do that. If you’re not sure, perhaps this article will be helpful to you.

I’m going to suggest seven recipes for you to program into your Fujifilm camera, and state when to use each. Since recipes are (for the most part) generationally specific, I’m going to make this a series of articles to cover most Fujifilm models. In this first one we’ll cover “newer” X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. This should also apply to X-Trans V cameras (from the reports I’ve received, X-Trans IV recipes are fully compatible with X-Trans V, although I have not tested this myself to know for certain) and newer GFX models (although the rendering will be slightly different).

C1 — Kodak Portra 400 v2 — Golden Hour

*Evening Charge* – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”

Kodak Portra 400 v2 is a recipe that does well at anytime during daylight hours, and as the name suggests it is a good option for portrait photography, but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. This really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, make sure that this is the one you’re shooting with. I personally use this recipe frequently.

Alternatives for “golden hour” photography:

Positive Film
Fujicolor Pro 400H
Pacific Blues
Retro Gold
Kodak Portra 800 v2

C2 — Kodachrome 64 — Midday

*Denny’s Days* – Beaver, UT – Fujifilm X-E4 – “Kodachrome 64”

Kodachrome 64 is another one that could be your go-to everyday-use recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, but I think it is one of the best options for when the sun is not low—from mid-morning to mid-afternoon. This is one of the few recipes that you’ll almost always find programmed into my camera.

Alternatives for “midday” photography:

Bright Kodak
Fujicolor Natura 1600
Vintage Color
Nostalgia Color
Kodachrome II

C3 — Kodak High Definition Plus 200 — Overcast

*Evening Clouds Over Wasatch Mountains* – Farmington, UT – Fujifilm X-E4 – “Kodak High Definition Plus 200”

If it’s thick overcast and rainy, the Kodak High Definition Plus 200 recipe is an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour”), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.

Alternatives for “overcast” photography:

Elite Chrome 200
Reggie’s Portra
Kodak Max 800
Old Kodak
Kodak Brilliance

C4 — Kodak Ultramax 400 — Indoor

*Table Bloom* – Layton, UT – Fujifilm X100V – “Kodak Ultramax 400”

For natural light indoor photography, my top choice is the Kodak Ultramax 400 recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural light indoor pictures. For artificial-light indoor images, use the recipes for nighttime photography below.

Alternative for “indoor” photography:

Color Negative 400
Classic Negative
Fujicolor Negative
Fujicolor C200
Fujicolor Superia 1600

C5 — Serr’s 500T — Nighttime

*11th Street* – Astoria, OR – Fujifilm X100V – “Serr’s 500T”

If it’s after dark, my top choice for nighttime or artificial light photography is Serr’s 500T. This is a very blue recipe, so it isn’t a good option for many daytime situations, but from just past sunset to just prior to sunrise, this is the one that I would most recommend, especially if there are warm artificial lights.

Alternatives for “nighttime” photography:

Ektachrome 320T
CineStill 800T
Pushed CineStill 800T
Pure Negative
Fujicolor Super HG v2

C6 — Xpro ’62 — Alternative Process

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

For an alternative process recipe—a fun option for unusual results—my top recommendation is Xpro ’62. Use it anytime of the day or night, as it is surprisingly versatile. The results will be different, and perhaps unexpected, yet the experience will be a lot of fun, so give it a try!

Alternatives for “alternative process” photography:

Expired Slide
Expired Slide v2
Bleach Bypass
Pulled Fujicolor Superia
Faded Negative

C7 — Kodak Tri-X 400 — B&W

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

My all-time favorite recipe is Kodak Tri-X 400, so it should come as no surprise that it is my top recommendation for monochrome photography. It’s not the most popular recipe on Fuji X Weekly, but it is the most popular B&W recipe. Definitely give this one a try if you’ve never done so before.

Alternatives for “B&W” photography:

Ilford HP5 Plus 400
Moody Monochrome
Monochrome Negative
Kodak T-Max 400
Ilford Pan F Plus 50

You have plenty to choose from, because I just suggested to you 42 different Film Simulation Recipes! Of course, there are so many other recipes that I could have listed—just because one didn’t make this list doesn’t mean that it’s not good; however, I do feel that this is a good set—not only the seven suggestions, which I believe are a winning C1-C7 combination, but the alternative options, too. With that said, don’t let an exclusion from this list discourage you from trying a particular recipe, because you never know when one just “clicks” for you, and you find a new favorite. The top picture in this article was captured with a recipe that I didn’t recommend, yet I do really like that recipe and do recommend it, and I even use it myself sometimes, including recently. It’s a good reminder that this is all subjective, and you might not prefer any of my recommendations, but instead have seven that I didn’t mention as your C1-C7 custom presets. So, I guess, the conclusion is to try every recipe until you find the ones you love and fulfill your photographic needs—but, if you’re not sure, maybe start with these 42.

Next up will be recipes for “older” X-Trans IV cameras—the X-T3 and X-T30.

Part 2 Part 3

Fujifilm X-T30 & X-T3 Film Simulation Recipe: Cinematic Negative

Posted on October 21, 2022 by Ritchie Roesch

*Rearview Sunset* – Phoenix, AZ – Fujifilm X-T30 – “Cinematic Negative”

I went down a pretty deep rabbit hole. I started researching cinematographer Greig Fraser, which led to investigating other great cinematographers, such as Roger Deakins, Rodrigo Prieto, Hoyte van Hoytema, Caleb Deschanel, and several more. I spent quite a bit of time learning about various motion picture techniques. I came to the conclusion that cinematographers often better understand light than many photographers. By “understand light” I mean 1) light qualities, 2) how light is rendered on what it is being captured on, 3) how to use or manipulate light so that it is rendered precisely as intended, and 4) how light affects moods and emotions. Granted, a movie has a whole team of people who’s job it is to control and manipulate the light, but the cinematographer (working with the director) is the one in charge of it.

You might notice when watching a movie that the colors and color cast change from scene-to-scene. The way you respond when viewing a predominately blueish scene is much different than a reddish scene. The colors, among other things, trigger certain responses from the viewers, and cinematographers use this extensively, and often brilliantly. Sometimes it’s quite obvious, and sometimes it’s much more subtle, and you might not even notice unless you’re paying careful attention. If you understand light similarly to a cinematographer, you could do the same thing in your photography.

*Twin Blooms* – Buckeye, AZ – Fujifilm X-T30 – “Cinematic Negative”

Another thing that I stumbled across is gear. Obviously film and digital have different aesthetics—digital is much easier to work with, especially when it comes to incorporating special effects and CGI, but it can come across as clean, clinical, and soulless. Film has more character and a different feel, but is much more difficult to work with. There are also digital-film hybrid techniques. Whatever method is used will affect the final aesthetic. Some cinematographers like working with modern lenses, and some—like Greig Fraser—prefer vintage lenses because they have more character. Filters are a big part of the process. Color correction filters (to control the light) and diffusion filters (to give atmosphere) are pretty common. I was surprised to learn that some cinematographers like putting water, silicone, dirt, etc., on the filter to dirty them, and some even like shooting through glass (in-between the camera and the subject).

This is probably more than you ever wanted to know, but I think it’s important to understand for this recipe. First, the light you shoot in will affect how pictures are rendered (definitely not unique to this recipe, but worth noting). Cool light will give a cool color cast, warm light will give a warm color cast. You’ll want to think about the light—how it will render—and the mood or emotions you want to convey in your photographs. Second, inspired by Greig Fraser, I used vintage lenses for these photographs, mostly a Helios 44-2. You don’t have to use vintage glass, but I do think it helps to achieve the desired aesthetic. Third, for most of these images (especially if there was a bright light source) I used a 5% CineBloom diffusion filter. What I appreciate about this filter is that it’s quite subtle. The 5% CineBloom filter is not a requirement for this recipe, but it helps give it a filmic look, especially when there are bright highlights, so I do recommend it if you have one.

*Stainless Fryer* – Phoenix, AZ – Fujifilm X-T30 – “Cinematic Negative”

This “Cinematic Negative” Film Simulation Recipe isn’t modeled after any specific motion picture film, but is more inspired by a generic daylight-balanced cinema film aesthetic after researching a number of different cinematographers. It is compatible with the Fujifilm X-T30 and X-T3 cameras. To use it on newer X-Trans IV cameras (X-Pro3 and newer) plus X-Trans V, set Color Chrome FX Blue to Off, Clarity to 0 (or -2 in lieu of the 5% CineBloom filter), and decide on either Grain size Small or Large. For the X-H1, you can use this recipe if you ignore Color Chrome Effect; however, it will render slightly differently. I used the 16:9 aspect ratio for some of these photographs, but use whichever aspect ratio you prefer.

