Camera Settings | FUJI X WEEKLY

Fujifilm X-Trans IV Film Simulation Recipe: Eterna v2

Posted on April 27, 2021 by Ritchie Roesch

*Rural Thistle* – Farmington, UT – Fujifilm X-E4 – “Eterna v2”

One of my favorite film simulations is Eterna. There’s a special quality to it that’s different than the other film simulations, with its low contrast and muted colors. Yes, you can get pretty close to Eterna using PRO Neg. Std, but you cannot completely match the lovely subtle tonality of it. I think the Eterna film simulation is a little underrated, as it’s a great base for crafting recipes, and I was eager to create a new look with it—so I did!

Real Eterna is a motion picture film. Actually, there have been a number of different film stocks that Fujifilm has given the name Eterna to. The film simulation of the same name doesn’t exactly match any specific Eterna film, yet it has a great general Eterna cinematic feel. In my opinion, the Eterna film simulation is good for achieving an analog color negative film aesthetic.

The first recipe that I created that uses the Eterna film simulation is simply called Eterna, and I really like how that one turned out. I wanted to make something similar, but not identical, using the additional JPEG options that Fujifilm has added to their newer X-Trans IV cameras. I wanted a warm vintage film look—something that could possibly be confused as being actual analog—without being based on any specific film. I think it looks pretty good, and I hope that you do, too.

*El Capitan* – Yosemite NP, CA – Fujifilm X-E4 – “Eterna v2”

Because this film simulation recipe requires the new Auto White Priority white balance, it is only compatible with the X-T4, X-S10 and X-E4; however, for outdoor natural light photography, using Auto white balance will produce identical results, which means that you can use this Eterna v2 recipe with the X100V and X-Pro3! For indoor artificial light photography, using Auto white balance will produce overly warm images, so Auto White Priority works better, but right now only the three newest Fujifilm X cameras have that option. For the X-T3 and X-T30, in addition to using Auto white balance, you’ll have to disregard Color Chrome Effect Blue and Clarity, and consider setting Highlight to +2 and Shadow to +1 plus Sharpness to -2 to compensate, as well as disregard Grain size (simply use Strong). It won’t be identical, but it will be very similar—I tested it out on my X-T30 and it works.

Eterna
Dynamic Range: DR400
Highlight: +3
Shadow: +2
Color: +3
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto White Priority (X100V + X-Pro3: Auto), +4 Red & -7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Eterna v2” film simulation recipe on my Fujifilm X-E4:

*Faux Plant on a Table* – Farmington, UT – Fujifilm X-E4

*J.C. Higgins* – Farmington, UT – Fujifilm X-E4

*Empty Grapefruit Box* – Bountiful, UT – Fujifilm X-E4

*Duerden’s Will Call* – Bountiful, UT – Fujifilm X-E4

*Reaching Tree Branches* – Bountiful, UT – Fujifilm X-E4

*Flower Tree* – Farmington, UT – Fujifilm X-E4

*Sevenhundred Sixty* – Farmington, UT – Fujifilm X-E4

*Cold Country* – Farmington, UT – Fujifilm X-E4

*Chief of Rocks* – Yosemite NP, CA – Fujifilm X-E4

Find this film simulation recipe on the Fuji X Weekly — Film Recipes App!

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Fujifilm X-E4 Film Simulation Recipe: Ektachrome 320T

Posted on April 26, 2021 by Ritchie Roesch

*Since 1938* – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”

The Ektachrome line has been around since the 1940’s, but Kodak didn’t introduced Ektachrome 320T, also known as Ektachrome EPJ 320T, until 1992. This was a high-speed Tungsten color-reversal (slide) film intended for use under artificial light. Tungsten films were never as popular as daylight-balanced films; when used in daylight you get a strong blue cast (unless you have an 80A filter). I’m not completely sure when Kodak discontinued Ektachrome 320T, but I believe it was sometime in the early to mid 2000’s—all Ektachrome films were discontinued by 2013. When Kodak reintroduced Ektachrome in 2018, EPJ 320T was unsurprisingly not included.

This film simulation recipe was not intended to mimic Ektachrome 320T. I was simply trying to create a tungsten film look using the new Eterna Bleach Bypass film simulation. Prior to this I had only one recipe for Eterna Bleach Bypass, LomoChrome Metropolis, so I was eager to create another. The reason for a tungsten-like recipe is because I feel as though I don’t have as many after-dark options as I’d like. This recipe’s similarities to Ektachrome 320T film is coincidental, as I didn’t set out to recreate it, but it does, in fact, resemble the film fairly well.

On – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”

Even though I didn’t intend to create an Ektachrome 320T recipe, these settings come curiously close. I would consider, when using this recipe under artificial light, setting the White Balance Shift to -7 Red & -6 Blue to more accurately reflect the film (I didn’t make that adjustment for any of the photographs in this article). I wish that +5 was an option for Color—that would likely be more accurate to the film—but unfortunately it tops out at +4. I debated if Grain size should be Small or Large, but I ended up going with Small because that’s what I originally set it to; however, Large grain might be slightly closer to what you’d find on actual Ektachrome 320T, although that’s certainly debatable.

This recipe is the first one to use the new Auto Ambience Priority white balance, which is currently (as of this writing) only available on the Fujifilm X-T4, X-S10 and X-E4 cameras. That means this recipe is only compatible with those three cameras. As a reminder, the camera will take a moment to save each exposure when using Clarity. Also, High ISO NR on the newer camera models is the same as Noise Reduction—Fujifilm renamed it for some reason, but it’s the same thing.

Eterna Bleach Bypass
Dynamic Range: DR400
Highlight: +1
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto Ambience Priority, -6 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Ektachrome 320T film simulation recipe on my Fujifilm X-E4:

*White Tree, Blue Sky* – Farmington, UT – Fujifilm X-E4

*Thistle Field* – Farmington, UT – Fujifilm X-E4

*Fake Plant on a Table* – Farmington, UT – Fujifilm X-E4

*Cage Free Eggs* – Bountiful, UT – Fujifilm X-E4

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

*Old Navy Carts* – Farmington, UT – Fujifilm X-E4

*Ghost Mart* – Farmington, UT – Fujifilm X-E4

*Pot & Bench* – Farmington, UT – Fujifilm X-E4

*Lights in a Puddle* – Farmington, UT – Fujifilm X-E4

*Night Blooms* – Farmington, UT – Fujifilm X-E4

*Old Old Navy* – Farmington, UT – Fujifilm X-E4

*Cotton Eyed* – Farmington, UT – Fujifilm X-E4

Find this film simulation recipe on the Fuji X Weekly — Film Recipes App!

