Anders began by looking at some old prints he has, which were captured on Kodak Gold 200 film. He noticed that these prints looked a little different than my Kodak Gold 200 recipe, but one film can have many different looks depending on how it was shot, developed, printed and/or scanned, or even which generation of the emulsion you’re viewing. This recipe mimics the aesthetic of his prints, but he noticed that it also matches many examples of Gold 200 that he found online.
Kids in a Tree – Farmington, UT – Fujifilm X100V – “Kodak Gold v2”
This recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. To make this recipe work on the X-T3 and X-T30, Anders suggests using Grain Strong, White Balance 5900K (with the same shift), and ignoring Clarity—I suggest that you consider using a weak diffusion filter, such as 1/8 Black Pro Mist or 5% CineBloom, in leu of Clarity. In addition, for X-Trans III, ignore Color Chrome Effect. The results will be slightly different, but nearly the same. Anders suggests trying this recipe with a 3200K white balance for night photography.
Classic Chrome Dynamic Range: DR200 Highlight: 0 Shadow: -1 Color: -1 Noise Reduction: -4 Sharpness: -1 Clarity: -2 Grain Effect: Strong, Large Color Chrome Effect: Weak Color Chrome Effect Blue: Off White Balance: 5800K, +2 Red & +4 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodak Gold v2 film simulation recipe on my Fujifilm X100V:
Moon Behind Pine – Farmington, UT – Fujifilm X100V
Moon Behind Cattails – Farmington, UT – Fujifilm X100V
Safe Zone – Farmington, UT – Fujifilm X100V
Makeshift Gate – Farmington, UT – Fujifilm X100V
Wood Post – Farmington, UT – Fujifilm X100V
Trail to Visitors Center – Farmington, UT – Fujifilm X100V
Green Leaves in January – Farmington UT – Fujifilm X100V
Hanging Red Berries in Winter – Farmington, UT – Fujifilm X100V
Berries and Barren Branches – Farmington, UT – Fujifilm X100V
Brown Reeds – Farmington, UT – Fujifilm X100V
Jo in a Tree – Farmington, UT – Fujifilm X100V
Jo Under The Tennis Net – Farmington, UT – Fujifilm X100V
Evergreen Tops – Farmington, UT – Fujifilm X-E4 – “Kodak High Definition Plus 200”
This Kodak High Definition Plus 200 film simulation recipe was a fun one to make. My wife, Amanda, was looking through an old box of pictures when she came across a group of prints that she thought looked interesting, so she showed them to me. The images were captured in the Sierra Nevada mountains, largely in the Sequoia National Forest, in 2006. I had no idea what film I used, but after locating the negatives, I discovered it was Kodak High Definition Plus 200. The pictures were printed on Fujicolor Crystal Archive paper. Not surprisingly, Fujifilm paper produces a different aesthetic than Kodak paper, so if this film had been printed on Kodak paper the pictures would look a little different. Back then, the rule of thumb for best results was that Kodak negatives should be printed on Kodak paper, Fujifilm negatives should be printed on Fujifilm paper, etc., but obviously I broke that “rule” with these travel pictures.
Kodak High Definition Plus 200 was a color negative film that was also sold under the name Kodak Royal Supra 200. At the time, Kodak claimed that it was the sharpest and finest-grained ISO 200 color negative film on the market. Originally there were ISO 100, 200, 400 and 800 varieties, but since this film line was introduced right at the beginning of the decline of film, it didn’t take Kodak long to discontinue all but the ISO 200 and 400 versions, and even those didn’t last all that long. I shot a few rolls of the film, and after digging through that photo box, I found two sets of negatives, both exposed around that same timeframe. I honestly don’t remember all that much from the experience, but it was fun to rediscover these long-forgotten pictures and recreate the aesthetic on my Fujifilm X-E4 camera.
A picture of Kodak High Definition Plus negatives, captured with this recipe.
A picture of Kodak High Definition Plus 200 prints, captured with this recipe.
A poor quality scan of one of the prints. Sorry. I really need to buy a better scanner.
For ISO 200 color negative film, Kodak High Definition Plus 200 was indeed pretty sharp and fine-grained. It was moderately vibrant (just a little above “true to life”) and contrasty but not overly contrasty. From what I can tell, it didn’t have as large of an exposure latitude as some of Kodak’s other color negative films. It was warm, but seemed to lean more towards green than red when printed on Fujicolor paper. Obviously, how the film is shot, developed, printed and/or scanned will affect how it looks (I apologize for my poor quality scan above, which doesn’t do the picture justice whatsoever, but I wanted to share it anyway). This recipe mimics how I shot the film in 2006, printed on Fujicolor paper. It is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.
Classic Chrome Dynamic Range: DR400 Highlight: 0 Shadow: +1 Color: +2 Noise Reduction: -4 Sharpening: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: 4800K, -2 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 Kodak High Definition Plus 200 film simulation recipe on my Fujifilm X-E4 & Fujifilm X100V:
Walking Bridge – Farmington, UT – Fujifilm X-E4
Hollow Building – Bountiful, UT – Fujifilm X100V
Leaves that Left – Farmington, UT – Fujifilm X100V
Flag & Evergreen – Layton, UT – Fujifilm X-E4
Green Pine Needles – Farmington, UT – Fujifilm X100V
Red Roof – Farmington, UT – Fujifilm X-E4
Lonely Table – Orem, UT – Fujifilm X100V
Night Shopping Carts – Draper, UT – Fujifilm X100V
Pillow on Couch – Farmington, UT – Fujifilm X100V
Fake Succulent – Farmington, UT – Fujifilm X-E4
Evening Clouds Over Wasatch Mountains – Farmington, UT – Fujifilm X-E4
Disappearing Light on Francis Peak – Farmington, UT – Fujifilm X-E4
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Autumn on Kodachrome – Layton, UT – Fujifilm X-E4 – “Kodachrome 25”
The Kodachrome name has been used for many different films over the years. The first Kodachrome product was a two-glass-plate color negative that was introduced in 1915. Like all other color photography methods of its time, the results weren’t particularly good and the product not especially successful.
In 1935, Kodak released its next Kodachrome product: a positive color transparency film. This Kodachrome was the first film that produced reasonably accurate colors, and, because of that, was the first commercially successful color film. It became the standard film for color photography for a couple decades, and was even Ansel Adams’ preferred choice for color work. The December 1946 issue of Arizona Highways, which was the first all-color magazine in the world, featured Barry Goldwater’s Kodachrome images. While the most popular Kodachrome during this time was ISO 10, Kodak also produced an ISO 8 version, as well as a Tungsten option in the 1940s.
Kodak made significant improvements to Kodachrome, and in 1961 released Kodachrome II. This film boasted more accurate colors, sharper images, finer grain, and a faster ISO of 25. While it was still somewhat similar to the previous Kodachrome, it was better in pretty much every way. A year later Kodachrome-X was introduced, which had an ISO of 64, and produced more saturation and increased contrast, but was grainier.