Eterna
Dynamic Range: DR400
Highlight: +1
Shadow: +2
Color: +4
Noise Reduction: -4
Sharpness: -1
Grain Effect: Weak
Color Chrome Effect: Strong
White Balance: Incandescent, +8 Red & -9 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: 0 to +2/3

Below are all camera-made JPEGs captured using this “Cinematic Negative” Film Simulation Recipe on my Fujifilm X-T30:

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

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

*Palms Trees* – Glendale, AZ – Fujifilm X-T30

*Bougainvillea Blue* – Buckeye, AZ – Fujifilm X-T30

*Crisscross Contrails* – Buckeye, AZ – Fujifilm X-T30

*Last Light on Rooftop* – Glendale, AZ – Fujifilm X-T30

*Field 4* – Buckeye, AZ – Fujifilm X-T30

*Basketball Boys* – Glendale, AZ – Fujifilm X-T30

*Coca-Cola Trash* – Glendale, AZ – Fujifilm X-T30

*Backyard Roses* – Buckeye, AZ – Fujifilm X-T30

*Poisonous Shrub* – Buckeye, AZ – Fujifilm X-T30

*Back of Mailboxes* – Buckeye, AZ – Fujifilm X-T30

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

*Suburban Flare* – Buckeye, AZ – Fujifilm X-T30

*The Singer* – Glendale, AZ – Fujifilm X-T30

*Window Dusk* – Buckeye, AZ – Fujifilm X-T30

*Butcher Shop* – Buckeye, AZ – Fujifilm X-T30

*Yes, We’re Open* – Phoenix, AZ – Fujifilm X-T30

*Making Burgers* – Phoenix, AZ – Fujifilm X-T30

*The Grill* – Phoenix, AZ – Fujifilm X-T30

*Hotpoint* – Glendale, AZ – Fujifilm X-T30

*Longest Fry* – Phoenix, AZ – Fujifilm X-T30

*Open At Night* – Buckeye, AZ – Fujifilm X-T30

*Redeye* – Avondale, AZ – Fujifilm X-T30

*Light on Tree* – Buckeye, AZ – Fujifilm X-T30

*Bel Air Tail* – Buckeye, AZ – Fujifilm X-T30

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

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Four Fujifilm X-Trans IV Film Simulation Recipes: KodaNeg VC & NC

Posted on October 13, 2022 by Ritchie Roesch

*Rainfall on the Desert Mountains* – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”

I’m asked pretty regularly if I can create a Film Simulation Recipe that mimics a certain look—usually a particular film stock, but occasionally the aesthetic of a certain photographer. These recipes began as an attempt to recreate the look of a certain photographer. Unfortunately, despite much effort, I wasn’t successful. When I say “much effort” I mean that I went as far as having conversations with this photographer (which is pretty cool, because he’s well known and respected) to try and find out what he does to get his signature aesthetic. I tried some pretty unconventional tactics to get his look straight out of camera, but in the end I determined that it’s not possible with Fujifilm’s current JPEG options. Still, I really liked one of the recipes that I created while trying (and failing) to mimic the look, so I began using it.

Right around this same time someone asked if I could create a recipe that better mimics the Kodak Ektar 100 aesthetic from a particular photographer (as one film can produce many different looks depending on a host of factors). When I saw the images, my first thought is that it looked a lot like this new recipe, except with the color turned way up. So I turned Color up from -4 to +4, and the results were surprisingly similar to Ektar. An exact match? No, but definitely in the ballpark, and certainly close enough that if one is looking for an alternative Kodak Ektar 100 recipe, this is one to consider.

*Red Bench* – Tonto Natural Bridge SP, AZ – Fujifilm X100V – “KodaNeg VC”

I stated that I did something unconventional to create this recipe: I used a 1/4 Black Pro Mist diffusion filter, and I did so because it has a slight reddish-brown color cast. Normally I prefer CineBloom filters because they don’t have a color cast, but for this recipe it was necessary. If you have a 10% CineBloom you can use that instead; however, it will be slightly less warm. If Fujifilm allowed .5 adjustments to White Balance Shift, you could move a half-point towards red and achieve basically the same thing, but they don’t. I find that +7 Red is too strong when not using a Black Pro Mist, so I would definitely stick with +6, even though it is less warm. After creating the Black Pro Mist version, I set out to make an alternate version that does not use a diffusion filter, yet produces a similar look (albeit slightly less warm due to the lack of Black Pro Mist filter). So there are four Film Simulation Recipes in total here: two low-saturation options (with a without a Black Pro Mist filter), and two high-saturation options (also with and without a Black Pro Mist filter).

When Kodak introduced Portra, it initially came in two varieties: VC (“vivid color”) and NC (“neutral color”). The VC emulsion was more optimized for landscape photography and the NC emulsion was more optimized for portrait photography. These recipes aren’t intended to mimic Kodak Portra, but I decided to barrow the VC and NC abbreviations anyway—the two VC recipes are optimized for landscapes, while the two NC recipes are optimized for portraits. You can clearly see this in the two sets of images below.

I named these recipes “KodaNeg” because they have warm Kodak-like colors… maybe like Kodak color negative film paired with an 81A or 81B warming filter—color correction filters were fairly commonly used back in the film days, and 81A was probably the most popular among landscape photographers. Which Kodak color negative film? I didn’t model these after any specific film, so they don’t closely resemble any; however, the NC recipes are slightly Portra-like, and the VC recipes are slightly Ektar-like, but are not exact match to either.

If you have a 1/4 Black Pro Mist diffusion filter, I invite you to try the two KodaNeg recipes below that are intended for use with a diffusion filter. If you don’t have a Black Pro Mist—no worries—use the two recipes that are intended to be used without a diffusion filter. Unfortunately, because these require Clarity and Color Chrome Effect, they’re not compatible with the X-T30 and X-T3. Those with X-Trans V cameras should be able to use these recipes, but I do not have any personal experience to know for certain.

KodaNeg VC (with Diffusion Filter)

X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II

*Pickup Trucks* – Pine, AZ – Fujifilm X100V – “KodaNeg VC”

Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.

Provia
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: +4
Noise Reduction: -4
Sharpness: 0
Clarity: +3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto, +6 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X100V:

*Dead Tree & Four Peaks* – Fort McDowell, AZ – Fujifilm X100V

*Red Rock* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Gowan Trail* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Bridge Trail* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Cactus Above the Trail* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Small Waterfall* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Forest Pond* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Turning Autumn* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Sunlight Sky & Golden Trees* – Pine, AZ – Fujifilm X100V

*Barely Autumn* – Pine, AZ – Fujifilm X100V

*Handcrafted* – Pine, AZ – Fujifilm X100V

*Back of Sign* – Pine, AZ – Fujifilm X100V

*I is for Ice* – Pine, AZ – Fujifilm X100V

*Window Wash Bucket* – Payson, AZ – Fujifilm X100V

KodaNeg NC (with Diffusion Filter)

X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II

*Fujifilm X70 on a Bed* – Pine, AZ – Fujifilm X100V – “KodaNeg NC”

Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.

Provia
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: -4
Noise Reduction: -4
Sharpness: 0
Clarity: +3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto, +6 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X100V:

*Power Pole* – Pine, AZ – Fujifilm X100V

*Pines & Oaks* – Pine, AZ – Fujifilm X100V

*Water Dripping Over Cliff* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Forested Mountain* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Mountain Path* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Forest Floor* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Logs in a Shallow Pond* – Tonto Natural Bridge SP, AZ – Fujifilm X100V

*Bare Tree* – Tonto Natural Bridge, AZ – Fujifilm X100V

*Girl Sitting on a Porch* – Pine, AZ – Fujifilm X100V

*Drops on the Eave* – Pine, AZ – Fujifilm X100V

*Open Obscured* – Pine, AZ – Fujifilm X100V

KodaNeg VC (without filter)

X-T4, X-S10, X-E4, & X-T30 II)

*Yellow Cactus* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4 – KodaNeg VC”

This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.

Provia
Dynamic Range: DR400
Highlight: -1
Shadow: +0.5
Color: +4
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto, +6 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X-E4:

*Saguaro & Four Peaks* – Fort McDowell, AZ – Fujifilm X-E4

*Prickly Cactus* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Logs in a Pond* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Red Rock Pond* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Small Creek* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Viewpoint 3* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Pine Creek Trail* – Tonto Natural BridgeSP, AZ – Fujifilm X-E4

*Cactus Rock* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Red Hills* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Little Blooms in the Forest* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Yellow Tree in the Forest* – Pine, AZ – Fujifilm X-E4

*Touch of Autumn* – Pine, AZ – Fujifilm X-E4

*Forestscape* – Pine, AZ – Fujifilm X-E4

KodaNeg NC (without filter)

X-T4, X-S10, X-E4, & X-T30 II)

*Desert Storm* – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”

Provia
Dynamic Range: DR400
Highlight: -1
Shadow: +0.5
Color: -4
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto, +6 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X-E4:

*Clouds Over Trees* – Pine, AZ – Fujifilm X-E4

*Electric Forest Rain* – Pine, AZ – Fujifilm X-E4

*Eave Drops* – Pine, AZ – Fujiifilm X-E4

*White Cloud* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Storm Behind Trees* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Little Red Berries & Cloud* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Smoke Stack* – Pine, AZ – Fujifilm X-E4

*Mountain Trees* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Mobile Videography* – Pine, AZ – Fujifilm X-E4

*Cactus in the Forest* – Pine, AZ – Fujifilm X-E4

*Forest Cactus* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

*Cliff Cactus* – Tonto Natural Bridge SP, AZ – Fujifilm X-E4

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

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Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Fujichrome Provia 100F

Posted on October 5, 2022 by Ritchie Roesch

*Berry Behind the Baseball Diamond* – Farmington, UT – Fujifilm X100V – “Fujichrome Provia 100F”

This Film Simulation Recipe is called “Fujichrome Provia 100F” after the film that it is intended to mimic. Fujifilm introduced Provia 100, a color reversal film, in 1994, and replaced it with the much improved Provia 100F in 2001. I’ve only shot a couple of rolls of Provia 100F. I remember that it had a cool color cast (especially when compared to Kodak films), it had a fair amount of contrast, moderate saturation, and tended to render blues strongly. This recipe has been in the works for awhile, with a lot of failed attempts. I think it does pretty well at reproducing the aesthetic of the film, but there are definitely a few compromises—more of the “memory color” that Fujifilm talks about than perhaps a 100% accurate rendition. Still, I believe that it turned out pretty well overall.