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Fujifilm X-Trans IV Film Simulation Recipe: Vintage Vibes

Posted on April 21, 2021 by Ritchie Roesch

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

Accidents happen. Sometimes they’re happy accidents that lead to great discoveries, and sometimes they’re not. An example of one that wasn’t happy is when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 film simulation recipe. When I saw it, I thought, “You know, I’m going to make this mistake work, and call it ‘Agfa Vista Baby’—I just need to figure out what situations it works well in.” But, try as I might, Agfa Vista using Classic Chrome instead of Classic Negative just doesn’t look good. Sorry, Omar. An example of a happy accident is this recipe—it was discovered by mistake, but I’m very glad to have made that mistake.

You see, back in the fall I was shooting in Montana with what was at the time a brand-new yet-to-be-published recipe that’s now known as Kodak Portra 400 v2. Somehow I managed to accidentally change the film simulation from Classic Chrome to Classic Negative, and I shot a number of frames with this before I realized my mistake. As I reviewed the pictures I realized that the results were pretty good, and that this mistake was actually good fortune. As Lefty Gomez coined, “I’d rather be lucky than good.”

What does this film simulation recipe resemble? Of course, since it’s based on the Classic Negative film simulation, it has a Superia-like aesthetic, as that is what Classic Negative is modeled after. But to me it feels more vintage than Superia. I kept thinking that I’ve seen this look before. Not every picture makes me feel this way, but some—Autumn Aspen, Mill Creek, Blossoming Branch, etc.—seem to have this vintage vibe that I recognize from somewhere. But where?

*Yellow Spots* – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

*Red on Pine* – Big Fork, MT – Fujifilm X100V – “Vintage Vibes”

*Wet Red Leaves* – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

I was digging through some old issues of Arizona Highways Magazine, which, if you are unaware, is full of fantastic photography—Ansel Adams was a fairly regular contributor back in the day—and I found a very similar aesthetic on the pages of that magazine. From the mid-1960’s through the early-1980’s, there are images with this look, by numerous photographers. I did research in an attempt to discover what films were used for those pictures, but unfortunately that was largely a dead-end. I’m not sure if it’s a specific film that creates this look (and, if so, which one?), or if it’s a byproduct of the printing process that was used, or the fading ink, or a combination of all that, but this film simulation recipe, which I call “Vintage Vibes” for lack of a better name, can be, in the right situations, very similar. It’s also similar, in the right situations, to Fujicolor Superia. Whatever it looks like, it looks good, and I know that many of you will appreciate this recipe.

I’ve been wanting to get this recipe out for awhile. Sometimes it takes time. Now it’s finally ready! This “Vintage Vibes” film simulation recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and X-E4 cameras.

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpening: -2
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 5200K, +1 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Vintage Vibes” film simulation recipe on my X100V and X-E4:

*Trees & Dirt Cliff* – Layton, UT – Fujifilm X100V

*Forest Road* – Layton, UT – Fujifilm X100V

*Mill Creek* – Bountiful, UT – Fujifilm X-E4

*Blossoming Branch* – Bountiful, UT – Fujifilm X-E4

*Sunlit Blossoms* – Layton, UT – Fujifilm X100V

*Windshield Water* – Centerville, UT – Fujifilm X-E4

*Johanna & Lens Flare* – Farmington, UT – Fujifilm X-E4

*Playing in a Dirty Kitchen* – Farmington, UT – Fujifilm X-E4

*Heat Lamps* – Bountiful, UT – Fujifilm X-E4

*Tableware* – Woods Cross, UT – Fujifilm X-E4

Find this film simulation recipe on the Fuji X Weekly — Film Recipes App!

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Fuji X Weekly — Film Recipes App

Posted on March 5, 2021 by Ritchie Roesch

The Fuji X Weekly — Film Recipes App is now available for both Android and iOS!

The Fuji X Weekly app is a mobile film simulation recipe library containing over 100 recipes for Fujifilm cameras! The film simulation recipes in the app are the same ones that you know and love from this website, but now take them with you on the go, and have them at your fingertips wherever you are!

The Fuji X Weekly app is free! No annoying ads. Get access to 100+ film simulation recipes, which can be sorted alphabetically or chronologically. Each recipe contains an assortment of sample images, as well as a list of compatible cameras. Within each recipe there’s a place where you can keep notes, a useful feature for many of you, no doubt. The app will work offline, so if you don’t have internet access but need to find a certain recipe, no problem! The Fuji X Weekly app is a handy tool for Fujifilm photographers, an essential app to accompany your X-series camera.

This app does have some advanced features that can be unlocked by becoming a Fuji X Weekly Patron! These advanced features include filtering by sensor or camera, as well as by film simulation or color/B&W, and the ability to favorite recipes for quick access. The best app experience is reserved for Patrons!

Fuji X Weekly Patrons also get early access to some new film simulation recipes. There are currently 9 brand-new film simulation recipes that only Patrons can view. These recipes will eventually be published on Fuji X Weekly—free to everyone—but right now they’re available only to Patrons. These recipes currently are: Kodak Portra 400 v2 (for X-T30 and X-T3), CineStill 800T (for X-Trans II), Fujicolor Negative (for X100V, X-Pro3, X-T4, X-S10 and X-E4), LomoChrome Metropolis (for X-T4, X-S10 and X-E4), Porto 200 (for X-Trans III + X-T3 and X-T30), Kodak Portra 400 Warm (for X100V, X-Pro3, X-T4, X-S10 and X-E4), Provia (for X-Trans I), Vintage Negative (for X100V, X-Pro3, X-T4, X-S10 and X-E4), and Fujicolor NPH (for X100V, X-Pro3, X-T4, X-S10 and X-E4). As new early-access recipes are cycled into the app for Patrons, the others will be made available on this website and on the app free to all, so no worries.

By becoming a Fuji X Weekly Patron, which is only $19.99 annually, you unlock the app’s full potential, you get early access to some new film simulation recipes, and you help support Fuji X Weekly! It’s a win-win!

Fujifilm X-Trans IV Film Simulation Recipe: Creamy Color

Posted on February 23, 2021 by Ritchie Roesch

*Dark Sunset over Salt Lake* – Antelope Island SP, UT – Fujifilm X100V – “Creamy Color”

There are some film simulation recipes that just have a special look—the “it factor”—and this “Creamy Color” recipe is definitely one of those! I didn’t make it; this one was created by Immanuel Sander, who also created the Nature Neon recipe. Immanuel was kind enough to allow me to publish his recipe on the Fuji X Weekly blog, and he also gave me permission to include some of his wonderful photographs in this article. Thank you, Immanuel, for creating and sharing this recipe! I encourage you to follow him Instagram.