Golden Red Berries – Farmington, UT – Fujifilm X-E4 – “Kodachrome 25”
In 1974, because Kodak created a less-toxic development process, Kodachrome II was replaced by Kodachrome 25 and Kodachrome-X was replaced by Kodachrome 64. This generation of Kodachrome is what most people think of when they picture (pun intended) the film, gracing the pages of magazines like National Geographic. Due to Kodachrome’s sharpness, grain, color, contrast, and archival characteristics, it was a great all-around option that worked well in most circumstance. Steve McCurry, who is perhaps the best-known photographer to extensively use this era of Kodachrome, said of the film, “It has almost a poetic look with beautiful colors that were vibrant and true to what you were shooting.”
This film simulation recipe is intended to mimic Kodachrome 25 color transparency film. I was fortunate to shoot a few rolls of Kodachrome 25. It was a beautiful film, and probably the sharpest color film ever made, but its low ISO made it difficult to use. Kodachrome 64, which was still a low-ISO film, was about 1 2/3 stops faster. The major differences between the two Kodachrome emulsions is that the ISO 25 version was sharper and less grainy, while the ISO 64 version was more contrasty, vibrant and a hair warmer. Both were very similar, though, and it would be hard to spot the differences without a close inspection. Some people preferred the slightly more subtle tones and finer detail of Kodachrome 25, and some preferred the faintly punchier pictures rendered on Kodachrome 64. I liked Kodachrome 64 a little more, and so that’s what I most often used.
Below are a couple examples of this Kodachrome 25 recipe compared to my Kodachrome 64 recipe:
Kodachrome 25 recipe
Kodachrome 64 recipe
Kodachrome 25 recipe
Kodachrome 64 recipe
In the example below, I made massive crops so that you could more easily see the subtle differences in sharpness and grain between the two Kodachrome recipes. The differences in warmth are also more obvious. If the Kodachrome 25 recipe could have a .25 adjustment warmer, and if the Kodachrome 64 recipe could have a .25 adjustment cooler, it would likely be more accurate, but alas we’re limited by what Fujifilm gives us. In the case of this recipe, a Color Chrome FX Blue Medium would be a nice option, but it doesn’t exist.
Kodachrome 25 recipe
Kodachrome 25 crop
Kodachrome 64 crop
When Kodak discontinued Kodachrome in 2009, it shocked the photographic community; however, the deeper blow was that Kodak discontinued the chemicals required to develop it. Even if you had an old roll of the film (which I did), you couldn’t develop it, except as a black-and-white film from a specialty lab. By the end of 2010, the Kodachrome era was officially over for good. Fortunately, if you have a Fujifilm camera, the spirit of Kodachrome still lives.
This Kodachrome 25 recipe is only compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. You can modify this for the X-Pro3 and X100V by setting Highlight to 0 and Shadow to -1 instead of what it calls for—I don’t like it quite as much, but it’s pretty similar.
Classic Chrome Dynamic Range: DR400 Highlight: +0.5 Shadow: -0.5 Color: +1 Noise Reduction: -4 Sharpening: +3 Clarity: +3 Grain Effect: Off Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, +2 Red & -4 Blue ISO: Auto, up to ISO 1600 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome 25 film simulation recipe on my Fujifilm X-E4:
Pedestrian Bridge – Farmington, UT – Fujifilm X-E4
Empty Stairs – Farmington, UT – Fujifilm X-E4
Red Box – Farmington, UT – Fujifilm X-E4
Locked Fire Box – Farmington, UT – Fujifilm X-E4
Three Bike Boxes – Farmington, UT – Fujifilm X-E4
Trains Can’t Stop – Farmington, UT – Fujifilm X-E4
Ceiling Conduit – Farmington, UT – Fujifilm X-E4
Delivering Boxes – Roy, UT – Fujifilm X-E4
Josh in Shadow – Farmington, UT – Fujifilm X-E4
Orange Leaves – Layton, UT – Fujifilm X-E4
Path Through A Fall Forest – Farmington, UT – Fujifilm X-E4
Golden Light on Mountain – Farmington, UT – Fujifilm X-E4
Last Light on Francis Peak – Farmington, UT – Fujifilm X-E4
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Two days ago I published my new Retro Gold film simulation recipe, which is great for “golden hour” photography. That recipe has a lot of contrast in it—I stated in the article that it was similar to slide film or maybe push-processed negative film. A high-contrast recipe works great in situations that are low-contrast. Sometimes when the sun is low, the scenes you encounter aren’t low-contrast, but high contrast. In those cases, the Retro Gold recipe may not be the best choice. Thomas Schwab suggested that I should create a low-contrast version that’s better suited for high-contrast situations—that’s how this recipe, which I call Retro Gold Low Contrast, came to be.
This recipe has more of a color negative film look (Kodak Gold, maybe?). The color cast is perhaps similar to using an enhancing filter (and maybe a polarizer, too). Like the other recipe, this one isn’t intended to mimic any specific film, but it definitely has an analog aesthetic to it.
Yellow Leaf of Autumn – Farmington, UT – Fujifilm X-E4 – “Retro Gold Low Contrast”
Because this “Retro Gold Low Contrast” film simulation recipe uses Clarity and Color Chrome FX Blue, it’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It might also be compatible with the newer GFX cameras, too, although I’m not certain of that. Unfortunately, it’s not compatible with the X-T3 and X-T30.
Classic Chrome Dynamic Range: DR400 Highlight: 0 Shadow: -2 Color: +4 Noise Reduction: -4 Sharpening: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Fluorescent 3 (“Cool White Fluorescent”), +4 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to -2/3 (typically)
Example photographs, all camera-made JPEGs using this “Retro Gold Low Contrast” film simulation recipe on my Fujifilm X-E4:
Cloudy Ridge – Farmington, UT – Fujifilm X-E4
Cloudy Mountain – Farmington, UT – Fujifilm X-E4
Dressed Warm – Farmington, UT – Fujifilm X-E4
Vines up the Bark – Farmington, UT – Fujifilm X-E4
Long Yellow Leaves – Farmington, UT – Fujifilm X-E4
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Golden Red Berries – Farmington, UT – Fujifilm X-E4 – “Retro Gold”
This film simulation recipe began as an attempt to mimc the aesthetic of the Retro Effect on Ricoh GR cameras. There are several reasons why this recipe isn’t a good facsimile to that, but, even so, I really like what I came up with. It has a retro look to it that is somewhat reminiscent of slide film that’s been left in a hot car a little too long (or, perhaps, simply wasn’t stored correctly), and somewhat reminiscent of push-processed negative film, maybe something like Kodak Gold. It’s not intended to mimic any specific film, so any similarities to an analog aesthetic is a happy accident.