You might be surprised that this recipe doesn’t use the Provia film simulation as its base, but instead uses Classic Chrome. The Provia film simulation doesn’t actually resemble very well the film that it was named after—Fujifilm used it more as a marketing name on the X series than anything else. Velvia was the Fuji slide film that I most often shot with, but Provia was probably their most popular because it wasn’t nearly as wild as Velvia, and produced more true-to-life (yet still fairly vibrant) colors.

*Actual Fujicolor Provia 100F 35mm film. Chicago, 2005.*

This Fujicolor Provia 100F Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App since January, but it has been replaced by a new Early-Access Recipe, so now it’s available to everyone. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should be fully compatible with X-Trans V cameras, but I’ve yet to be able to test it to know if it renders the same or not. Those with newer GFX cameras can use this recipe, too, but it will render slightly different.

Classic Chrome
Dynamic Range: DR400
Highlight: -1
Shadow: +3
Color: +4
Noise Reduction: -4
Sharpening: -1
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Daylight, -2 Red & +5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs captured using this “Fujichrome Provia 100F” film simulation recipe on my Fujifilm X100V and Fujifilm X-E4 cameras:

*Mushos for 5$* – Buckeye, AZ – Fujifilm X-E4

*Truck Dodging the Sunlight* – Buckeye, AZ – Fujifilm X-E4

*Sunlight Pouring on Leaves in Early Autumn* – Buckeye, AZ – Fujifilm X-E4

*Wasatch Front* – Farmington, UT – Fujifilm X100V

*Blue Sky Reeds* – Farmington, UT – Fujifilm X100V

*Branch Berries* – Farmington, UT – Fujifilm X100V

*Baseball Sky* – Farmington, UT – Fujifilm X100V

*Windsock* – Farmington, UT – Fujifilm X100V

*Field 3* – Farmington, UT – Fujifilm X100V

*Skateboard & Runner* – Farmington, UT – Fujifilm X100V

*Creek Under Branches* – Farmington, UT – Fujifilm X100V

*Trail Through the Trees* – Farmington, UT – Fujifilm X100V

*Fence Along Path* – Farmington, UT – Fujifilm X100V

*Josh at the Court* – Farmington, UT – Fujifilm X100V

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Fujifilm X100V (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe: Kodak Royal Gold 400

Posted on October 5, 2022 by Ritchie Roesch

*This Old House is now a Business* – Avondale, AZ – Fujifilm X100V – “Kodak Royal Gold 400”

This Film Simulation Recipe began as an attempt to achieve a “memory color” aesthetic of photographic prints from the 1990’s and early 2000’s; when creating this recipe I wasn’t concerned about the specific films or processes. After shooting with this recipe and reviewing the results, I was reminded of Kodak Royal Gold 400 film… sometimes. Of course, one film can produce many different aesthetics, depending on (among other things) how it was shot, developed, scanned and/or printed. Royal Gold 400 didn’t always or even usually look like this, but sometimes it did, and I found some examples in a photo-box and online that were quite similar—I’m not sure why, but my suspicion is that the film was mishandled, either from being stored improperly (possibly exposed to too much heat) or waiting too long to develop after exposing. Film can be finicky, but that serendipity is something that makes it special.

Royal Gold 400 was introduced by Kodak in 1994 as a replacement to the original Kodak Ektar 400 film. The Royal Gold line, which also came in ISO 100 and 200 versions, was marketed as a “step up” from Kodak Gold, with finer grain and more vibrant colors. It was more-or-less an updated Ektar emulsion that was renamed for marketing reasons (Gold sold a lot more than Ektar). In the early 2000’s Royal Gold was replaced by the High Definition/Royal Supra line. This Kodak Royal Gold 400 Film Simulation Recipe is a “happy accident” facsimile of one (of many) possible aesthetics from the film.

*Bougainvillea Among Trumpets* – Buckeye, AZ – Fujifilm X100V – “Kodak Royal Gold 400”

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 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!

This Kodak Royal Gold 400 Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should also be compatible with X-Trans V models, but I’ve not tested it myself to know for certain. Those with newer GFX models can use it, too, although it will render slightly different. If you are a Fuji X Weekly App Patron, this recipe is available to you right now on the App!

Example photographs captured using this “Kodak Royal Gold 400” Film Simulation Recipe on my Fujifilm X100V:

*Mending Blue* – Avondale, AZ – Fujifilm X100V

*Quality Auto Service* – Avondale, AZ – Fujifilm X100V

*A-Town Garage* – Avondale, AZ – Fujifilm X100V

*Clubhouse* – Avondale, AZ – Fujifilm X100V

*A Little Red* – Avondale, AZ – Fujifilm X100V

*4 Sale* – Avondale, AZ – Fujifilm X100V

*Shapes* – Avondale, AZ – Fujifilm X100V

*Cactus Liquor* – Avondale, AZ – Fujifilm X100V

*Sideways Saguaro Stop* – Avondale, AZ – Fujifilm X100V

*Library* – Avondale, AZ – Fujifilm X100V

*Lock & Safe* – Avondale, AZ – Fujifilm X100V

*Going to the Dentist* – Avondale, AZ – Fujifilm X100V

*Sidewalk Bicyclist* – Avondale, AZ – Fujifilm X100V

*Red Car & Wine Bar* – Buckeye, AZ – Fujifilm X100V

*Americana Icon* – Buckeye, AZ – Fujifilm X100V

*N Recep* – Avondale, AZ – Fujifilm X100V

*Park Hoop* – Buckeye, AZ – Fujifilm X100V

*Outfield* – Buckeye, AZ – Fujifilm X100V

*Bougainvillea Among Trumpets 2* – Buckeye, AZ – Fujifilm X100V

*Butterfly Cage* – Buckeye, AZ – Fujifilm X100V

*Pink Bloom in the Garden* – Buckeye, AZ – Fujifilm X100V

*Sunlit Table Corner* – Avondale, AZ – Fujifilm X100V

*Orange Soda Cup* – Buckeye, AZ – Fujifilm X100V

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

Fujifilm X70 (X-Trans II) Film Simulation Recipe: Classic Kodak Chrome

Posted on September 28, 2022 by Ritchie Roesch

*Road Work Ahead* – Glendale, AZ – Fujifilm X70 – “Classic Kodak Chrome”

Earlier this year I started a new Film Simulation Recipe series with the intention of customizing each film simulation to be optimized for the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. The first recipe in this series is Standard Provia, the second is Improved Velvia, and the third is Everyday Astia. Now it’s time for Classic Chrome!

The problem with creating a Classic Chrome recipe for this series is there is already one that optimizes the aesthetic that Fujifilm intended. It already exists! So the challenge, of course, is to create something similar yet different, and hopefully every bit as good as the “old” recipe. Also, I thought to do it for X-Trans II cameras, which have thus far been left out of this series. I call this recipe “Classic Kodak Chrome” because the Classic Chrome film simulation is supposed to resemble a Kodak aesthetic, and this recipe definitely does. Fujifilm would never call the film simulation Kodak Chrome (even if they had the rights to use the brand name), but that doesn’t prevent me from including the Kodak name in my recipe.

*Please, Dad—No More Pictures!* – Buckeye, AZ – Fujifilm X70 – “Classic Kodak Chrome”

Most X-Trans II cameras have the Classic Chrome film simulation, but not all; this “Classic Kodak Chrome” Film Simulation Recipe is only compatible with those X-Trans II cameras with Classic Chrome, such as the X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, and XQ2 . Unfortunately, this recipe is not compatible with the X100S, X20, and XQ1, even though they are X-Trans II. Those with Bayer models with Classic Chrome can also use this recipe, although it will render slightly different on those cameras.

Classic Chrome
Dynamic Range: DR200
Highlight: -1 (Medium-Soft)
Shadow: 0 (Standard)
Color: +1 (Medium-High)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Auto, +2 Red & -2 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Classic Kodak Chrome” Film Simulation Recipe:

*R2-D2 Junkyard* – Buckeye, AZ – Fujifilm X70

*Old School Diner* – Glendale, AZ – Fujifilm X70

*Three Scary Pumpkins* – Buckeye, AZ – Fujifilm X70

*Big Intersection* – Glendale, AZ – Fujifilm X70

*Old Garage* – Glendale, AZ – Fujifilm X70

*Yellow Building Behind White Fence* – Glendale, AZ – Fujifilm X70

*Small Neighborhood Flowers* – Glendale, AZ – Fujifilm X70

*Autumn Window* – Glendale, AZ – Fujifilm X70

*Doll & Toy Museum* – Glendale, AZ – Fujifilm X70

*Brick, Tree, Sun* – Glendale, AZ – Fujifilm X70

*Trees & Glass* – Glandale, AZ – Fujifilm X70

*Tree Tops & Cyan Sky* – Buckeye, AZ – Fujifilm X70

*Singular Garden Blossom* – Buckeye, AZ – Fujifilm X70

*Pink Summer Blossom* – Buckeye, AZ – Fujifilm X70

Comparison

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Fujifilm X-E4 Film Simulation Recipe: Analog Gold

Posted on September 27, 2022 by Ritchie Roesch

*Wood Shack* – Farmington, UT – Fujifilm X-E4 – “Analog Gold”

This Film Simulation Recipe is called Analog Gold because it has a vintage film-like aesthetic with a golden color cast. It produces a warm, somewhat-muted look, and does well in both sunny and overcast conditions. While it’s not modeled after any specific film or process, it does convey an analog quality that’s easy to appreciate. I know that some of you will love this one!