Immanuel created a great YouTube video for this recipe that you should watch. It’s very inspirational—well done!

“It’s a rather emotional recipe for me,” Immanuel explained. “The recipe works very well in bad weather and dreary colors. Foggy weather or rainy days are perfect for such silent pictures.” I think it also works well around sunset and on partly-cloudy days. The results from this Creamy Color film simulation recipe can be fantastic! Because this recipe requires Classic Negative, Clarity and Color Chrome FX Blue, it’s only compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and the upcoming X-E4.

Classic Negative
Dynamic Range: DR400
Highlight: +4
Shadow: +4
Color: -4
Noise Reduction: -4
Sharpening: -4
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 8700K, +4 Red & +6 Blue
ISO: up to ISO 5000
Exposure Compensation: +1/3 (typically)

Example photographs, all camera-made JPEGs captured with this Creamy Color film simulation recipe:

Immanuel Sander

Ritchie Roesch

*Last Light on a Pine* – Farmington, UT – Fujifilm X100V

*Suburban Winter* – Farmington, UT – Fujifilm X100V – “Creamy Color”

*Winter Sky Over Warehouse* – Uintah, UT – Fujifilm X100V

*Riverdale* – Unitah, UT – Fujifilm X100V

*Dodge Truck* – Weber Canyon, UT – Fujifilm X100V

*Weber River* – Weber Canyon, UT – Fujifilm X100V

*Pet Area* – Weber Canyon, UT -Fujifilm X100V

*Winter Bison* – Antelope Island SP, UT – Fujifilm X100V

*Coyot*e *Photography* – Antelope Island SP, UT – Fujifilm X100V

*Cold Stone* – Antelope Island SP, UT – Fujifilm X100V

*Reflection in the Puddle* – Antelope Island SP, UT – Fujifilm X100V

*Wasatch Front From Across the Lake* – Antelope Island SP, UT – Fujifilm X100V

*Approaching Storm* – Antelope Island SP, UT – Fujifilm X100V

Fujifilm X-M1 (X-Trans I) Film Simulation Recipe: Winter Blue

Posted on February 21, 2021 by Ritchie Roesch

Fujifilm X-M1 – Farmington, UT – Photo by Joy Roesch – “Winter Blue”

I handed a Fujifilm X-M1 to my 13-year-old daughter, Joy—gave her a brief tutorial on how to use the camera, and let her have at it. Attached to the camera was a Pergear 10mm f/8 Fisheye lens, which is challenging to use, but can also be rewarding. I thought that maybe the lens would be too difficult for her, but it turns out that I had nothing to worry about, as she did great with it.

I had my Provia recipe programmed into the camera, but Joy changed the settings, making up her own film simulation recipe. I asked her why she chose her settings, and she answered that snow looks nice with lots of blue, so she wanted to create a blue-look. When I asked her what she would name the recipe, she replied, “Winter Blue.” It has sort of a Fujichrome 64T aesthetic, but really it’s too warm for that, so maybe it loosely resembles if you used that film in conjunction with a warming filter? I don’t know how well this recipe might do in other conditions, but it certainly looks good on a blue-sky winter day.

Velvia
Dynamic Range: DR400
Highlight: -1 (Medium-Low)
Shadow: 0 (Normal)
Color: -2 (Low)
Sharpness: 0 (Normal)
Noise Reduction: -2 (Low)
White Balance: Daylight (“Fine”), 0 Red & +2 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Joy using her Winter Blue film simulation recipe on a Fujifilm X-M1:

Fujifilm X-M1 – Farmington, UT – Photo by Joy Roesch

Find Jon’s Classic Chrome film simulation recipe on the Fuji X Weekly app!

Fujifilm X-T1 (X-Trans II) Film Simulation Recipe: Jon’s Classic Chrome

Posted on February 21, 2021 by Ritchie Roesch

Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch – “Jon’s Classic Chrome”

I handed my Fujifilm X-T1 to my 11-year-old son, Jonathan—gave him a brief tutorial on how to use the camera, and let him have at it. My XF10 Classic Chrome film simulation recipe was programmed into the X-T1; to my surprise, Jon made a few small adjustments to it. He increased Dynamic Range to DR400, moved the White Balance Shift to +4 Red, and set Sharpness at 0. I’m not sure why he made those specific changes, but the results are pretty good, and I’m very proud and impressed by the pictures that he captured with the X-T1 using his settings!

My opinion is that this recipe has a ColorPlus feel to it. It could be close to Kodacolor, Portra 400, or Ultramax—it definitely has a Kodak color negative vibe; however, I think Fujicolor C200 might also be in the neighborhood. Whatever film it might be close to, it’s got a great analog-like aesthetic that’s easy to love. Great job, Jon!

Classic Chrome
Dynamic Range: DR400
Highlight: +1 (Medium-High)
Shadow: +2 (High)
Color: +1 (Medium-High)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +4 Red & -4 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using his Classic Chrome film simulation recipe:

Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch

Find Jon’s Classic Chrome film simulation recipe on the Fuji X Weekly app!

Two New (Yet Old) Film Simulation Recipes

Posted on February 17, 2021 by Ritchie Roesch

I just added two new film simulation recipes to the Fuji X Weekly app!

These two recipes aren’t actually new, they’re just new to the app. I’ve created so many different film simulation recipes over the last few years, sometimes it’s hard to keep track of them all. Right now there are 135 different ones on the app! The two that I just added were somehow overlooked. By request, they’re now included on the app.

Let’s take a look at these two new (yet old) film simulation recipes!

Stephan Shore Kodacolor

*Pointing Towards the Sky* – Layton, UT – Fujifilm X-T30

My Kodacolor film simulation recipe is quite popular as it produces a great vintage-analog aesthetic that’s easy to love. Kodacolor film has been around for a long time—the name was first used by Kodak in 1942—and many different emulsions have had this brand name on it. Interestingly, Kodacolor was the first color negative film intended for making prints.

Stephen Shore shot a lot of Kodacolor, mostly Kodacolor-X and Kodacolor II, but also likely the original Kodacolor, Kodacolor 400, and Kodacolor-VR. While Shore did shoot 35mm film, he is most known for his medium-format and large-format photographs. Something I learned is that medium and large format Kodacolor film is more saturated than the 35mm emulsion. The only difference between the original Kodacolor recipe and the Stephen Shore Kodacolor recipe is that Color is turned up a little, otherwise they’re identical.