Because of its retro-golden look, I’ve named this recipe “Retro Gold.” It’s outstanding in evening light, and pretty good at other times, too. In some ways it reminds me of my Golden Negative recipe, and in some ways it reminds me of my Expired Slide recipe, but it’s not really like either. While you can use it anytime, this is a film simulation recipe that I recommend you try during your next “golden hour” photographic outing.
One Way To The Mountains – Farmington, UT – Fujifilm X-E4 – “Retro Gold”
Because this “Retro Gold” film simulation recipe uses Clarity and Color Chrome FX Blue, it’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It might also be compatible with the newer GFX cameras, too, although I’m not certain of that. Unfortunately, it’s not compatible with the X-T3 and X-T30. If you don’t want to use Clarity because it slows down the camera, an alternative might be to use a diffusion filter, like the 1/8 Black Pro Mist or 5% CineBloom. Another option for this recipe that you are welcome to try is a stronger grain effect. I went with Weak and Small because I wasn’t attempting a particular film look, but it would likely look nice with as much as Strong and Large.
Classic Chrome Dynamic Range: DR400 Highlight: +4 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpening: 0 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Fluorescent 3 (“Cool White Fluorescent”), +4 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to -2/3 (typically)
Example photographs, all camera-made JPEGs using this “Retro Gold” film simulation recipe on my Fujifilm X-E4 & Fujifilm X100V:
Hazy Evening Berries – Farmington, UT – Fujifilm X-E4
Sunset Red – Farmington, UT – Fujifilm X-E4
Purple Thistle – Farmington, UT – Fujifilm X-E4
Golden November Leaves – Farmington, UT – Fujifilm X-E4
Golden Evening Leaves – Farmington, UT – Fujifilm X-E4
Autumn Yellow Leaf – Farmington, UT – Fujifilm X-E4
Thorns & Leaves – Farmington, UT – Fujifilm X-E4
Boy In The Shadow – Farmington, UT – Fujifilm X-E4
Bokeh Abstract – Farmington, UT – Fujifilm X-E4
Partly Cloudy Sky Reflected – Salt Lake City, UT – Fujifilm X100V
Evening Housetop – Farmington, UT – Fujifilm X-E4
Neighborhood Autumn Leaves – Farmington, UT – Fujifilm X100V
Hidden Neighborhood Evening – Farmington, UT – Fujifilm X100V
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Pumpkin – Farmington, UT – Fujifilm X-T1 – “Kodacolor 200”
For this recipe, I was attempting to recreate a Kodak Portra 400 NC aesthetic. A couple of decades ago, Portra (both the ISO 160 and ISO 400 emulsions) came in two versions: NC (“Neutral Color”) and VC (“Vivid Color”). Kodak later revised the film to be something in-between the two, which they simply called Portra 160 and Portra 400. This recipe is, I believe, in the general ballpark of Portra 400 NC, but not exactly right; however, I like the results anyway. So if this recipe is close to Kodak Portra 400 NC, why did I call it Kodacolor 200? Because I think it is actually a little closer to Kodacolor 200, which is a variety of Kodacolor VR, and related to ColorPlus 200. I wouldn’t call it an exact match to Kodacolor 200, but that’s the film this is most likely closest to. If you want a Portra 400 NC or Kodacolor 200 aesthetic, this recipe is relatively similar to both.
There’s a fair amount of contrast produced by this recipe, which looks really good in conditions without harsh light. In bright daylight, the contrast might be a little too much, perhaps more closely resembling push-processed film, or (to a lessor extent) even bleach-bypassed Portra. On bright days, you might consider dropping both Shadow and Highlight to +1 if you find it to be too contrasty. I believe this film simulation recipe produces its best results when the sun is a little obscured, but not heavy overcast; however, it’s possible to get good results in many different circumstances. If your X-Trans II camera has Classic Chrome, I invite you to give this recipe a try—it’s a great high-contrast, low saturation option.
Power Pole Cup – Farmington, UT – Fujifilm X-T1 – “Kodacolor 200”
Classic Chrome Dynamic Range: DR200 Highlight: +2 (Hard) Shadow: +2 (Hard) Color: -2 (Low) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: 3200K, +8 Red & -8 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Kodacolor 200 film simulation recipe:
Phragmites – Farmington, UT – Fujifilm X-T1
Touch of Red – Salt Lake City, UT – Fujifilm X-T1
Pumpkin Stem – Farmington, UT – Fujifilm X-T1
Autumn Shrub – Farmington, UT – Fujifilm X-T1
Ground Leaves – Farmington, UT – Fujifilm X-T1
Neighborhood Autumn Tree – Farmington, UT – Fujifilm X-T1
Creek Path in Autumn – Farmington, UT – Fujifilm X-T1
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Elite Chrome 200 was a “high-ISO” color transparency film made by Kodak during the 1990’s and into the mid-2000’s. It was one of those films you could find at most corner drug stores, and you typically would chose it if you ran out of film while out-and-about and needed something. Elite Chrome was a low-budget Ektachrome film. A rumor that I remember about Elite Chrome 200 is that it was actually Ektachrome E200 that didn’t pass the quality control inspection, but I have no idea if that was true or not. Interestingly, Kodak claimed that Elite Chrome 200 was the lowest-contrast ISO 200 reversal film on the market. Because of how it responded to C-41 chemistry, it was a popular option for cross-processing.
I shot several rolls of Elite Chrome 200 film back in the day. Unfortunately, Ektachrome had a tendency to fade over time—it’s not an especially great archival film. I actually made a recipe mimicking faded Elite Chrome 200. This recipe is more like if the film wasn’t faded. I wasn’t intentionally intending to recreate Elite Chrome—in fact, I stumbled into this recipe when I used Classic Chrome instead of Classic Negative with my Fujicolor Superia 800 recipe. I was pretty shocked by just how good it looked! Sometimes changing the film simulation can produce good results, and sometimes (like when Omar Gonzalez used Classic Chrome instead of Classic Negative with my Agfa Vista recipe) it doesn’t produce good results. Fortunately for you, this is an example of when it works, and it just so happens by chance to resemble Elite Chrome 200 film.
The Fallen – Fruit Heights, UT – Fujifilm X-E4 – “Elite Chrome 200”
This film simulation recipe is compatible with all X-Trans IV cameras, except for the X-T3 and X-T30. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, this recipe is completely compatible with your camera. If you do have an X-T3 or X-T30 and want to use this recipe, you’ll have to ignore Grain Size (set it to Strong), ignore Color Chrome FX Blue, and ignore Clarity. In lieu of Clarity, use a diffusion filter, such as a 10% CineBloom or 1/4 Black Pro Mist.