I don’t recall much of the backstory of this recipe. I published it in January as a Patron Early-Access Recipe on the Fuji X Weekly App (which means a new Early-Access Recipe has replaced it, so if you are a Fuji X Weekly App Patron, be sure to look out for that), but I didn’t give a lot of details, and nine months later I just don’t remember. I think it was just some experimentations that I was doing at the time. If you like vintage-analog aesthetics, be sure to give this one a try!

*Kaysville Pond in January* – Kaysville, UT – Fujifilm X-E4 – “Analog Gold”

This “Analog Gold” Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3, X-T30, X-Pro3, or X100V cameras. It’s likely also compatible with the X-H2 and X-H2s, but I haven’t tried to know for sure. Those with newer GFX cameras can use it, too, although it will render slightly different.

Eterna Bleach Bypass
Dynamic Range: DR400
Highlight: -2
Shadow: +1.5
Color: +3
Noise Reduction: -4
Sharpening: -2
Clarity: -4
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Daylight, +4 Red & -9 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “Analog Gold” film simulation recipe on my Fujifilm X-E4:

*Sunny Day Suburb* – Buckeye, AZ – Fujifilm X-E4

*Small Sunlit Tree Leaves* – Buckeye, AZ – Fujifilm X-E4

*Weather Radar* – Farmington, UT – Fujifilm X-E4

*Dry Leaves & Red Berries* – Kaysville, UT – Fujifilm X-E4

*Rusty Fence Post* – Farmington, UT – Fujifilm X-E4

*Flowing Creek in Grass* – Kaysville, UT – Fujifilm X-E4

*Frozen Pond* – Kaysville, UT – Fujifilm X-E4

*Grass & Frozen Pond Water* – Kaysville, UT – Fujifilm X-E4

*Grass in the Ice* – Kaysville, UT – Fujifilm X-E4

*Dry Shrub* – Kaysville, UT – Fujifilm X-E4

*Helicopters Waiting to Fly* – Kaysville, UT – Fujifilm X-E4

*Statue & Sky* – Kaysville, UT – Fujifilm X-E4

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: September Summer

Posted on September 26, 2022 by Ritchie Roesch

*Peak of Sunlight* – Buckeye, AZ – Fujifilm X-E4 – “September Summer”

I get asked frequently to create Film Simulation Recipes that mimic various films, and occasionally the aesthetic of specific photographers. In the case of this recipe, someone wanted me to recreate the look of photographer Brian Chorski. While Brian’s images seem to have a cohesive style at first glance, upon closer inspection one can spot several subtle variations. After much research, I discovered that he primarily shoots film—both 35mm and medium-format—and he prefers Kodak emulsions, especially Portra 160, Portra 400, Portra 800, and Ektar 100. I believe that he uses a warming filter at least some of the time, perhaps most of the time. I think he tends to overexpose (a common color negative film technique), and (obviously) his scanning and post-editing play a role in the final outcome. Also, he shoots primarily in the warm summer months.

I believe that several already existing Film Simulation Recipes at times come close to Brian’s look (some more than others), including Kodak Portra 160, Kodak Portra 400 v2 (this one, too), Kodak Portra 400 Warm, Kodak Portra 800 v2, Kodak Ultramax 400, Kodak Max 800, Kodak Ektar 100, Vintage Vibes, Pacific Blues, Bright Summer, and Bright Kodak. I’m sure there are others, too. Still, some of Brian’s pictures don’t seem to match any of those recipes, so I came up with a new one. This recipe, which I’m calling September Summer, is intended to replicate the aesthetic of some of Brian Chorski’s photographs. It seems best suited for sunny conditions, producing warm images that will remind you of seemingly endless summer days (which are now waning).

*Chill Vibes* – Buckeye, AZ – Fujifilm X-E4 – “September Summer”

This “September Summer” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3 and X-T30, unfortunately. I believe it is also fully compatible with the X-H2 and X-H2s, but I have not tried it to know for sure. Those with newer GFX cameras can use it, too, but it will render slightly different. I don’t think this is a recipe that most will use regularly, but I believe some of you will really appreciate it in the right conditions.

Classic Negative
Dynamic Range: DR400
Highlight: -1
Shadow: -1
Color: +1
Noise Reduction: -4
Sharpness: 0
Clarity: -4
Grain Effect: Weak, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Weak
White Balance: 5500K, +3 Red & -7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs using this “September Summer” Film Simulation Recipe on a Fujifilm X-E4:

*First Day of Fall* – Buckeye, AZ – Fujifilm X-E4

*Saguaro Among Trees* – Buckeye, AZ – Fujifilm X-E4

*Dead Agave* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea in the Light & Shadow* – Buckeye, AZ – Fujifilm X-E4

*Trumpets & Wall* – Buckeye, AZ – Fujifilm X-E4

*Empty Pot* – Buckeye, AZ – Fujifilm X-E4

*Summer Frog* – Buckeye, AZ – Fujifilm X-E4

*Intersection* – Buckeye, AZ – Fujifilm X-E4

*Little Leaves, Little Blooms* – Buckeye, AZ – Fujifilm X-E4

*Cluster of Bougainvillea* – Buckeye, AZ – Fujifilm X-E4

*Blossom, Hiding* – Buckeye, AZ – Fujifilm X-E4

*September Blossom* – Buckeye, AZ – Fujifilm X-E4

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Fujifilm X-H1 (X-Trans III + X-T3 & X-T30) Film Simulation Recipe: Everyday Astia

Posted on September 21, 2022 by Ritchie Roesch

*Urban Palm Leaves* – Sun City West, AZ – Fujifilm X-H1 – “Everyday Astia”

Earlier this year I started a new Film Simulation Recipe series with the intention of customizing each film simulation to optimize the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. The first one was called Standard Provia and the second was called Improved Velvia. And then I stopped. Life happened. I took a long road trip. Now I’m living in another state (Arizona instead of Utah), and I’m picking this series back up again, taking a look at Astia.

The Astia film simulation doesn’t much resemble real Astia film—it’s actually closer to Provia 100F, but not a particularly close match to that, either. Even so, it’s actually a nice film simulation that is sometimes a “Goldilocks” option: contrasty but not too contrasty, vibrant but not too vibrant, etc.. Still, it’s one of the film simulations that I least use. Why? In my experience, a lot of times it just seems to lack the classic analog feel that I love; perhaps it is technically excellent but lacking soul. So I set out to give it some soul without significantly changing the overall aesthetic.

*Partially Green* – Sun City West, AZ – Fujifilm X-H1 – “Everyday Astia”

I call this recipe “Everyday Astia” because it is good for everyday photography. It’s great for sunshine and does well in the shade. It’s a good option for portraits. You can use it for street, landscape, or even artificial light photography—it’s highly versatile! This recipe is fully compatible with X-Trans III cameras plus the X-T3 and X-T30. To use it on newer X-Trans IV cameras (plus X-Trans V), set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Small.

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

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

*Architecture Abstract* – Sun City West, AZ – Fujifilm X-H1

*Striped Directory* – Sun City West, AZ – Fujifilm X-H1

*Fading Bloom* – Sun City West, AZ – Fujifilm X-H1

*Reaching Pink Flowers* – Sun City West, AZ – Fujifilm X-H1

*Empty Patio Chairs* – Sun City West, AZ – Fujifilm X-H1

*Welcome Courtyard* – Sun City West, AZ – Fujifilm X-H1

*Late Summer Leaves* – Buckeye, AZ – Fujifilm X-H1

*10:30 Moon* – Sun City West, AZ – Fujifilm X-H1

*Tiny Tower* – Sun City West, AZ – Fujifilm X-H1

*Palms & Building* – Sun City West, AZ – Fujifilm X-H1

*Architectural Stripes* – Sun City West, AZ – Fujifilm X-H1

*Mirror Mirrored* – Sun City West, AZ – Fujifilm X-H1

*Headlights* – Sun City West, AZ – Fujifilm X-H1

*Aged to Perfection* – Sun City West, AZ – Fujifilm X-H1

*Trike Tire* – Buckeye, AZ – Fujifilm X-H1

*Backlit Joy* – Buckeye, AZ – Fujifilm X-H1

*Happy Jon* – Buckeye, AZ – Fujifilm X-H1

*Building Storm Clouds* – Buckeye, AZ – Fujifilm X-H1

This “Everyday Astia” recipe compared to “stock” Astia (everything set to factory defaults):

*Astia with everything set to factory defaults*

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Fujifilm X70 (X-Trans II) Film Simulation Recipe: Fujichrome Slide

Posted on September 9, 2022 by Ritchie Roesch

*Dying Garden Rose* – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

Sometimes you can get interesting results when you change the film simulation that a Film Simulation Recipe calls for. In this case, the recipe was Monochrome Red, which calls for Monochrome+R, and the film simulation that I used instead was Provia. I actually don’t like the Provia film simulation as much as most of the others, I think because it doesn’t much resemble Provia film; however, I do like how this recipe renders images, so perhaps I’ve been a little too critical of the “standard” film simulation.

This recipe doesn’t match Fujichrome Provia 100F film, but it is much closer to the film than just using default Provia. If you are looking for an X-Trans II recipe that’s in the neighborhood of Fujichrome Provia 100F, and don’t mind that it’s not exactly right, this one’s for you! It has a good deal of contrast (but not too much), and has vibrant colors (but not too vibrant)—definitely a (non-Velvia) Fujifilm color reversal film vibe. If you like this recipe, you should also consider trying Provia Negative.