Faux Eterna

*Smiling Jonathan* – South Weber, UT – Fujifilm X-T30

When Fujifilm introduced the Eterna film simulation on the X-H1, I received several requests to create a recipe that mimics it for cameras that don’t have Eterna. At the time, there weren’t many example pictures captured with Eterna, yet I made an attempt anyway, but it turned out to be inaccurate. Once I had a chance to use Eterna, I created this Faux Eterna recipe, which is much closer to the film simulation.

Faux Eterna is intended to look like “stock” Eterna (Highlight, Shadow, and Color set to 0, plus auto-white-balance with no shift). It’s nothing fancy, but that doesn’t mean it’s not a good look. There are other fake Eterna recipes that I created for cameras that don’t have it, including one that mimics my X-Trans IV Eterna recipe for X-Trans III, one that mimics that Eterna recipe but for X-Trans II, and, if you look at the bottom of the Expired Eterna recipe for X-Trans IV, you’ll find a version of that for X-Trans III cameras.

Snow Fun with Fujifilm X-T4 & Fujinon 90mm + New Film Simulation Recipe: Amanda’s Classic Negative

Posted on January 27, 2021 by Ritchie Roesch

Fujifilm X-T4 & Fujinon 90mm – Photo by Amanda Roesch

My wife, Amanda, has a Fujifilm X-T4. She uses it for both stills and video. Amanda pretty much runs the video side of Fuji X Weekly, as that’s something she’s good at, but she also does some occasional portrait and product photography. A few days ago she borrowed my Fujinon 90mm lens, attached it to her X-T4, and on a snowy morning captured some pictures of our kids sledding at a local park (I was shooting with a GFX-50S, you can see some of those pictures here).

Amanda showed me the photographs that she had captured, and I liked the picture aesthetic, so I asked her what settings she used. She told me she just picked some that she thought might look nice, and went with that. She made her own recipe! It’s based on Classic Negative, which is such a great film simulation. I asked her if I could share her pictures and recipe here, and she agreed. Thanks, Amanda!

This film simulation recipe is only compatible with the Fujifilm X-T4 and X-S10 (most likely the X-E4, too, when that comes out next month). If you like this recipe or these pictures, be sure to let Amanda know by leaving her a comment.

Classic Negative
Dynamic Range: DR200
Highlight: +1
Shadow: +1.5
Color: +3
Noise Reduction: -4
Sharpening: +1
Clarity: 0
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1

All of the pictures in this article are camera-made JPEGs captured by Amanda Roesch using this Classic Negative film simulation recipe on her Fujifilm X-T4.

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-T4 Amazon B&H
Fujinon 90mm Amazon B&H

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Fujifilm GFX-50S Film Simulation Recipe: Ektachrome

Posted on January 25, 2021 by Ritchie Roesch

*Lookout Tower* – Layton, UT – Fujifilm GFX-50S

Ektachrome is a brand of Kodak color transparency film that’s been around (off and on) since the 1940’s. There have been several eras of the film, and even more variations; the name Ektachrome has been given to many different emulsions. While Kodachrome was more iconic, Ektachrome was more widely used, thanks in part to its easier development process and (typically) faster ISOs. While Ektachrome was more popular, it was much more prone to color fading. Kodachrome was a tad warmer, while Ektachrome was a tad more vibrant, depending on the version, of course. I shot plenty of rolls, and several different versions, of Ektachrome back in the day.

The Classic Chrome film simulation is, I believe, largely based on Ektachrome; set to defaults, Classic Chrome has a similar aesthetic to the film. I tweaked the settings so that Classic Chrome would more closely resemble Ektachrome, but I used my memory of the film and didn’t study actual examples of it. Fujifilm has a term for this: memory color. It basically means that it’s more important to have the right feel than to be perfectly accurate. I’m not exactly sure how accurate this recipe is to the film, or which exact emulsion it would be closest to (maybe 100G? 100GX?), but it feels right to me.

*Winter Tree* – Farmington, UT – Fujifilm GFX-50S – “Ektachrome”

This Ektachrome film simulation is intended for GFX cameras. I know that it’s compatible the GFX-50S and GFX-50R, and I believe that it’s compatible with the GFX100, but I’m not 100% certain. You can also use it on the Fujifilm X-T3 and X-T30, and it will produce nearly identical results; on the X100V, X-T4, X-Pro3 and X-S10, set Clarity to 0 (or -2 if you prefer), Color Chrome FX Blue Off, and Grain to Weak Small.

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +1
Color: +3
Color Chrome Effect: Weak
Sharpening: +1
Noise Reduction: -4
Grain Effect: Weak
White Balance: 7100K, -6 Red & +5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Sample photographs, all camera-made JPEGs, captured with a Fujifilm GFX-50S using this Ektachrome recipe:

*Forest Creek* – Farmington, UT – Fujifilm GFX-50S

*Log Chair Boy* – Farmington, UT – Fujifilm GFX-50S

*Three Poles* – Farmington, UT – Fujifilm GFX-50S

*Pole Twists* – Layton, UT – Fujifilm GFX-50S

*End Post* – Layton, UT – Fujifilm GFX-50S

*Boardwalk in the Marsh* – Layton, UT – Fujifilm GFX-50S – “Ektachrome”

*The Roundabout* – Layton, UT – Fujifilm GFX-50S

*Signs Along the Boardwalk* – Layton, UT – Fujifilm GFX-50S

*Ice Tracks in the Reeds* – Layton, UT – Fujifilm GFX-50S

*Marsh Ice Tracks* – Layton, UT – Fujifilm GFX-50S

*Hairpin Curve* – Layton, UT – Fujifilm GFX-50S

*Birdseye View* – Layton, UT – Fujifilm GFX-50S

*Rural Boardwalk* – Layton, UT – Fujifilm GFX-50S

*Fence in the Grass* – Layton, UT – Fujifilm GFX-50S

*Tiny Islands in a Frozen Pond* – Layton, UT – Fujifilm GFX-50S

*Winter Grass* – Layton, UT – Fujifilm GFX-50S

*Frozen March Water* – Layton, UT – Fujifilm GFX-50S

*Cold Marsh* – Farmington, UT – Fujifilm GFX-50S

*Reed & Snow* – Farmington, UT – Fujifilm GFX-50S

*Snow Day Girl* – Farmington, UT – Fujifilm GFX-50S

*Sled Hill Photography* – Farmington, UT – Fujifilm GFX-50S

*Needle Snow* – Farmington, UT – Fujifilm GFX-50S

*Winter Pine* – Farmington, UT – Fujifilm GFX-50S

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

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Fujifilm X100V Film Simulation Recipe: Ilford Ortho Plus 80

Posted on January 24, 2021 by Ritchie Roesch

*760* – Farmington, UT – Fujifilm X100V – “Ilford Ortho Plus 80”

Many years ago I used to develop my own black-and-white film. It required removing the film from the cassette, winding it around a developing reel, and placing the reel into a developing canister—all in complete darkness! It was very tricky. If you didn’t get the film wound onto the reel quite right, it could ruin the film during development. When people think of darkrooms, they often think of dipping photosensitive papers into tubs of chemicals in dim amber light. This red light is called a safelight, and it’s safe for photographic paper, but not safe for undeveloped photographic film—that’s why you have to get the film from the cassette to the canister in complete darkness.