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: -1 Noise Reduction: -4 Sharpening: -1 Clarity: -4 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Daylight, -1 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Elite Chrome 200 film simulation recipe on my Fujifilm X-E4 & Fujifilm X100V:
Pumpkin Head – Fruit Heights, UT – Fujifilm X-E4
Colorful Fall Trees – Farmington, UT – Fujifilm X100V
Little Yellow Leaf – Fruit Heights, UT – Fujifilm X-E4
October Tree Trunks – Fruit Heights, UT – Fujifilm X-E4
Sunlight In The Golden Forest – Fruit Heights, UT – Fujifilm X-E4
Autumn Forest Light – Fruit Heights, UT – Fujifilm X-E4
Autumn Woods – Fruit Heights, UT – Fujifilm X-E4
Autumn Creek – Fruit Heights, UT – Fujifilm X-E4
Late October Leaves – Fruit Heights, UT – Fujifilm X-E4
Raindrops on a Branch – Farmington, UT – Fujifilm X100V
Leaves on Old Fallen Tree – Fruit Heights, UT – Fujifilm X-E4
Jo in the Forest – Fruit Heights, UT – Fujifilm X-E4
Happy Johanna – Farmington, UT – Fujifilm X-E4
Evening Interstate – Farmington, UT – Fujifilm X100V
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What is DR-P? It’s basically a tone curve intended to maximize dynamic range. There are four options: Off, Auto, Weak, and Strong. When DR-P is Off, the camera uses DR (DR100, DR200, DR400) instead, and when DR-P is On (Auto, Weak, or Strong), DR is disabled. When DR-P is On, Highlight and Shadow are “greyed out” so those can’t be adjusted—the curve is built into DR-P. You get what you get. DR-P Weak is similar to using DR400 with both Highlight and Shadow -2, but with a very subtle mid-tone boost. This recipe calls for DR-P Auto, and the camera will usually select DR-P Weak unless there is a bright light source (such as the sun) in the frame, such as the picture Sunlight Through a Tree further down below.
Tall Grass – Farmington, UT – Fujifilm X-E4 – “Portra-Style”
This “Portra-Style” recipe isn’t intended to faithfully mimic Portra film, but was inspired more by Kyle McDougall’s “Portra-Style” presets, which are, of course, modeled after Kodak Portra film. The Kodak Portra 400 Warm recipe was also inspired by these presets, and there are some similarities between this recipe and that one. I don’t know which is better, as they’re both good options for achieving a warm Portra-like aesthetic. For a more-accurate recipe, try Kodak Portra 400 v2. This recipe, which is closer to Portra 400 than 160, works best in natural light, especially daylight, although you can still get interesting results sometimes in other lighting situations. My “Portra-Style” recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras.
Classic Chrome Dynamic Range: D-Range Priority Auto Color: +1 Noise Reduction: -4 Sharpening: -2 Clarity: +3 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: 5000K, +2 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Portra-Style” film simulation recipe on my Fujifilm X-E4:
Jonathan – Farmington, UT – Fujifilm X-E4
Arrow & Cones – Sandy, UT – Fujifilm X-E4
Northstar – Orem, UT – Fujifilm X-E4
Summer Tree – Farmington, UT – Fujifilm X-E4
Sunlight Through a Tree – Farmington, UT – Fujifilm X-E4
Fence & Tree – Layton, UT – Fujifilm X-E4
Cautious Nature – Fruit Heights, UT – Fujifilm X-E4
Bridge in the Forest – Fruit Heights, UT – Fujifilm X-E4
Yellow Leaves in Green Forest – Fruit Heights, UT – Fujifilm X-E4
Log in the Forest – Fruit Heights, UT – Fujifilm X-E4
Last Light on Dead Tree – Fruit Heights, UT – Fujifilm X-E4
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Walking on a Bridge – Farmington, UT – Fujifilm X-T30 – “Kodak Portra 400 v2”
This film simulation recipe is a slight variation of my Kodak Portra 400 recipe. It came about after I made a Portra 400 v2 recipe for the newer X-Trans IV cameras, which was created after studying actual examples of the film provided to me by a reader. I wanted to create a similar modification for the X-T3 and X-T30, which became this recipe. One film can have many different looks, depending on how it’s shot, developed, and scanned and/or printed, so this isn’t necessarily a “better” recipe, just a slightly different take on recreating the film’s aesthetic. I really like this one, and I think you will, too!
Portra 400, which is a color negative film, was introduced by Kodak in 1998. It was redesign in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made. Interestingly, Kodak briefly made a black-and-white version of Portra 400!
Downtownscape – Salt Lake City, UT – Fujifilm X-T30 – “Kodak Portra 400 v2”
This isn’t exactly a brand-new recipe. It was published as a Patron early-access recipe on the Fuji X Weekly App back on December 1st, so Patrons have had access to it for quite some time. Now another early-access recipe has replaced it, so this one is available to everyone! If you are a Fuji X Weekly Patron, be sure to check out the new early-access recipe in the app.
Classic Chrome Dynamic Range: DR-Auto Highlight: -1 Shadow: -1 Color: +2 Noise Reduction: -4 Sharpening: -2 Grain Effect: Strong Color Chrome Effect: Strong White Balance: Daylight, +2 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” film simulation recipe on my Fujifilm X-T30:
Blackberry Forest Evening – Farmington, UT – Fujifilm X-T30
Three Backlit Leaves – Farmington, UT – Fujifilm X-T30
Tiny Red Berries – Farmington, UT – Fujifilm X-T30
Broken and Boarded – Farmington, UT – Fujifilm X-T30
Window to the City – Salt Lake City, UT – Fujifilm X-T30
Lululemon – Salt Lake City, UT – Fujifilm X-T30
Two Tall Buildings – Salt Lake City, UT – Fujifilm X-T30
Hotel – Salt Lake City, UT – Fujifilm X-T30
Two Cranes – Salt Lake City, UT – Fujifilm X-T30
A Downtown Cityscape – Salt Lake City, UT – Fujifilm X-T30
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Old Trolley Building – Salt Lake City, UT – Fujifilm X100V – “Kodak Portra 400 Warm”
This Kodak Portra 400 Warm recipe came about after the Kyle McDougall Portra-Style comparison article. These settings are an attempt to get closer to Kyle’s preset aesthetic. Some film simulation recipes are good for everyday use, while some are good only in the right situations. This is one falls into the latter category, I think. This recipe isn’t for everyone or every situation, but for some people in the right situations, this recipe will be greatly loved! I think it looks best in sunny daylight, but can produce interesting results occasionally in other lighting situations, too. Thank you to Ryan for helping out with this!
One film can have many different looks depending on how it’s shot, developed, and scanned or printed. This Kodak Portra 400 Warm film simulation recipe is an alternative aesthetic. Portra 400 was introduced by Kodak in 1998, and was redesigned in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made.