*Fisherboy* – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”

This “Fujichrome Slide” Film Simulation Recipe is compatible with all X-Trans II cameras. Those with X-Trans I or Bayer models can use it, too; however, it will render slightly differently—I tried it on my X-Pro1 and the results were good; similar but not identical to my X70.

Provia/Std
Dynamic Range: DR400
Highlight: -1 (Medium-Soft)
Shadow: +2 (Hard)
Color: +2 (High)
Sharpness: +1 (Medium-Hard)
Noise Reduction: -2 (Low)
White Balance: Fluorescent 1, -4 Red & +7 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Fujichrome Slide” Film Simulation Recipe:

*Beyond Orange* – Goodyear, AZ – Fujifilm X70

*Three Beams & Palm* – Litchfield Park, AZ – Fujifilm X70

*Palm Bush* – Goodyear, AZ – Fujifilm X70

*Shriveling Bloom* – Buckeye, AZ – Fujifilm X70

*Trumpet Vine* – Buckeye, AZ – Fujifilm X70

*A Yellow Trumpet Blossom* – Buckeye, AZ – Fujifilm X70

*Moth Wall* – Buckeye, AZ – Fujifilm X70

*Rose Palm Evening* – Litchfield Park, AZ – Fujifilm X70

*Fisher Jon* – Litchfield Park, AZ – Fujifilm X70

*Tree & Home Reflection* – Litchfield Park, AZ – Fujifilm X70

*Little Boat in the Little Lake* – Litchfield Park, AZ – Fujifilm X70

*Suburban Lake Reflection* – Litchfield Park, AZ – Fujifilm X70

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Vintage Analog

Posted on September 7, 2022 by Ritchie Roesch

*Waterfront Homes* – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Analog”

This Film Simulation Recipe was suggested to me by someone… and I’m sorry to say that I don’t remember who (if it was you, let me know in the comments!). This recipe is basically my Vintage Kodacolor recipe, but with a couple modifications: Classic Negative instead of Classic Chrome, plus Color Chrome FX Blue and Clarity. Sometimes when you use a different film simulation than what a recipe calls for, the results can be interesting. I programmed this recipe into my Fujifilm X-E4, noticed that it produced good results, and then I kind of forgot about it for awhile. I recently “rediscovered” it in my C1-C7, and used it for several days, enjoying the warm vintage-like images that this recipe produces.

Most of these pictures were captured through vintage glass, as I adapted some old lenses to my X-E4. The main one was a Helios 44-2, but a couple Asahi Takumars were used, too. Using old manual lenses is something that I enjoy doing, and this recipe pairs really well with them. I also used a 10% CineBloom filter on some of the pictures; diffusion filters help to take the “digital edge” off of images, and produce a more analog-esque aesthetic—I don’t use them all of the time, and I think subtlety is key.

*Arch Over Bell Tower* – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Analog”

Because this “Vintage Analog” Film Simulation Recipe use Classic Negative, Color Chrome FX Blue, and Clarity, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3 or X-T30. Those with the X-H2s (and soon-to-be X-H2) can likely use it, too, but I haven’t tested it myself to know for sure. Why does this recipe use Color Chrome FX Blue and Clarity when the Vintage Kodacolor recipe that it is derived from doesn’t? I don’t know (and if I was told I don’t remember). But it looks good, so what can I say? I hope you enjoy it!

Classic Negative
Dynamic Range: DR200
Highlight: +2
Shadow: 0
Color: -4
Noise Reduction: -4
Sharpness: -1
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Weak
White Balance: 9100K, -4 Red & +4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

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

*Red Rose of Summer* – Litchfield Park, AZ – Fujifilm X-E4

*Dock Post* – Litchfield Park, AZ – Fujifilm X-E4

*Duck Conversation* – Litchfield Park, AZ – Fujifilm X-E4

*Two Palm Sky* – Litchfield Park, AZ – Fujifilm X-E4

*Roof & Tiles* – Buckeye, AZ – Fujifilm X-E4

*Garden Bulb* – Buckeye, AZ – Fujifilm X-E4

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

*Approaching Storm Clouds* – Buckeye, AZ – Fujifilm X-E4

*Hoping to Catch* – Litchfield Park, AZ – Fujifilm X-E4

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

*Dead Cactus Branch* – Buckeye, AZ – Fujifilm X-E4

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

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

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Fujifilm X70 (X-Trans II) Film Simulation Recipe: Monochrome Red

Posted on September 6, 2022 by Ritchie Roesch

*Houses, Reflected* – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”

Back when I shot black-and-white film, I usually used a color filter to manipulate the shades of grey, and for landscape photography the Red filter was my most-used option. You cannot use these filters on your Fujifilm camera, but Fujifilm does provide you with three faux filters: +Y, +R, & +G. These mimic the aesthetic of using a Yellow, Red, or Green filter (sort of). In my opinion, +R doesn’t actually replicate the use of a Red filter very well; it’s more like an Orange filter. This recipe is intended to produce a look more similar to a Red filter on black-and-white film, which means that it will darken blues and lighten reds.

I actually created this “Monochrome Red” Film Simulation Recipe several months back on my Fujifilm X-T1, but that camera has a dirty sensor in need of a cleaning, so I never shared the results. Then I moved, and the X-T1 got packed away for awhile. Just recently I purchased a different X-Trans II camera—an X70—so I plugged this recipe into it and began shooting. This is an excellent option if you are looking for a black-and-white recipe, and is especially good for landscape photography.

*Sunlit Flowers* – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”

The “Monochrome Red” recipe is compatible with all X-Trans II cameras. If you have an X-Trans I or Bayer model, the results will be ever slightly different, but very similar, and you can definitely use it—if you have an X-Pro1 or X-T200 or anything like that, feel free to give this recipe a try.

Monochrome+R
Dynamic Range: DR400
Highlight: -1 (Medium-Soft)
Shadow: +2 (Hard)
Sharpness: +1 (Medium-Hard)
Noise Reduction: -2 (Low)
White Balance: Fluorescent 1, -4 Red & +7 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Monochrome Red” Film Simulation Recipe:

*Josh Intently Gaming* – Buckeye, AZ – Fujifilm X70

*Jonathan with a Smile* – Buckeye, AZ – Fujifilm X70

*Backlit Jo* – Litchfield Park, AZ – Fujifilm X70

*Boy Fishing* – Litchfield Park, AZ – Fujifilm X70

*Dock Abstract* – Litchfield Park, AZ – Fujifilm X70

*Lock & Chain* – Litchfield Park, AZ – Fujifilm X70

*Pole & Chain* – Litchfield Park, AZ – Fujifilm X70

*Fishing Pole on Dock* – Litchfield Park, AZ – Fujifilm X70

*Young Boy Fishing* – Litchfield Park, AZ – Fujifilm X70

*Lakeside Tree* – Litchfield Park, AZ – Fujifilm X70

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Fujifilm X70 (X-Trans II) Film Simulation Recipe: Kodak Color Negative

Posted on September 4, 2022 by Ritchie Roesch

*Bee on a Blossom* – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”

I’ve wanted a Fujifilm X70 ever since I learned of its existence. For those who don’t know, the X70 was essentially a smaller, more wide-angle, and less expensive X100T. Introduced in January 2016 and discontinued in December of that same year, you might think that the camera was a flop, but it wasn’t. Unfortunately, to Fujifilm’s surprise, shortly after the camera launched, Sony suddenly discontinued the 16-megapixel APS-C sensor that the X70 used, and Fujifilm had no choice but to fully move on to X-Trans III as quickly as possible. The X70 was a casualty of that situation. No successor was ever made, supposedly because heat dispersion was an issue with higher resolution sensors that couldn’t be remedied. Even though the camera is six years old now, people love their X70’s—you don’t see very many for sale, and when you do it’s usually for a similar price to, or even higher than, the original MSRP. I was fortunate to find one in excellent condition for “only” $600.

I’ve had this camera for just a few days. After unboxing the X70, I quickly programmed into it the latest recipe that I had been working on with my X-T1 (which is in need of a sensor cleaning), and busily shot with it. Already I love this little camera—not only is it very practical to carry around everywhere, it is so much fun to use! Fujifilm really needs to work hard an its successor, the X80—this should be a top priority, in my opinion.

*Fujifilm X70 — captured with a Fujifilm X100V + GAF 500 recipe*

For this “Kodak Color Negative” Film Simulation Recipe, I wanted to use the Incandescent White Balance. Why? Because you cannot program a White Balance Shift into the C1-C7 Custom Presets (only on X-Pro3 and newer models); however, the camera will remember one shift per white balance type. If each of your presets uses a different white balance type, then you don’t have to remember to adjust the shift when switching presets. Incandescent is a white balance option that I’d not yet used on X-Trans II, so it seemed like a logical place to start.

The aesthetic that I was hoping to achieve with this recipe was Kodak Portra 400. I don’t believe that I succeeded in faithfully mimicking that (sometimes there’s a similarity); however, it does seem to produce a Kodak-like color negative film look, perhaps more like Ultramax, but not exactly that, either. Whatever it does or doesn’t resemble, I personally really like the aesthetic produced by this recipe, and I hope that you do, too.