Ilford Ortho Plus 80 film is different, as it’s orthochromatic, which means it’s sensitive to blue and green light but not red, making it possible to transfer the film from the cassette to the canister under a safelight. This film was introduced in 2019, so it hasn’t been around very long. It produces sharp, fine-grain images that are fairly contrasty for a low-ISO film, and reds will be rendered dark. I’ve never used this film myself, so I relied on pictures I found on the internet to create this recipe. With film, how it’s shot, developed, and printed or scanned can have a big impact on how it looks, and that’s certainly a challenge for creating a facsimile on Fujifilm cameras, but I think this one is pretty close from the pictures I’ve seen. It also seems to be in the neighborhood of Washi S 50.

*Monochrome Country* – Salt Lake City, UT – Fujifilm X100V – “Ilford Ortho Plus 80

I set Monochromatic Color (Toning) to WC +1 because many of the examples that I found had some warm toning (not sure if it’s in-software after scanning or from toned prints or both), but it’s completely optional, you can set WC to 0 if you prefer. This recipe is intended for newer X-Trans IV cameras, such as the Fujifilm X100V, X-T4, X-Pro3 and X-S10, and isn’t compatible with other cameras; however, if you disregard Clarity you can achieve something similar on the X-T3 and X-T30, but it won’t be exactly the same (feel free to try).

Monochrome+G
Dynamic Range: DR400
Highlight: +2
Shadow: +3
Noise Reduction: -4
Sharpening: +2
Clarity: -2
Toning: WC +1, MG 0
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7000K, -5 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Ilford Ortho Plus 80 film simulation recipe on my Fujifilm X100V:

*Thorns of Nature* – Farmington, UT – Fujifilm X100V

*Monochrome Berries* – Farmington, UT – Fujifilm X100V

*Icy River* – Farmington, UT – Fujifilm X100V

*Zipping* – Farmington, UT – Fujifilm X100V

*Playground Boy* – Farmington, UT – Fujifilm X100V

*Silhouette Playground* – Farmington, UT – Fujifilm X100V

*Canvas Moon* – Farmington, UT – Fujifilm X100V

*Cat & Salmon* – Salt Lake City, UT – Fujifilm X100V

*Fedex Delivery* – Farmington, UT – Fujifilm X100V

*Locked Box* – Farmington, UT – Fujifilm X100V

*Emotion Through Glass* – Farmington, UT – Fujifilm X100V

*Tablet Play* – Farmington, UT – Fujifilm X100V

*Arizona Film* – Farmington, UT – Fujifilm X100V

Fujifilm Changes Name of Noise Reduction on the X-T4

Posted on December 20, 2020 by Ritchie Roesch

Those with the Fujifilm X-T4 (and also the X-S10) might have noticed that Noise Reduction is no longer in the menu. Instead, there’s something called High ISO NR. What’s the difference? Why the change?

Below is a screenshot of the X-T3 manual (top) and X-T4 manual (bottom):

Notice that they both say the same thing: Reduce noise in pictures taken at high sensitivities. This demonstrates that they’re actually the same thing, just renamed. The X-T4 manual adds a little more info about what Noise Reduction does to a picture, although vaguely.

I don’t know why Fujifilm renamed Noise Reduction to High ISO NR; perhaps it’s a more accurate name, but it seems to have created some confusion. I’ve received several messages from users asking about it. Just know that both are the same exact thing: High ISO NR is Noise Reduction.

A couple years ago I took a closer look at Noise Reduction (and also Sharpening), and concluded that, for the most part, it doesn’t matter what the Noise Reduction is set to unless you pixel peep or print large. My personal opinion is that I like Noise Reduction set to -2, -3 or -4, with the lower setting most preferable. Why? Because the digital noise from Fujifilm X-Trans cameras has a film-grain-like appearance, and doesn’t look like typical digital noise from other camera brands. I like film grain, and I like the digital noise from Fujifilm cameras. That’s just my preference. Besides that, Noise Reduction reduces sharpness and smudges fine details, at least a little—you’ll likely only notice if you look very, very closely. There’s no right or wrong setting—choose whatever you prefer—but I most often set Noise Reduction (or High ISO NR) to the lowest option available, which is -4 on X-Trans IV cameras like the Fujifilm X-T4.

Quick Eterna Bleach Bypass Experiments

Posted on December 13, 2020 by Ritchie Roesch

LomoChrome Metropolis recipe, using the Eterna Bleach Bypass film simulation

My wife has a Fujifilm X-T4, and I was able to borrow it briefly for an experiment with the new Eterna Bleach Bypass film simulation. The X-T4 and the X-S10 are currently the only cameras that have this film simulation. My new LomoChrome Metropolis recipe, which is currently only found on the Fuji X Weekly App for iOS, uses Eterna Bleach Bypass.

I snapped the picture below of my daughter using the Fujifilm X-T4 and the Eterna Bleach Bypass film simulation. Highlight, Shadow and Color were set to 0, using Auto White Balance, and pretty much everything set to defaults.

I reprocessed the RAW file in-camera, and tried to (in a short period of time) recreate Eterna Bleach Bypass using regular ol’ Eterna. I set Highlight to +4, Shadow to +3, Color to -4, and set a shift of -2 Red and -3 Blue to the Auto White Balance, which roughly gets you close. If I had more time I could get closer, but this was just a quick experiment. The takeaway is that Eterna Bleach Bypass is essentially Eterna but with more contrast and less color saturation, and some other small differences.

Below I reprocessed the RAW file in-camera using my Bleach Bypass film simulation recipe that uses Classic Negative. That recipe wasn’t intended to mimic the Eterna Bleach Bypass film simulation, but actual bleach bypassed film. It looks kind of like the new film simulation, but with more contrast and saturation.

There was an interview published recently in Japan where a couple of Fujifilm managers explained a bunch of different things about Fujifilm cameras. Between the translation and my interpretation of that translation, I mistakenly thought that it said a Bleach Bypass look could be achieved using the Provia film simulation with Highlight set to +1, Shadow set to +3 and Color set to -4, so I reprocessed the RAW file in-camera doing this, which is below.