If you like my other Portra recipes, you might like this one, too. It uses Clarity, which slows down the camera considerably—I hope that Fujifilm speeds this up with a firmware update at some point. This recipe is only compatible with the latest Fujifilm X-Trans IV cameras: the X-Pro3, X100V, X-T4, X-S10, and X-E4. This was a Patron early-access recipe on the Fuji X Weekly App, so if you are a Patron you’ve had access to this Kodak Portra 400 Warm recipe for awhile—there’s now a new early-access recipe in its place, so be sure to check that out!
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: -2 Color: +2 Noise Reduction: -4 Sharpening: -2 Clarity: -2 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: 5500K, 0 Red & -7 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Portra 400 Warm” film simulation recipe:
Dumpster, Truck – Layton, UT – Fujifilm X100V
Beer & Wings – Salt Lake City, UT – Fujifilm X100V
Bright Yellow House – Farmington, UT – Fujifilm X100V
Western Structure – Farmington, UT – Fujifilm X-E4
Turn of the Century – Farmington, UT – Fujifilm X-E4
Train Bridge – Farmington, UT – Fujifilm X-E4
New Holland – Farmington, UT – Fujifilm X-E4
Food Field – Farmington, UT – Fujifilm X-E4
Sunlight in the Forest – Sundance, UT – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Joshua & Joy at a Creek – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
I’ve been wanting to create a Kodak Portra 400 film simulation recipe for Fujifilm X-Trans II cameras for a long time now. I’ve had a Portra 160 recipe on this website for awhile, but I’ve never created a Portra 400 recipe for this sensor. I’ve actually created five different Portra 400 recipes for X-Trans III and IV cameras, but those don’t work on X-Trans II. I made a guess on my Fujifilm X-T1 on what might be a good Portra 400 recipe, handed the camera to my son, Jon, and let him capture some pictures with it. You might remember that Jon created his own Classic Chrome recipe; this time I made the recipe, but I let him capture the pictures.
You might be wondering why I didn’t call this recipe “Portra 400” but named it “Portra v2” instead. While I believe that this recipe is similar to Portra 400, I do plan to create a more accurate recipe. Actually, that was my intentions with these pictures: reprocess the RAW files in-camera to refine the Portra look; however, as I reviewed the pictures, I liked the aesthetic created by these settings, so I decided to keep this as its own recipe. I will still work on a different Portra 400 recipe for X-Trans II.
Trees – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
One film can have many different aesthetics, depending on how it’s shot, developed, scanned or printed, and this is especially true with Kodak Portra 400. Portra can have many different looks. This recipe does resemble one of those aesthetics, but it definitely doesn’t resemble all of the aesthetics, or even the most common. If you do like Portra, I’m confident that you’ll appreciate these settings, which is compatible with all X-Trans II cameras that have the Classic Chrome film simulation.
Classic Chrome Dynamic Range: DR200 Highlight: -1 (Medium-Low) Shadow: -1 (Medium-Low) Color: +2 (High) Sharpness: -1 (Medium-Low) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, +4 Red & -4 Blue ISO: Auto up to ISO 3200 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using this Portra v2 film simulation recipe:
Water – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Fence Tree – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Lake – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Creek in the Woods – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Leaves – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Moss on a Log – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Grass – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Bridge – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
My Friend – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
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One of the more popular film simulation recipes that I’ve created is Kodachrome II, which was made for X-Trans III sensor cameras. While you can use that recipe on X-Trans IV cameras, the newer models have some JPEG options that the older ones don’t, so it can be fun to utilize those options to produce a different and hopefully better version of an old recipe. In this case, I have two new versions of Kodachrome II for X-Trans IV cameras.
Kodak introduced Kodachrome in 1935, and in 1961 they replaced the original film with a new and improved version called Kodachrome II and a higher-ISO sibling called Kodachrome-X. These films had more accurate color, finer grain and faster ISOs (ISO 25 and 64, respectively, compared to ISO 10) than the previous version. It was a big leap forward for color photography, and so it is no surprise that the innovators of color photography in the 1960’s and 1970’s relied heavily on it. It’s also the version that Paul Simon sang, “They give us the greens of summer, makes you think all the world’s a sunny day.”
Kodachrome II and Kodachrome-X produced a very similar look to each other. The main differences were in grain, contrast and saturation, but overall the variations were quite minor. Kodachrome-X was slightly more bold while Kodachrome II was slightly more clean. Even so, comparing slides, it’s tough to distinguish one from the other (conveniently, I have my grandparents old slides at my home). Even though I have named these two film simulation recipes “Kodachrome II” I think they more closely resembles Kodachrome-X film, but I find them to be a reasonable facsimile for both.
Yellow Arrow – Farmington, UT – Fujifilm X-E4 – “Kodachrome II v2”
Because of the toxic chemicals used in the development of this era of Kodachrome, plus the complexity of the process, Kodak changed from K-12 development to K-14 development, which ushered in new Kodachrome in 1974, called Kodachrome 25 and Kodachrome 64. This version of the film is the one that I have personally used. Interestingly enough, even though this version wasn’t all that much aesthetically different than the previous, there was a big outcry among photographers, and a large group who used Kodachrome II and Kodachrome-X did not appreciate the change.
While I created the X-Trans III Kodachrome II recipe, it was Thomas Schwab who modified it for X-Trans IV. His version, entitled Kodachrome II, is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4. In some of my example pictures below I used a Tiffen 1/4 Black Pro-Mist diffusion filter with my X100V. Why? Because I haven’t used this filter in awhile and wanted to. I don’t think it adds anything essential to the recipe. In fact, you might prefer the results without the filter. Thank you, Thomas, for creating and sharing this update to the original recipe!
I made a slightly modified version, entitled Kodachrome II v2, which is compatible with the X-T4, X-S10 and X-E4. I used this recipe on my X-E4 (without any diffusion filter). This isn’t intended to be a “better” recipe, just a slightly different version using the new JPEG options found in my X-E4. Both of these film simulation recipes can be found in the Fuji X Weekly app!
Kodachrome II
Classic Chrome Dynamic Range: DR200 Highlight: +1 Shadow: +2 Color: +1 Noise Reduction: -4 Sharpening: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto, +3 Red & -4 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II film simulation recipe on my Fujifilm X100V:
Rooflines – Farmington, UT – Fujifilm X100V
Backyard Play Kitchen – Farmington, UT – Fujifilm X100V
Playing Backyard Kitchen – Farmington, UT – Fujifilm X100V
Hover Scooter – Farmington, UT – Fujifilm X100V
Chair by a Fence – Farmington, UT – Fujifilm X100V
Jo in Evening Light – Farmington, UT – Fujifilm X100V
Brothers – Farmington, UT – Fujifilm X100V
Easter Egg Basket – Farmington, UT – Fujifilm X100V
Jon with Walkie Talkie – Farmington, UT – Fujifilm X100V
Fake Plants on a Shelf – Farmington, UT – Fujifilm X100V
Kodachrome II v2
Classic Chrome Dynamic Range: DR200 Highlight: +1 Shadow: +1.5 Color: +1 Noise Reduction: -4 Sharpening: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto White Priority, +3 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II v2 film simulation recipe on my Fujifilm X-E4:
Table Between Chairs – Farmington, UT – Fujifilm X-E4
Brothers Playing Together – Farmington, UT – Fujifilm X-E4
Fenced Horse – Farmington, UT – Fujifilm X-E4
Bicycle Sky – Farmington, UT – Fujifilm X-E4
Stop the Storm – Farmington, UT – Fujifilm X-E4
Grabber – Farmington, UT – Fujifilm X-E4
Handle – Farmington, UT – Fujifilm X-E4
Hand Spade – Farmington, UT – Fujifilm X-E4
Jo Holding a Toy – Farmington, UT – Fujifilm X-E4
Jo & Josh Playing – Farmington, UT – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Everyone makes mistakes, right? “To err is human,” coined Alexander Pope in 1711. I goofed up, and this one feels especially embarrassing, because it involves one of my film simulation recipes—one that’s been around for awhile now. It was just recently brought to my attention.