*Johanna in Evening Light* – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”

This “Kodak Color Negative” recipe is compatible with all X-Trans II cameras that have Classic Chrome, including the X100T, X-E2, X-E2S, X-T10, X-T1, X30, X70, and XQ2. Unfortunately, the X100S, X20, and XQ1 don’t have Classic Chrome, despite being X-Trans II. Those with Bayer models that have Classic Chrome can also use this recipe, although it will render a little different on your camera.

Classic Chrome
Dynamic Range: DR200
Highlight: -2 (Soft)
Shadow: -1 (Medium-Soft)
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Incandescent, +6 Red & -7 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Kodak Color Negative” Film Simulation Recipe:

*Sunlight Through The Grapevine* – Surprise, AZ – Fujifilm X70

*Grape Leaves* – Surprise, AZ – Fujifilm X70

*Backlit Leaf & Lens Flare* – Surprise, AZ – Fujifilm X70

*Is It Already Fall Y’all?* – Surprise, AZ – Fujifilm X70

*Hummingbird* – Surprise, AZ – Fujifilm X70

*Burgers & Rainbows* – Phoenix, AZ – Fujifilm X70

*Corner Table* – Phoenix, AZ – Fujifilm X70

*Morning Coffee* – Glendale, AZ – Fujifilm X70

*Mary, Jesus & Stinky Pete* – Surprise, AZ – Fujifilm X70

*Yellow Hanging Trumpets* – Buckeye, AZ – Fujifilm X70

*Backyard Blossoms* – Buckeye, AZ – Fujifilm X70

*Orange Trumpets & Lens Flare* – Buckeye, AZ – Fujifilm X70

*Singular Bougainvillea Branch* – Buckeye, AZ – Fujifilm X70

*Yellow Wall Flowers* – Buckeye, AZ – Fujifilm X70

*Garden Rose* – Buckeye, AZ – Fujifilm X70

*Leaf on the Ground* – Buckeye, AZ – Fujifilm X70

*Wet Suburbia Evening* – Buckeye, AZ – Fujifilm X70

*Wet Concrete Reflecting Sunset* – Buckeye, AZ – Fujifilm X70

*Sunset Veiled by House & Tree* – Buckeye, AZ – Fujifilm X70

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: GAF 500

Posted on September 1, 2022 by Ritchie Roesch

*Urban Rhino* – Phoenix, AZ – Fujifilm X-E4 – “GAF 500”

Hold onto your hats, because, for this Film Simulation Recipe, we’re going to dive deep into the obscure and practically forgotten history of a unique film called GAF 500. We’re going to explore the intriguing history of GAF, discover what made this film unique, and discuss how this new GAF 500 Film Simulation Recipe came to be. You are in for a treat today!

GAF actually began in 1886 as the Standard Paint Company of New Jersey. After acquiring a holding company in 1928 that had (among other things) majority ownership of AGFA, the company changed its name to General Aniline & Film—GAF for short. Also in 1928, AGFA merged with Ansco, so in addition to acquiring AGFA, GAF also got ownership of Ansco, which was founded in 1842. Originally named E. Anthony & Co., after merging with Scovill Manufacturing in 1901 it was renamed Ansco (“An” from Anthony and “sco” from Scovill). Ansco was headquartered in New York, and was Kodak’s biggest competitor for many decades. The merger with AGFA was intended to bring Ansco’s photography products to a global market, which would allow them to better compete against Kodak.

Then World War II happened, and in 1941 the U.S. government seized and took ownership of GAF and Ansco (separating it from AGFA, which was a German-owned business), and officially merged Ansco into GAF. The U.S. government retained ownership of GAF until 1965, when it sold all of its shares.

*Morning Sunlight on a Curtain* – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

In 1967 GAF introduced a revolutionary new film: GAF 500. It was a high-ISO 35mm color transparency (slide) film—the highest ISO color film during its time; the second-highest color ISO film (another GAF emulsion) was rated at ISO 200, so it was more than twice as “fast” (as they called it back then) as the second fastest. 30 years prior to the introduction of GAF 500, the highest ISO color film was rated at ISO 8, so having an ISO 500 option was unthinkable back then, and a lot of people wondered why anyone would need such a high-ISO film. While it was mostly sold under the brand name GAF, it was sometimes sold as Anscochrome 500. Was GAF/Anscochrome 500 any good?

From all accounts, you either loved GAF 500 or hated it. The grain was extremely pronounced. Colors were “good” yet muted (a.k.a. “neutral” or “natural”) and generally considered to be not as “nice” as Kodak’s. It didn’t push-process nearly as well as, it wasn’t quite as sharp as, and it didn’t pair with color correction filters as well as Kodachrome or Ektachrome. It was inferior to all other color emulsions except for one fact: it was fast! You could use it when other films wouldn’t work due to low light. If it was dark and you wanted to shoot color, GAF 500 was your best bet.

GAF 500 had a warm color cast—some described it as orange, some said red-orange, and others stated that it was red—not as warm as some Kodak emulsions, but warm nonetheless. The shadows tended to lean blue. If you pushed the film, it had a purple cast across the frame. Some people liked how it looked when shooting under fluorescent lights or stage lights, and was a popular choice for concert photography.

*Illuminated Cat & Sleeping Child* – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

What people seemed to like most about GAF 500 is that it was gritty yet soft. It was grainy, like a high-ISO black-and-white film, and it was contrasty with a very narrow exposure latitude—it was easy to blow out the whites or block up the blacks; however, it also had low color saturation (or was “more neutral” as some put it) , and the gradations were gentle. It was like a biker ballerina, if you will. Some people loved the aesthetic of GAF 500, and would use it even in bright-light situations just for the look that it produced. Many photographers steered clear of it just because there were “better” options, such as push-processing lower ISO films.

There was a time in the 1970’s that GAF was everywhere. It was the official film of Disneyland, and, for a time, was the only brand of film that you could purchase inside the park. Sears sold GAF cameras and film. Henry Fonda was the spokesman. Despite that, GAF struggled to be profitable competing against Kodak, Fujifilm, and other brands.

GAF made a few minor “improvements” to their ISO 500 film over the years, and (from what I read) it seemed to get “better” towards the mid-1970’s. In 1977, due to sluggish sales, GAF decided to get out of the photography business altogether. GAF/Anscochrome 500 was discontinued, along with all of the other GAF films. The Ansco brand name was licensed out to other companies for years to come, although it was largely used for rebranded films and not original emulsions. GAF 500 was gone forever.

*Garden Spiderweb* – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

Perhaps thanks to Alien Skin Exposure software, there’s been a renewed interest in GAF 500. Alien Skin has a GAF 500 preset that is supposed to allow you to mimic the aesthetic of the film with your digital images. I’ve used it before, and that’s the closest I’ve come to shooting GAF 500. It’s been awhile since I’ve used Exposure software, so I don’t recall too much about the preset (other than it was grainy). So, for this Film Simulation Recipe, I spent significant time studying whatever I could find on the film. There’s a lot of written information out there, but photographs were hard to come by. Still, I found some, and did my best to emulate the look with my Fujifilm X-E4.

Recreating GAF 500 on my Fujifilm camera was tricky for several reasons. First, I wouldn’t have considered Eterna as the best base (just because it lacks the necessary contrast to emulate a contrasty slide film), but after trying Classic Chrome, PRO Neg. Low, and Eterna Bleach Bypass, I decided to give Eterna a go. Bingo! This one had the right tonality (those “gentle gradations”); however, I do wish that Shadow could be set to +5 to get deeper blacks, but that’s not an option. Another tricky aspect was achieving the warm, reddish/orangish color cast that could still produce a hint of blue in the shadows. Fujifilm cameras aren’t capable of split-toning, so I did my best to approximate this with the white balance; I do wish the shadows were just a little more blue, but it’s not possible without sacrificing the overall warmth. Another challenge was replicating the grain. Fujifilm’s option of Grain Strong Large wasn’t nearly as pronounced as it needed to be, so I set out to supplement it with digital noise using high-ISO. But how high? ISO 1600 wasn’t nearly enough. ISO 3200 wasn’t enough, either. ISO 6400… much closer, but not quite there, either. Should I dare try ISO 12800? Yes, that’s it! More importantly, it looks good, which I had my doubts about.

With slide film, depending on the emulsion, you had to nail the exposure exactly, as the dynamic range was extraordinarily narrow. You didn’t know what you had until you got the film back from the lab (or developed it yourself at home); some frames would be underexposed, some frames would be overexposed, and some frames (hopefully) would be correctly exposed—I found examples of all three when searching for GAF 500 photographs. You can achieve similar aesthetics with this recipe if you want, by either dropping the exposure a little or increasing it a little—the exact look of this recipe will vary some depending on the exposure. While I couldn’t replicate every potential GAF 500 aesthetic with this one recipe, and no recipe will ever be 100% spot-on accurate (because of the limited tools available on the camera, and because the results of one film can vary significantly depending an a whole host of factors), I do believe that this recipe is pretty close to replicating the look and feel of GAF 500 film—at least from the perspective of someone who was born after the film was discontinued, so I never had a chance to use it myself.

*Offroad Tricycle* – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

Because this “GAF 500” recipe uses Clarity and Color Chrome FX Blue, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, and is not compatible with the X-T3 or X-T30. Those with X-Trans V cameras can also use it, and it should render identically, although I have no first-hand experience to verify that. Those with newer GFX cameras can use it, too, although it will render differently. Because of the ultra high-ISO that’s required, I recommend using your electronic shutter and a small aperture (like f/8, f/11, or even f/16) when shooting in bright light outdoors.