Obviously that doesn’t look right, so I reread the quote, and realized what it actually said was that the Eterna Bleach Bypass film simulation recipe is intended to mimic cinematic film (for cinematic purposes) that’s skipped the bleach during development. Bleach bypass for still photography is (or often is) not the same—different film and/or different process. What was being said by those Fujifilm managers is to mimic bleach bypass for still photography, use the Eterna Bleach Bypass film simulation (not Provia) with Highlight set to +1, Shadow set to +3, and color Set to -4. An example of that is below.

Eterna Bleach Bypass with more contrast and less saturation

Bleach bypass is a darkroom technique where you skip or limit the bleach during development of color film, which causes it to retain the silver. Results will vary greatly depending on the film used and exactly how you develop it, but generally speaking what you get with bleach bypass is a high-contrast, low-saturation, grainy picture that appears as if a black-and-white and color picture were combined together. This technique is more common for motion picture film than still photography, but some people do bleach bypass with C-41 film.

There’s no one exact aesthetic for bleach bypass. The Eterna Bleach Bypass film simulation is a great starting point, and I plan to experiment more with it and create at least a few different film simulation recipes using it. Classic Negative can also be used, and maybe even Classic Chrome and PRO Neg. Hi (and perhaps others), just depending on the exact bleach bypass look you are after. While more complicated, you can use the double-exposure feature to create a bleach bypass look. There’s not necessarily a right or wrong way, or even a right or wrong look, which makes experimentation more fun. I invite you to pick a film simulation (whether or not your camera has the new Eterna Bleach Bypass film simulation), turn up the contrast and turn down the color saturation, and see what you can create!

Thank You, Fuji X Weekly App Patrons!

Posted on December 8, 2020 by Ritchie Roesch

The Fuji X Weekly App for iOS has been out for one week! It really has been an amazing seven days.

I want to say Thank You to everyone who has downloaded the app! I hope that it’s a useful tool for your photography. I appreciate everyone who has shared it on their social media. I’m grateful for those who left such positive reviews in the app store! The feedback and suggestions that I’ve received are invaluable. You all are the best part of the Fujifilm community!

I want to give a very special Thank You to those who are Fuji X Weekly Patrons! There’s a little bit of an immediate reward you received because you unlocked some features that give you the best app experience. But, more importantly, is the reward that you don’t yet see! The Fuji X Weekly App, as it is now, is just the beginning. There’s so much more coming, and it’s only possible because of Patrons!

An Android version of the app is being worked on, and I’m concentrating my efforts on getting it out as quickly as possible. It’s coming! But the road is still long, and I can’t say when it will be ready. Because of Fuji X Weekly Patrons, this version of the app will be out more quickly than I originally anticipated. Yea!

Once that’s complete, we will begin working on some updates to the Fuji X Weekly App that will add new features, functionality and other improvements. There will be some really interesting changes, with additions to both the free and Patron sides. The app will become better, and more fun! I can’t give you the details yet, but I can say that you’ll love it and Patrons are the ones making it possible. Thank you!

If you have an iPhone or iPad and haven’t yet downloaded the Fuji X Weekly App, you should go to the app store now and do so! If you have the app and find it useful, let me know in the comments!

New Auto White Balance Options: White Priority & Ambience Priority

Posted on December 2, 2020 by Ritchie Roesch

My wife, Amanda, upgraded her Fujifilm X-T20 to an X-T4! Video-wise, the X-T4 is a huge upgrade; stills-wise, the X-T20 is a solid camera, but the X-T4 is a little better. The picture above shows Amanda with her new camera, captured with my Fujifilm X100V using a new film simulation recipe that I will publish very soon! The Fujifilm X-T4 has two new Auto White Balance options: Auto White Priority and Auto Ambience Priority. What are these? What do they do to your pictures? Let’s take a look!

For Auto White Priority, the manual says, “Choose for whiter whites in scenes lit by incandescent bulbs.” And for Auto Ambience Priority, “Choose for warmer whites in scenes lit by incandescent bulbs.” Essentially, Auto White Priority is the same as Auto White Balance, except it has a cooler tone under artificial light, and Auto Ambience Priority is the same as Auto White Balance, except it has a warmer tone under artificial light. In natural light, all three are the same.

The pictures below show all three Auto White Balance options under natural light (using my Kodak Ultramax recipe). Can you tell which is Auto, Auto White Priority and Auto Ambience Priority?

Which is which? I have no idea! I can’t tell the difference. The three images look identical to me. Even when I closely examined the three full-resolution files, I couldn’t figure it out.

Under artificial light, the differences between Auto, Auto White Priority, and Auto Ambience Priority becomes much more obvious. You can see in the pictures below that Auto White Priority is cooler than standard Auto White Balance, and Auto Ambience Priority is warmer than standard Auto. Take a look!

Of the two new Auto White Balance options, I’m most excited about Auto White Priority, although I think in some situations Auto Ambience Priority might produce nice results. The new LomoChrome Metropolis film simulation recipe that’s on the Fuji X Weekly App requires Auto White Priority, the first recipe to use one of the new White Balance options. I think there’s some good potential for incorporating these new options into new recipes to create different looks. Now if I can just convince my wife to let me borrow her new camera….

Fuji X Weekly App: Filtering by Camera or Sensor?

Posted on December 1, 2020 by Ritchie Roesch

The Fuji X Weekly app has the ability, for Patrons, to filter by Camera or Sensor. It might seem most obvious to pick your camera, but that might not be the best choice. Why? Let me explain.

With each recipe, I only included the cameras that are 100% compatible with that recipe. There are many situations where a recipe is 99% compatible. For example, the Fujifilm X-T4, X100V, X-Pro3 and X-S10 aren’t 100% compatible with X-Trans IV recipes intended for the X-T3 and X-T30, despite having the same sensor. Why? Because the X-T3 and X-T30 models don’t have an option for Grain size, so you’ll have to decide for yourself if it should be Small or Large, and also B&W Toning is different. Because of this, recipes like Kodak Gold 200, Eterna, Kodacolor, and many, many, many more won’t show up if you filter by X-Pro3, for example. They will, however, show up if you filter by X-Trans IV sensor. If you have an X-Pro3, if you filter by Sensor instead of Camera, you’ll see a lot more recipes. In fact, you could filter by both X-Trans III and X-Trans IV!

It’s a similar story if you have, for example, a Fujifilm X-E2. X-Trans I and Bayer recipes will work on your camera, but they’ll look a little different. Those recipes won’t show up if you filter by Camera, but they will if you filter by X-Trans I, X-Trans II and Bayer.