The recipe in question is Dramatic Classic Chrome. On this website it says that the White Balance Shift should be -1 Red & +1 Blue, but on the Fuji X Weekly app (now available for both iOS and Android!) it says that the shift should be +1 Red and -1 Blue. Which one is right? Which should you use?
Here are a few examples with both white balance shifts:
Dramatic Classic Chrome with -1 Red & +1 Blue
Dramatic Classic Chrome with +1 Red & -1 Blue
Dramatic Classic Chrome with -1 Red & +1 Blue
Dramatic Classic Chrome with +1 Red & -1 Blue
Dramatic Classic Chrome with -1 Red & +1 Blue
Dramatic Classic Chrome with +1 Red & -1 Blue
The difference isn’t huge, but there’s a noticeable difference between two versions. Which do you like better?
The correct white balance shift for Dramatic Classic Chrome is +1 Red & -1 Blue. The app has it right. There are likely hundreds of people who have used it with the wrong shift, which is completely my fault, but if they liked the results, is it actually wrong? Feel free to use whichever shift you prefer, either the slightly cooler “incorrect” one or the slightly warmer “correct” one, whichever one gives you the results that you like. There’s not really a right or wrong way.
If you’ve used this recipe, which shift did you use?
I apologize for this mistake, and I hope that it didn’t cause too much trouble.
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!
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch – “Jon’s Classic Chrome”
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
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Sage Sunset – Antelope Island SP, UT – Fujifilm X100V – “Kodak Portra 400 v2”
One film can have many different looks depending on how it’s shot, developed, scanned or printed. This new Portra 400 film simulation recipe, called Kodak Portra 400 v2, is an alternative aesthetic, created by studying examples of actual Portra 400 film (thanks to Julien Jarry). The “other” Fujifilm X100V Kodak Portra 400 recipe was also created by studying examples of actual film (thanks to Thomas Schwab). They’re both good options for achieving a Portra look, and neither is more “right” than the other.
This isn’t exactly a brand-new recipe. It was published as a Patron early-access recipe on the Fuji X Weekly App back on December 1st, and now another early-access recipe has replaced it, so this one is now available to everyone! You might remember that this Kodak Porta 400 v2 recipe was mentioned in the Kyle McDougall preset comparison article.
Ford Truck – Centerville, UT – Fujifilm X100V – “Kodak Portra 400 v2”
If you like my other Portra recipes, you’re sure to like this one, too. Because it uses Clarity, it slows down the camera considerably. I hope that Fujifilm speeds this up with a firmware update at some point, but in the meantime, if you can, my recommendation is to embrace the slowdown. This recipe is only compatible with the latest Fujifilm X cameras: the X-Pro3, X100V, X-T4 and X-S10.
Classic Chrome 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 new Kodak Portra 400 v2 film simulation recipe on my Fujifilm X100V:
Stacked Pallets – Farmington, UT – Fujifilm X100V
Now Hiring – Centerville, UT – Fujifilm X100V
Double-Double – Centerville, UT – Fujifilm X100V
Burger Roof – Centerville, UT – Fujifilm X100V
Julien Jarry with RED Camera – Antelope Island SP, UT – Fujifilm X100V
Julien Filming – Antelope Island SP, UT – Fujifilm X100V
Yellow Rabbitbrush – Antelope Island SP, UT – Fujifilm X100V
Frary Peak Peeking – Antelope Island SP, UT – Fujifilm X100V
Desert Brush – Antelope Island SP, UT – Fujifilm X100V
Light Log – Big Fork, MT – Fujifilm X100V
Sunlight Through the Forest Trees – Big Arm, MT – Fujifilm X100V
One Lane Bridge – Big Fork, MT – Fujifilm X100V
String of Lightbulbs – Flathead Lake, MT – Fujifilm X100V
Dock at Night – Flathead Lake, MT – Fujifilm X100V
Moon Over RV – Antelope Island SP, UT – Fujifilm X100V
Sunset RED – Antelope Island SP, UT – Fujifilm X100V
Buffalo Point Sunset – Antelope Island SP, UT – Fujifilm X100V
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
November Cherries – Farmington, UT – Fujifilm X100V – “Kodak Portra 800”
Kodak introduced Portra 800 in 1998. The Portra line has seen a number of revisions and updates over the years, but I couldn’t find any information if the current Portra 800 film is the exact same emulsion from 1998, or if it’s gone through some changes over the years like the ISO 400 and 160 versions. Portra 800 is one of the best options for high-ISO color photography, but I’ve never shot it myself.
There are some good online resources that are helpful when creating film simulation recipes for films that I’ve never used, which I did consult, but that’s not how these settings came about. You see, there’s a new version of my Portra 400 recipe (which I know you’ll love) that’s coming soon, and this recipe is a variant of that. Thomas Schwab, who I’ve collaborated with on a number of different recipes (including Portra 400), and who has actually shot Portra 800, helped me out with this one. Thanks, Thomas!
Cabela’s Boy – Farmington, UT – Fujifilm X100V – “Kodak Portra 800”
I know that many of will love this Kodak Portra 800 film simulation recipe! It’s really nice, and has a good film-like aesthetic. Does it faithfully resemble real Portra 800? I think it does, but film can look different depending on how it’s shot, developed, scanned or printed, and this recipe won’t mimic every aspect of the film. Even so, I think this one will be quite popular, and many of you will use it regularly. It’s only compatible (as of this writing) with the Fujifilm X100V, X-Pro3, X-T4 and X-S10 cameras.