Eterna
Dynamic Range: DR100
Highlight: +2
Shadow: +4
Color: 0
Noise Reduction: -4
Sharpness: -3
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: 2900K, +9 Red & -9 Blue
ISO: 12800
Exposure Compensation: -2/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “GAF 500” Film Simulation Recipe on my Fujifilm X-E4:

*Bird Scooters* – Phoenix, AZ – Fujifilm X-E4

*Orange Lighter & Abandoned Home* – Phoenix, AZ – Fujifilm X-E4

*Why Love?* – Phoenix, AZ – Fujifilm X-E4

*Twin Dumpsters* – Phoenix, AZ – Fujifilm X-E4

*Garfield* – Phoenix, AZ – Fujifilm X-E4

*Overhead Crane* – Phoenix, AZ – Fujifilm X-E4

*Oversized Load* – Phoenix, AZ – Fujifilm X-E4

*And So It Begins* – Phoenix, AZ – Fujifilm X-E4

*Air Garage & Graffiti* – Phoenix, AZ – Fujifilm X-E4

*Can in the Sage* – Phoenix, AZ – Fujifilm X-E4

*Suburban Barrel Cacti* – Phoenix, AZ – Fujifilm X-E4

*Double Peace* – Buckeye, AZ – Fujifilm X-E4

*Table Roses* – Buckeye, AZ – Fujifilm X-E4

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

*Yellow Trumpets & Sunstar* – Buckeye, AZ – Fujifilm X-E4

*Bougainvillea Branch in the Blue* – Buckeye, AZ – Fujifilm X-E4

*Orange Trumpet Flower Blossoms* – Buckeye, AZ – Fujifilm X-E4

*Two Yellow Trumpets* – Buckeye, AZ – Fujifilm X-E4

Grain examples:

*Big crop to show the “grain” in the image*.

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Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe: Vintage Kodacolor

Posted on August 29, 2022 by Ritchie Roesch

*Large Stone & Tall Grass* – Farmington, UT – Fujifilm X-H1 – “Vintage Kodacolor”

This Film Simulation Recipe is called “Vintage Kodacolor” because I was inspired by some old Kodak Kodacolor puzzles that I stumbled across (did you know that Kodak made jigsaw puzzles?). I’m not completely certain which Kodacolor film was used for these puzzles—possibly Kodacolor II—or how much the printing process affected the aesthetic, or even how much the colors have faded and shifted over time. Whatever the case, this recipe does a pretty good job emulating it, and produces a warm vintage-like aesthetic that’s easy to appreciate. There’s some similarities between this and my Kodacolor II 126 recipe.

This recipe has been available on the Fuji X Weekly App as a Patron Early-Access Recipe since December; however, a different Early-Access Recipe has replaced it, so now this one is available to everyone! This isn’t a Film Simulation Recipe that is for every person or every situation, but some of you in the right situations will absolutely love it. I think it is especially good for achieving a vintage look on sunny days and during golden hour.

*Pink Bougainvillea Flowers* – Buckeye, AZ – Fujifilm X-T30 – “Vintage Kodacolor”

This “Vintage Kodacolor” recipe is fully compatible with all X-Trans III cameras, plus the Fujifilm X-T3 and X-T30. Those with newer X-Trans IV (and X-Trans V) cameras can use it, too, but you’ll have to decide on Clarity (I suggest 0, or maybe -2), Color Chrome FX Blue (I suggest Off), and Grain size (I would try Large).

Classic Chrome
Dynamic Range: DR200
Highlight: +2
Shadow: 0
Color: -4
Noise Reduction: -4
Sharpness: -1
Grain Effect: Strong
Color Chrome Effect: Off/NA
White Balance: 9100K, -4 Red & +4 Blue
ISO: Auto up to ISO 12800
Exposure Compensation: -1/3 to +1/3

Example photographs, all camera-made JPEGs captured using this “Vintage Kodacolor” Film Simulation Recipe on my Fujifilm X-H1 & X-T30:

*Tree Behind* – Buckeye, AZ – Fujifilm X-T30

*Vintage Phragmites* – Farmington, UT – Fujifilm X-H1

*Evening Reeds and Sky* – Farmington, UT – Fujifilm X-H1

*Three Brown Leaves* – Farmington, UT – Fujifilm X-H1

*Don’t Approach the Great Blue Heron* – Farmington, UT – Fujifilm X-H1

*Safe Zone* – Farmington, UT – Fujifilm X-H1

*Sunset Through The Grass* – Farmington, UT – Fujifilm X-H1

*Evening Light on the Wood* – Farmington, UT – Fujifilm X-H1

*Flowers No More* – Farmington, UT – Fujifilm X-H1

*Metal Door* – Farmington, UT – Fujifilm X-H1

*Cool Dog* – Buckeye, AZ – Fujifilm X-T30

*Cardboard Architect* – Farmington, UT – Fujifilm X-H1

*Holiday Horse Rider* – Farmington, UT – Fujifilm X-H1

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3 B&W Nikon Z Film Simulation Recipes + 1 Bonus Color Recipe

Posted on August 24, 2022 by Ritchie Roesch

When the Nikon Zfc was announced in 2021, I preordered it, and waited a long time for it to come. When it finally arrived, I pulled the Zfc out of the box and began to use it, and I was quickly disappointed. I said that it was most similar to the Fujifilm X-T200, yet significantly bigger, heavier, and more expensive. Still, I put the camera through its paces, and even created 11 Nikon Z Film Simulation Recipes using the Zfc. Then the camera went back into its box, and I strongly considered selling it.

After months and months of none-use, and after moving to a different state, I decided to give the Zfc one more try, but with a significant modification: I ditched the lousy Nikkor 28mm lens in favor of the TTArtisan 35mm f/1.4. Why? Because the TTArtisan lens has an aperture ring, and the Nikkor doesn’t. The TTArtisan lens is better optically than the Nikkor, too—I’m much happier with this setup. I then made three more Nikon Z recipes!

Right now I’m working on my full-review of the TTArtisan 35mm f/1.4 lens (coming very soon!), and that means using it. In the process, I made four more recipes—I guess I couldn’t help myself! Three of these are black-and-white and one is color. If you add these four to the 14 others, I now have 18 Film Simulation Recipes for Nikon Z cameras!

Obviously, I made these JPEG recipes on the Zfc, so it will render differently on the full-frame models, but I’m not sure exactly how differently, as I’ve never used a full-frame Z camera. The reports have been positive, though, so I assume that they work well, including on the more expensive bodies—I just have no first-hand experience myself.

For those who might not know what “Film Simulation Recipes” are, they’re JPEG camera settings that allow you to achieve various looks (mostly analog-inspired) straight-out-of-camera, no editing needed. It can save you a lot of time by simplifying your workflow, and it can make the process of creating photographs more enjoyable.

These will be the last Nikon Z recipes that I create, as I decided not to keep the Zfc. If you are interested in buying it (bundled with the 28mm pancake and TTArtisan 25mm lenses), let me know. It’s gently used, and has spent more time in its box than out of it. Just send me a message if you are interested. Why am I selling the Zfc? Partly because I have never been fully satisfied with it, and partly because I’ve yet to figure out where it makes sense in my photographic process—it seems out of place in my bag. If sometime in the future Nikon makes a better effort on a similar camera, I’ll certainly consider buying it; however, the Zfc was just not the one for me.

Dramatic Monochromatic

Similarities to using a red filter with B&W film.

Picture Control: Monochrome
Quick Sharp: 0.00
Sharpening: +3.00
Mid-Range Sharpening: +2.00
Clarity: +1.00
Contrast: +1.00
Brightness: +1.00
Filter Effects: Red
Toning: B&W
Active D-Lighting: High
High ISO NR: Low
White Balance: Cloudy
WB Adjust: B6.0 G6.0
ISO: up to 6400

B&W Push-Processed

Resembles the contrast of B&W film that has been push-processed.

Picture Control: Graphite
Effect Level: 100
Quick Sharp: 0.00
Sharpening: +2.00
Mid-Range Sharpening: +2.00
Clarity: -2.00
Contrast: +2.00
Filter Effects: Yellow
Toning: B&W
Active D-Lighting: Extra High
High ISO NR: Low
White Balance: Direct Sunlight
WB Adjust: A0.0 G0.0
ISO: up to 6400

B&W Film

Reminiscent of black-and-white negative film.

Picture Control: Carbon
Effect Level: 100
Quick Sharp: 0.00
Sharpening: +1.00
Mid-Range Sharpening: +1.00
Clarity: -2.00
Contrast: +1.00
Filter Effects: Orange
Toning: B&W
Active D-Lighting: Extra High
High ISO NR: Low
White Balance: Natural Light Auto
WB Adjust: A0.0 G0.0
ISO: up to 6400

Vintage Agfacolor Fade

Reminds me of Agfacolor slides from the 1930’s

Picture Control: Graphite
Effect Level: 50
Quick Sharp: 0.00
Sharpening: 0.00
Mid-Range Sharpening: +1.00
Clarity: -2.00
Contrast: +1.00
Filter Effects: Red
Toning: Blue Green 0.00
Active D-Lighting: High
High ISO NR: Low
White Balance: Incandescent
WB Adjust: A6.0 M1.0
ISO: up to 3200

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

Nikon Zfc — Amazon — B&H
TTArtisans 35mm f/1.4 — Amazon — B&H

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Kodak Max 800

Posted on August 23, 2022 by Ritchie Roesch

*Ice Cold Pepsi* – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”

This Film Simulation Recipe is modeled after some prints I found in a box that I thought looked interesting. I didn’t initially know what film had been used, but after locating the negatives I discovered it was something called Kodak GT 800-3, and I had no idea what that was. After much sleuthing, I found out it was Kodak Max Zoom 800, also known as Max 800. The film was shot in 2006 (I believe by my wife), and it was the third and final iteration of the emulsion (this version was introduced in 2000). Max Zoom 800 was replaced in 2006 by the similar Max Versatility Plus 800 (which was around for five or six years before its discontinuation).