If you have an X-Trans III camera, it makes more sense to filter by Camera because all of the recipes that are compatible will appear (including X-Trans IV recipes that are also compatible). If you have an X-Trans IV camera, it makes more sense to filter by Sensor; however, the X-T3 and X-T30 are an exception, and like X-Trans III, it makes more sense to filter by Camera if you have either of these models. X-Trans II is a mixed bag because not every camera has the same film simulations, so if your model doesn’t have Classic Chrome and the PRO Neg. options, it will be better to filter by Camera, but otherwise by Sensor so that you can also access the X-Trans I and Bayer sensors. X-Trans I and Bayer cameras have a similar limitation (not all models have all of the film simulations), so filtering by Camera will reveal what’s for certain compatible, and filtering by Sensor will reveal what may or might not be compatible.

I hope this isn’t too confusing. My recommendation is to try both filtering options, and decide what makes the most sense for you.

7 New Film Simulation Recipes – Patron Early Access!

Posted on November 30, 2020 by Ritchie Roesch

The Fuji X Weekly app for iOS comes out on December 1st, which is just a couple of days away! The app is free, but Fuji X Weekly Patrons get early-access to some new film simulation recipes. What does this mean? How do you become a Patron? Read on to find out!

Advanced features on the app, such as Filtering and Favoriting, are unlocked for Fuji X Weekly Patrons. Patrons also get early-access to some new film simulation recipes—there are currently seven, which you’ll find below. As new early-access film simulation recipes are cycled into the app, these will eventually be made free for everyone, published on this blog and on the app, but right now only Patrons can view them. That’s a perk of being a Fuji X Weekly Patron! Not all new film simulation recipes will be made early-access.

How you become a Patron is through the Fuji X Weekly app. Once you download the app, if you click the Gear icon, click the filter option, or click an early-access recipe, you’ll see the option to become a Patron, which is $19.99 annually. Not only does this give you the best app experience and early-access to some new recipes, but it’s a great way to support Fuji X Weekly and to make the app even better!

Right now the Fuji X Weekly app is only for iOS—great for those with an iPhone or iPad, but not so great for those with Android devices. I’m sorry that I couldn’t release both Apple and Android versions at the same time. An app takes a lot of time and money to create, unfortunately. Getting this off the ground was no small task! Making an Android version of the Fuji X Weekly app is in the plans and one of my top priorities, but it will take a little while to get there.

The seven film simulation recipes below are on the Fuji X Weekly app, available as early-access recipes to Patrons!

Kodak Portra 400 v2

*Sage & Sunset* – Antelope Island SP, UT – Fujifilm X100V

This is a brand-new Portra 400 recipe for those with a Fujifilm X100V, X-Pro3, X-T4 and X-S10. This recipe doesn’t replace the “old” Portra 400 recipe, but is simply another Portra 400 look. Film can have several different aesthetics depending on how it’s shot, developed, scanned and/or printed, and viewed. Both Portra 400 recipes were created by studying actual Portra film.

Porto 200

*Yellow Bike* – Farmington, UT – Fujifilm X-T30

I’ve received a lot of positive feedback from my X-Trans II Porto 200 recipe, so I created a version for X-Trans III & X-Trans IV cameras. Surprisingly, I was not able to achieve a 100% match to the original recipe. I thought this would be quick to create, but it actually took a lot of time. Even though it doesn’t produce identical results to the X-Trans II version, it is still quite similar, and the results are very nice.

LomoChrome Metropolis

*Stop No. 11* – Farmington, UT – Fujifilm X-T4

I’ve had so many requests to create a LomoChrome Metropolis recipe, but it’s not been possible, until now! The Fujifilm X-T4 and X-S10 cameras have the new Eterna Bleach Bypass film simulation, plus a new White Balance option, that are required to get this look. If you have an X-T4 or X-S10, this is a film simulation recipe that you just might love!

Fujicolor Negative

*November Tree* – Farmington, UT – Fujifilm X100V

This film simulation recipe began as an experiment to see if it was possible to create LomoChrome Metropolis using Classic Negative. It’s not possible, but the results were still interesting. It reminds me of Fujicolor C200, perhaps pushed a stop—it isn’t an exact match to that, just coincidentally similar. I think some of you are going to really appreciate this recipe.

CineStill 800T

*Night Synergy* – Centerville, UT – Fujifilm X-T1

This might be the best version of CineStill 800T that I’ve ever created! This is a recipe that might make you go out and buy a used X-Trans II camera, just so that you can shoot with it!

Classic Analog

*Sticks & Dry Leaves* – Farmington, UT – Fujifilm X-M1

This is a recipe I created for X-Trans I cameras. It started out as an attempt to get a Portra look using Provia, which didn’t really work, but the results were quite nice nonetheless.

Kodak Portra 400 v2

*Walking on a Bridge* – Farmington, UT – Fujifilm X-T30

Like the Portra 400 recipe at the top, this is a new version that doesn’t replace the old one, just simply supplements it for a slightly different Portra 400 look. This film simulation recipe is intended for the Fujifilm X-T3 and X-T30.

Which of these new film simulation recipe are you most excited for? Let me know in the comments!

How To Add Film Simulation Recipes To Your Fujifilm Camera

Posted on November 18, 2020 by Ritchie Roesch

I’ve published over 100 film simulation recipes for Fujifilm X cameras, but I’ve never explained how to program them—the practical side of entering the data into the gear. How do you add a recipe to your camera? If you don’t know how, this article is for you!

Most Fujifilm cameras allow you to store up to seven custom presets; however, some only allow you to have one. There are some variations between models and generations, but no matter your Fujifilm X camera, you should be able to program a recipe by the end of this article, because it’s actually pretty simple. I think it’s always a good idea to read the manual—Fujifilm has all of them available online, and a Google search will bring up your model’s manual quickly. It’s important to really familiarize yourself with your gear to get the most out of it.

Most of the settings that a film simulation recipe requires you to adjust are found in the IQ Menu set, which you access by pressing the Menu button on the camera. Things like Film Simulation, Highlight, Shadow, Color, Dynamic Range, etc., etc., are found in this menu. For those who have a model that can’t save custom presets (such as the Fujifilm X-T200), this is where you can enter in the required parameters of a recipe. You might find many of these settings in the Q-Menu, as well, or through various other buttons on your camera, but they’re pretty much all in one place in the IQ Menu. White Balance Shift is adjusted within the White Balance submenu.

For those with cameras that can save seven custom presets (which most Fujifilm cameras are able to), you can program these custom presets with different film simulation recipes. Find “Edit/Save Custom Settings” in the IQ Menu, or, more quickly, press the Q button to open the Q Menu, then press and hold the Q button, and the Edit/Save Custom Settings submenu will appear. Again, there’s some variations between models, but this should work with most Fujifilm cameras. Once there, select the custom slot you want to use, enter the parameters that the recipe requires, and hit the Back button to save. Many cameras, but not all, have the option to name the custom preset.

Only the latest models, the X-Pro3 and newer, allow you to save the White Balance Shift with a custom preset. For most cameras, you’ll have to manually adjust the WB Shift each time that you change recipes. Exposure Compensation (which is a suggested starting point and not a hard-and-fast rule) can’t be stored, either. For those with cameras that can name presets, one option is to use a recipe name format to remind yourself what these settings should be, so that you know what to set them to.

Once you have everything set, then you can access the seven custom presets through the Q button. Changing between recipes becomes quick and easy! My X100V can save the WB Shift, which is great; however, my other cameras cannot, so on those models I have a button custom set to quickly access White Balance. That way I can easily adjust the shift, since I have to manually adjust that parameter each time I change recipes.

You should now be well on your way to setting up a film simulation recipe on your camera. Once you’ve done it a couple of times, the process will become quick for you. That first time or two, where you’re not really sure how to do it, is the hardest, but with experience it becomes easy.

Fujifilm X100V Film Simulation Recipe: Superia Xtra 400

Posted on November 10, 2020 by Ritchie Roesch

*Red Leaf* – Fruit Heights, UT – Fujifilm X100V – “Superia Xtra 400”

I’ve had a lot of requests for a Superia Xtra 400 film simulation recipe. Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years.

Thomas Schwab, who has invented a few film simulation recipes, and who I’ve collaborated with on a number of others, created this Superia Xtra 400 recipe. He did this by capturing a roll of actual Superia Xtra 400 film with a film camera while capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating this! He shared with me some of his side-by-side pictures—comparing the film with this recipe—and it was tough to figure out which was which, they looked so close!

*Creek Through Autumn Forest* – Fruit Heights, UT – Fujifilm X100V – “Superia Xtra 400”

What I find interesting is that this recipe isn’t all that much different than Luis Costa’s Classic Negative recipe. I said of Luis’ recipe, “It reminds me a lot of Superia Xtra 400 with a warming filter, or maybe Superia 200 pushed one stop.” Turns out it was pretty darn close to Xtra 400. This recipe by Thomas is even closer! But, of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic can vary significantly. So, really, both recipes mimic Xtra 400, but this one proudly carries the name, as it is a very close match to the film.

Thank you, Thomas, for creating this recipe and sharing it! I know that many of you will love it. I love it! This Superia Xtra 400 film simulation recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, and X-S10.

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

Example photographs, all camera-made JPEGs using this Superia Xtra 400 film simulation recipe on my Fujifilm X100V:

*Eats & Treats* – Farmington, UT – Fujifilm X100V

*Fireplace* – Farmington, UT – Fujifilm X100V

*Brick & Fire* – Farmington, UT – Fujifilm X100V

*Red & Yellow Fire Hydrant* – Layton, UT – Fujifilm X100V

*November Pumkin* – Farmington, UT – Fujifilm X100V

*Fall Leaf in a Forest* – Fruit Heights, UT – Fujifilm X100V

*Forest Creek* – Fruit Heights, UT – Fujifilm X100V

*Autumn Branch Over Creek* – Fruit Heights, UT – Fujifilm X100V

*Autumn Creek* – Fruit Heights, UT – Fujifilm X100V

*Golden Path* – Fruit Heights, UT – Fujifilm X100V

*Trail Through the Forest* – Fruit Heights, UT – Fujifilm X100V

*Three Leaves* – Fruit Heights, UT – Fujifilm X100V

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

Fujifilm X100V Black Amazon B&H
Fujifilm X100V Silver Amazon B&H

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Recipe Custom Name Format

Posted on November 8, 2020 by Ritchie Roesch

An issue that many people have found with the different film simulation recipes is knowing what to adjust the White Balance Shift to, as well as knowing what the exposure compensation should be, when changing recipes. Only the newest Fujifilm cameras (the X-Pro3 and newer) have the ability to save the WB Shift with the custom presets; unfortunately, most Fujifilm cameras cannot save WB Shift with custom presets, and that’s a problem when switching between different recipes. Since the camera can’t save certain settings, people have come up with different solutions to help remember what those settings should be. One of those solutions is to put the WB Shift into the custom preset name. Not all Fujifilm cameras have the ability to name the custom settings, but many of them do.

Fuji X Weekly reader Randy Kirk took this name solution to a new level! He designed an abbreviation format for recipe names as a solution to the problem, which he explains below.

“The format translates, from left to right, as follows:
Film Recipe Name, WB mode (auto, daylight, etc), WB Offset, exposure compensation, and finally ISO or misc notes.”

“I use these abbreviations for White Balance:
AU: Auto
TN: Tungsten
C1: Custom 1, etc
F1: Fluorescent 1
KV: Kelvin
CL: Cloud
… and so on. Most can also be abbreviated to one letter if I run out of space to type.”

Below are some examples.

Kodachrome 64 is named: K64 DY+2r-5b +2/3~
Translation: “Kodachrome 64, Daylight White Balance with a +2 Red & -5 Blue shift, exposure comp +2/3, plus or minus 1/3 of a stop. The squiggle after the fraction translates to ‘more or less’ and takes less space than typing the full range listed in the recipe.”

Portra 160 is named: P160 DY~+4r-5b +1~
Translation: “Here, the squiggle after DY lets me know I can mess around with the White Balance, and the exposure compensation translates to +2/3 to +1 1/3 stop.”

Tri-X 400 is named: TriX C1+9r-9B +2/3~ 1600+
Translation: “White balance is Custom 1, exposure compensation is +1/3 to +1 stop, and ISO 1600 and up is recommended.”

“Last, here’s one that condenses my cheat notes for two recipes into one preset name:
K2/E100 A+3r-4b +1/3+ C/V
It looks funky, but translates to:
Kodachrome II / Ektachrome 100SW, Auto WB (abbreviated to A), WB Shift, Exposure Comp +1/3 to +2/3 stop.. and the last note indicates Classic Chrome (for Kodachrome II) or Velvia (for E100SW).”

“A plus sign *after* the exposure compensation indicates another 1/3 stop ‘up’ (for a range of +1/3 to +2/3). Or if a recipe calls for an exposure range of minus 1/3 to minus 2/3 stop, then it would simply read ‘-1/3-‘.”

If you are having trouble remembering what adjustments that you need to make to your camera when you switch between recipes, this system of abbreviations with your custom recipe names might be just what you need. I know that this will be helpful to many of you. Thank you, Randy Kirk, for designing these abbreviations and sharing them!