Classic Chrome Dynamic Range: DR400 Highlight: +1 Shadow: 0 Color: +3 Noise Reduction: -4 Sharpening: -2 Clarity: -4 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: 5200K, +1 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this new Kodak Portra 800 film simulation recipe on my Fujifilm X100V:
Brown Tree Leaves – Farmington, UT – Fujifilm X100V
Small Shrub – Farmington, UT – Fujifilm X100V
Backyard Tree Leaves – Farmington, UT – Fujifilm X100V
Yellow House – Farmington, UT – Fujifilm X100V
Suburban Mailboxes – Farmington, UT – Fujifilm X100V
Red Fire Hydrant – Farmington, UT – Fujifilm X100V
Suburban Peek – Farmington, UT – Fujifilm X100V
Evening Commute – Farmington, UT – Fujifilm X100V
Smith’s – Farmington, UT – Fujifilm X100V
Drug – Farmington, UT – Fujifilm X100V
Suburban Dusk – Farmington, UT – Fujifilm X100V
Parked Car in the Dark – Salt Lake City, UT – Fujifilm X100V
Tunnel Bench – Farmington, UT – Fujifilm X100V
Night Mall Architecture – Farmington, UT – Fujifilm X100V
Empty Sidewalk at Night – Farmington, UT – Fujifilm X100V
Christmas Decor Display – Farmington, UT – Fujifilm X100V
Succulent & Globe – Farmington, UT – Fujifilm X100V
Jon Wearing Cabela’s Hat – Farmington, UT – Fujifilm X100V
Potted Plant on End Table – Farmington, UT – Fujifilm X100V
Accidental Exposure – Farmington, UT – Fujifilm X100V
Sunlight Through a Tree – Farmington, UT – Fujifilm X100V
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Setting Sun Trees – Bountiful, UT – Fujifilm X100V – “Nature Neon”
This film simulation recipe isn’t mine. It was created by Fuji X Weekly reader Immanuel Sander, who has actually posted several different recipes on his Instagram account (@captn.look). Thomas Schwab was the one who tipped me off to this. There are several really nice recipes that Immanuel has shared, but this one is my personal favorite. I asked him if I could share it with you on this website, and he graciously agreed. Immanuel calls this recipe Captn Look Nature Neon.
I’m not sure what film this might most closely resemble. It’s kind of similar to my Golden Negative recipe (although not exactly), which is kind of similar to FPP Retrochrome (expired high-speed Ektachrome). It’s also almost redscale-ish, a little more subtly than my Redscale recipe. Cross processed film can sometimes have a red/orange color cast, particularly (non-Velvia) Fujifilm transparencies, but I don’t think these settings are especially close to that. Even if this recipe doesn’t look exactly like any particular film, it nonetheless produce very interesting results.
The Road Less Traveled – Antelope Island SP, UT – Fujifilm X100V – “Nature Neon”
It’s called “Nature Neon” in part because it uses the Fluorescent 1 white balance, which is also called Daylight Fluorescent or Neon Light. It gives a look as if a red neon light is illuminating the scene. The change that I made to Immanuel’s recipe is that I set Sharpness to -2; he had it set to -4. Thomas prefers it set to 0. Really, whatever Sharpness you prefer to use from -4 to 0 is acceptable.
This film simulation recipe is compatible with the Fujifilm X100V, X-Pro3 and X-T4. This article is a bit unusual in that it features example photographs from three photographers: Immanuel Sanders, Thomas Schwab, and myself. You can see how three different photographers used these settings. I want to give a big thank-you to Immanuel for creating and sharing this recipe, and to Thomas for showing it to me. Thank you, guys! I encourage you to check out their Instagram pages to see more of their pictures.
Classic Chrome Dynamic Range: DR400 Highlight: 0 Shadow: +2 Color: +3 Noise Reduction: -4 Sharpness: -2 Clarity: -4 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: Fluorescent 1, +2 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Nature Neon film simulation recipe:
Immanuel Sanders
Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander
Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Ritchie Roesch
Salt Lake from Ladyfinger Point – Antelope Island SP, UT – Fujifilm X100V
Peeking Peak – Antelope Island SP, UT – Fujifilm X100V
Rocks & Shrubs – Antelope Island SP, UT – Fujifilm X100V
Bison in a Meadow – Antelope Island SP, UT – Fujifilm X100V
Lava Sunset – Antelope Island SP, 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.
I get asked frequently to create film simulation recipes for many different film aesthetics, but sometimes I get asked to recreate the look of a photographer and not a film. This recipe falls into the latter category, as it is intended to resemble the aesthetic of Preet (Instagram), a photographer from Dubai. Preet uses a Fujifilm X-Pro3, but he shoots RAW and edits in Lightroom. In fact, he told me that he will soon be releasing his own Lightroom presets so that you can get his aesthetic in-software. I wanted to get close tp his look in-camera without the need for RAW editing, so I created this film simulation recipe, which is modeled after Preet’s pictures. It’s not an exact match, but probably as close as you can get straight-out-of-camera.
I can recognize Preet’s images without even seeing his name. They are bright, low-contrast (but typically of high-contrast scenes), and vibrant with a warm yellow-ish cast. They are almost kodak-esque, but not exactly like any specific film, and clean without grain. This film simulation recipe is pretty close to that aesthetic. Preet photographs a lot of beach scenes, buildings, and cars. I’m reminded of a bright summer day, which is why I call this recipe “Bright Summer.”
Roof – Farmington, UT – Fujifilm X100V – “Bright Summer”
I found with this recipe that sometimes Color should be set to +3 instead of +4 to better match Preet’s look, but oftentimes +4 is better, and occasionally +5 would be most correct if such a setting existed. If you prefer Color set to +3 don’t be afraid to do it. White Balance Shift occasionally looks more correct with Red set to -5, but I found -4 to be better for most pictures. It’s a similar situation for Blue: -3 is sometimes a better match, but most often -2 is most correct. You’ll have to decide if you prefer the recipe as stated below, or if -5 Red & -2 Blue, or -5 Red & -3 Blue, or -4 Red and -3 Blue works better for you. It might vary from picture-to-picture. Although I have Grain set to Off, I would consider setting it to Weak and Small, but that’s just my taste. To get even closer to Preet’s look, bring down the highlights and lift the shadows very slightly with a curves adjustment in-software (which, of course, is completely optional). This film simulation recipe is only compatible with the Fujifilm X100V, X-Pro3 and X-T4.
Classic Chrome Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: +4 Noise Reduction: -4 Sharpening: 0 Clarity: -5 Grain Effect: Off Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: 7100K, -4 Red & -2 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1 to +2 (typically)
Example photographs, all camera-made JPEGs using this “Bright Summer” film simulation recipe (without any modifications) on my Fujifilm X100V:
Free Flu Shot – Farmington, UT – Fujifilm X100V
No, No, No! – Farmington, UT – Fujifilm X100V
Chopstix – Farmington, UT – Fujifilm X100V
Twin Garage Doors – Layton, UT – Fujifilm X100V
Roof Slant 1– Layton, UT – Fujifilm X100V
Roof Slant 2 – Layton, UT – Fujifilm X100V
Roof Ladder – Farmington, UT – Fujifilm X100V
Lemon Ice Cream Truck – Farmington, UT – Fujifilm X100V
Suburban Flowerbed – Farmington, UT – Fujifilm X100V
Construction Truck – Farmington, UT – Fujifilm X100V
Burger King Parking Lot – Farmington, UT – Fujifilm X100V
Crown Burgers – Layton, UT – Fujifilm X100V
Notice: Stop – Farmington, UT – Fujifilm X100V
Lamp & Sky – Farmington, UT – Fujifilm X100V
Yellow House – Farmington, UT – Fujifilm X100V
Yellow Tree Summer – Farmington, UT – Fujifilm X100V
American Tree – Farmington, UT – Fujifilm X100V
Outdoor Succulent – Layton, UT – Fujifilm X100V
Parking Lot Reflections – Farmington, UT – Fujifilm X100V
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Hidden Church – North Salt Lake, UT – Fujifilm X-T200 – “Golden Negative”
I got my hands on a Fujifilm X-T200! It’s not my camera, I’m just borrowing it for a few weeks. So far I’ve been more impressed with it than I thought I’d be. I’ll write more about all this later. What I want to share today is the very first film simulation recipe that I’ve created for the X-T200, called Golden Negative.
I can’t tell you how many requests I’ve had for recipes compatible with Fujifilm Bayer cameras, such as the X-T200, X-T100, X-A7, X-A5 and XF10, but it’s been a lot! Prior to this, I’d only made three film simulation recipes for these cameras, partly because you cannot save custom presets on these cameras like you can on X-Trans models. You more-or-less have to use one recipe for a period of time, and only switch occasionally. With this film simulation recipe, there are now four to choose from! X-Trans II recipes are compatible with these Bayer cameras, but they produce slightly different results. This recipe will work on X-Trans II, but it won’t look exactly the same. I tried this recipe on an X-Trans IV camera, and it looked noticeably different, but it didn’t look bad, so feel free to try this recipe any camera with the Classic Chrome film simulation; for best results, use it on a Fujifilm Bayer camera.
Early Autumn Evening – North Salt Lake, UT – Fujifilm X-T200 – “Golden Negative”
What does this Golden Negative recipe look like? I’m reminded of prints from the 1980’s and 1990’s, maybe captured on Kodak Gold and printed on Kodak paper. It’s not really intended to resemble that, it’s just what this recipe reminds me of. It has a beautiful low-contrast, low-saturation, warm-cast that’s closer to Kodak color negative film, such as Gold or ColorPlus, than reversal film. I don’t think this recipe is exactly like any specific film, but it looks great nonetheless.
Classic Chrome Dynamic Range: DR-Auto Highlight: +1 Shadow: -2 Color: -2 Noise Reduction: -2 Sharpening: 0 White Balance: Daylight, +4 Red & -2 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this Golden Negative film simulation recipe on a Fujifilm X-T200:
XB – Farmington, UT – Fujifilm X-T200
Ogden or Bust – Woods Cross, UT – Fujifilm X-T200
Rose Garden – Farmington, UT – Fujifilm X-T200
Shadows on a Leaf – North Salt Lake, UT – Fujifilm X-T200
Ground Leaves – North Salt Lake, UT – Fujifilm X-T200
Brown Leaf – North Salt Lake, UT – Fujifilm X-T200
Autumn Trees Trunks – North Salt Lake, UT – Fujifilm X-T200
Forest Sunstar – North Salt Lake, UT – Fujifilm X-T200
Nature Above City – North Salt Lake, UT – Fujifilm X-T200
Haze Over North Salt Lake – North Salt Lake, UT – Fujifilm X-T200
Moonrise Over Mansions – North Salt Lake, UT – Fujifilm X-T200
Yellow Balsomroot – North Salt Lake, UT – Fujifilm X-T200
Blossomed Flower – North Salt Lake, UT – Fujifilm X-T200
Faux Succulent on a Shelf – Farmington, UT – Fujifilm X-T200
Girl Playing Cards – Farmington, UT – Fujifilm X-T200
Happy Girl – Farmington, UT – Fujifilm X-T200
Joshua on the Playground – North Salt Lake, UT – Fujifilm X-T200
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Sunshine Pines – Mirror Lake, UT – Fujifilm X100V – “Verano Tostado”
There are some film simulation recipes that are more series and some that are more fun. This one is falls into the latter category. Even the name, Verano Tostado (“Toasted Summer”), and the story behind it, is fun. Fuji X Weekly reader Ricardo Guzman sent me this recipe to try. He called it “Tostado” and when I asked him why, Ricardo answered, “Toasted like summer—when you sleep after lunch at the beach, you wake up looking at funny colors.” Yes, that’s exactly what it looks like—verano tostado!
What’s great about this recipe is, even though the title says Fujifilm X100V, this actually will work on any X-Trans III and X-Trans IV camera. Simply disregard Grain set to Large if your camera doesn’t have that option. Clarity, Color Chrome Effect and Color Chrome Effect Blue are all set to 0 or Off, which makes this recipe usable on cameras that don’t have those options. I tried it on both a Fujifilm X-T20 and X-T30 and it worked great!
Roof and Ceiling – Farmington, UT – Fujifilm X100V – “Verano Tostado”
I did not include a “typical” exposure compensation because you can get some really interesting looks with this recipe from both overexposure and underexposure. Try -2/3 all the way up to +1 1/3 and see what happens. I want to thank Ricardo Guzman for creating this recipe and allowing me to share it here with you. Thanks, Ricardo!
Classic Chrome Dynamic Range: DR200 Highlight: -1 Shadow: +2 Color: +3 Noise Reduction: -4 Sharpening: +2 Clarity: 0 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome Effect Blue: Off White Balance: Auto, -2 Red & -5 Blue ISO: Auto, up to ISO 6400
Example photographs, all camera-made JPEGs using this Verano Tostado film simulation recipe on my Fujifilm X100V:
Summer Flowers – Mirror Lake, UT – Fujifilm X100V
Lake Fishing – Mirror Lake, UT – Fujifilm X100V
Mountain Lake – Mirror Lake, UT – Fujifilm X100V
Water Log – Mirror Lake, UT – Fujifilm X100V
Blue Lake Water – Mirror Lake, UT – Fujifilm X100V
Baiting a Fishing Lure – Mirror Lake, UT – Fujifilm X100V
Small Stream& Tiny Waterfall – Mirror Lake, UT – Fujifilm X100V
Green Leaf – Mirror Lake, UT – Fujifilm X100V
Forest Light Peek – Mirror Lake, UT – Fujifilm X100V
If a Tree Falls in the Forest – Mirror Lake, UT – Fujifilm X100V
Summer Feelings – Farmington, UT – Fujifilm X100V
Hello – Farmington, UT – Fujifilm X100V
Stripes – Farmington, UT – Fujifilm X100V
Table Plant – Farmington, UT – Fujifilm X100V
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Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
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