Kodak made Max 800 film for point-and-shoot and disposable cameras—specifically, they marketed it for point-and-shot cameras with a zoom lens, which exaggerated camera shake. It was a cheap high-ISO consumer color negative film intended for the novice. It had a large latitude for underexposure and (especially) overexposure, but color reproduction was a little different (some have said “bland” or “weird”) when compared to other Kodak films. Kodak intended the film to be printed on Ektacolor Edge paper, but my samples were printed on Fujicolor Crystal Archive paper (which certainly affects the aesthetic)—this recipe is modeled after my samples.

*Winter Greenhouse* – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”

This Kodak Max 800 recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Because it uses the Classic Negative film simulation and Clarity, it is not compatible with the X-T3 and X-T30, unfortunately. For those with the X-H2s, it’s my understanding that this recipe is completely compatible and renders near identically, but I have not tested it to know for certain. Those with newer GFX cameras can use it, too, although it will render a little differently.

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: +1
Color: -1
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7300K, -5 Red & -2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

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

*Frozen Ponds at a Bird Refuge* – Farmington, UT – Fujifilm X-E4

*Winter Gate* – Farmington, UT – Fujifilm X-E4

*Open Gate* – Farmington, UT – Fujifilm X-E4

*Icy Marshland* – Farmington, UT – Fujifilm X-E4

*What Remains of Summer* – Farmington, UT – Fujifilm X-E4

*Winter Water* – Farmington, UT – Fujifilm X-E4

*Frozen Marsh Pond* – Farmington, UT – Fujifilm X-E4

*Nature Trail* – Farmington, UT – Fujifilm X-E4

*Green Truck* – Farmington, UT – Fujifilm X-E4

*Santa’s Sled* – Farmington, UT – Fujifilm X-E4

*Neighborhood Path in Winter* – Farmington, UT – Fujifilm X-E4

*Trail Closed* – Farmington, UT – Fujifilm X-E4

*No Shooting Past the Fence* – Farmington, UT – Fujifilm X-E4

*Pallets* – Farmington, UT – Fujifilm X-E4

*Inside Abandoned Shed* – Farmington, UT – Fujifilm X-E4

*Walking Tunnel* – Farmington, UT – Fujifilm X-E4

*Farm in the City* – Farmington, UT – Fujifilm X-E4

*Barnes & Noble Window* – Farmington, UT – Fujifilm X-E4

*Building Top in Last Light* – Farmington, UT – Fujifilm X-E4

*Buildings & Palms* – Buckeye, AZ – Fujifilm X-E4

*Backyard Garden Trumpets* – Buckeye, AZ – Fujifilm X-E4

*Illuminated Desert Shrub* – Buckeye, AZ – Fujifilm X-E4

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Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Fujicolor Analog

Posted on August 17, 2022 by Ritchie Roesch

*Cotton On* – Farmington, UT – Fujifilm X100V – “Fujicolor Analog”

I was asked to recreate the look of a certain photographer, and I noticed that a lot of their photographs had a Classic Negative aesthetic, so I thought it would be easy to mimic. It turns out that this person shoots a lot of film, including (but not limited to) Fujicolor C200 and various Superia emulsions, as well as digital (but not Fujifilm, as far as I can tell), using RNI and perhaps some other filters or presets. Nothing said what each picture had been captured with, so it became difficult to recreate. After a little frustration, I decided to select only pictures with a certain aesthetic to attempt to emulate—I believe they might have been captured on a Superia emulsion, but they might not have been—they might not even be film! I think I was able to create a pretty close facsimile to this person’s aesthetic… at least one of the many various (but still somewhat similar) looks that this photographer has.

One film can have many different looks, depending on how it was shot, developed, and printed or scanned. I do believe this “Fujicolor Analog” recipe mimics the aesthetic of a Fujifilm color negative film, but which exact film, and how handled, is uncertain. What is certain is that this is a very nice recipe that some of you will love! This Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe; however, a different recipe has replaced it, and so now it’s available to everyone!

*Noble Fir* – Kaysville, UT – Fujifilm X100V

Because this recipe uses Classic Negative, Color Chrome FX Blue, and Clarity, it is only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras (and likely the X-H2s, too, although I have not tested it). I believe those with newer GFX cameras can also use it, although it will likely render slightly different. Unfortunately, it is not compatible with the X-T3 and X-T30 or older cameras.

Classic Negative
Dynamic Range: DR400
Highlight: -1
Shadow: 0
Color: -3
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 6900K, -5 Red & +5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “Fujicolor Analog” Film Simulation Recipe on my Fujifilm X100V & Fujifilm X-E4 cameras:

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

*Backlit Bougainvillea Flower* – Buckeye, AZ – Fujifilm X-E4

*Cloud Behind Trees* – Buckeye, AZ – Fujifilm X-E4

*Pine Trunk* – Kaysville, UT – Fujifilm X100V

*Burly Ladder* – Kaysville, UT – Fujifilm X100V

*Red Lights* – Kaysville, UT – Fujifilm X100V

*Utah Reeds* – Farmington, UT – Fujifilm X100V

*Pine in the Sky* – Farmington, UT – Fujifilm X100V

*Withering Blooms* – Orem, UT – Fujifilm X100V

*Peaks Above The Gap* – Orem, UT – Fujifilm X100V

*Stop Spreading Germs* – Draper, UT – Fujifilm X100V

*Pharmacy Lift* – Centerville, UT – Fujifilm X100V

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

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3 (More) Nikon Z Film Simulation Recipes

Posted on August 15, 2022 by Ritchie Roesch

Right now I’m working on my full-review of the TTArtisan 35mm f/1.4 lens, and that means using it. Initially on my Zfc I was using the recipes that I had already created, but then I decided to make a few new ones—I guess I couldn’t help myself. If you add these three to the 11 others, I now have 14 Film Simulation Recipes for Nikon Z cameras!

Vintage Teal

Vintage mood with a deep-teal cast.

Picture Control: Sepia
Effect Level: 40
Quick Sharp: 0.00
Sharpening: +1.00
Mid-Range Sharpening: +2.00
Clarity: -2.00
Contrast: +1.00
Filter Effects: Red
Toning: 7.00
Active D-Lighting: High
High ISO NR: Low
White Balance: Cloudy
WB Adjust: A1.0 G4.0
ISO: up to 3200

Redscale

Similar to Kodak Gold with the film spooled backwards (redscale).

Picture Control: Red
Effect Level: 50
Quick Sharp: 0.00
Sharpening: -1.00
Mid-Range Sharpening: 0.00
Clarity: -1.00
Contrast: +2.00
Filter Effects: Green
Toning: 6.00
Active D-Lighting: Normal
High ISO NR: Low
White Balance: Day White Fluorescent
WB Adjust: B2.0 G4.0
ISO: up to 3200

Bright Negative

Reminiscent of brightly exposed color negative film.

Picture Control: Melancholic
Effect Level: 100
Quick Sharp: 0.00
Sharpening: 0.00
Mid-Range Sharpening: +1.00
Clarity: -1.00
Contrast: +3.00
Saturation: +3.00
Active D-Lighting: High
High ISO NR: Low
White Balance: Daylight Fluorescent
WB Adjust: A6.0 G6.0
ISO: up to 3200

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

Nikon Zfc — Amazon — B&H
TTArtisans 35mm f/1.4 — Amazon — B&H

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Fujifilm X-Trans III + X-T3/X-T30 Film Simulation Recipe: Melancholy Blue

Posted on August 8, 2022 by Ritchie Roesch

*Pops of Pink* – Buckeye, AZ – Fujifilm X-H1 – “Melancholy Blue”

For this Film Simulation Recipe I wanted to combine the beautiful blues of the new Pacific Blues recipe with the dark moodiness of the Vintage Agfacolor recipe. The result is a slightly melancholic aesthetic that can also produce dramatic results in certain circumstances. It’s great for daylight photography—delivering interesting (yet quite dissimilar) results in both overcast and bright sunlight conditions, including Low Key photography—and it also seems like a good option for some artificial light situations. Despite its versatility, it’s not a recipe that everyone will love; however, I know that a few of you will really appreciate it.

Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change recipes. There aren’t very many recipes that use the Incandescent White Balance, but now you have another recipe option if you are using this method.

*Enlightened Nature* – Buckeye, AZ – Fujifilm X-T30 – “Melancholy Blue”

This “Melancholy Blue” Film Simulation Recipe is intended for Fujifilm X-Trans III cameras, plus the X-T3 and X-T30. I used it on my Fujifilm X-H1 and X-T30, and it did well on both. For newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to… either Small or Large, you’ll have to decide which you prefer.

Classic Chrome
Dynamic Range: DR200
Highlight: +3
Shadow: -1
Color: -2
Noise Reduction: -4
Sharpness: -1
Grain Effect: Weak
Color Chrome Effect: Off/NA
White Balance: Incandescent, +4 Red & -9 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: -1/3 to -1 (typically)

Example photographs, all camera-made JPEGs captured using this “Melancholy Blue” Film Simulation Recipe on my Fujifilm X-T30 & Fujifilm X-H1 cameras: