Ektachrome | FUJI X WEEKLY

Fujifilm X-E4 Film Simulation Recipe: Ektachrome 320T

*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 GFX-50S Film Simulation Recipe: Ektachrome

Posted on January 25 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

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Fujifilm X-T1 (X-Trans II) Ektachrome 100SW Film Simulation Recipe

Posted on February 17, 2020 by Ritchie Roesch

Windows & Reflections – Salt Lake City, UT – Fujifilm X-T1 “Ektachrome 100SW”

What I love about my Ektachrome 100SW film simulation recipe is that it reminds me of a film that I used to use. Just like the original Ektachrome 100SW recipe, which is compatible with X-Trans III & IV cameras, this recipe is identical to my Kodachrome II recipe, except that it uses Velvia instead of Classic Chrome. This version of Ektachrome 100SW is compatible with X-Trans I & II cameras, as well as Fujifilm Bayer cameras.

Velvia
Dynamic Range: DR200
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto up to ISO 3200

Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Ektachrome 100SW film simulation recipe:

Instamatic – Farmington, UT – Fujifilm X-T1

Throw Pillow – Farmington, UT – Fujifilm X-T1

Striped Pillow – Farmington, UT – Fujifilm X-T1

Indoor Decor Near a Window – Farmington, UT – Fujifilm X-T1

Grass & Concrete – Farmington, UT – Fujifilm X-T1

Little Steps – Farmington, UT – Fujifilm X-T1

February Forest – Layton, UT – Fujifilm X-T1

Lizard – Salt Lake City, UT – Fujifilm X-T1

Penguins On A Rock – Salt Lake City, UT – Fujifilm X-T1

Swimming Penguins – Salt Lake City, UT – Fujifilm X-T1

Coral Fish – Salt Lake City, UT – Fujifilm X-T1

10 Old Color Slides

Posted on September 19, 2019 by Ritchie Roesch

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I opened up a box in the garage. I was looking for something, and I hoped that I would find it in there. The box had been packed for many years. It was loaded and closed up when I moved from Arizona to California in 2011. I guess whatever was in there wasn’t important, because it remained closed for many years. I commented about this box to my wife once, “Let’s just toss it, since we obviously don’t need whatever is in there.” I’m glad that I never followed through with that, because when I dug through the contents of the box I discovered some old slides that I had forgotten about.

It was fun to look at the old slides, most of which I had captured in 1999, but a few were from 1998, and some as recently as 2005. It was great to reminisce as I viewed the different pictures. Most of the exposures weren’t particularly good. Something that I have discovered over the years is that I was never as good of a photographer as I thought I was. Time has a way of humbling you, I think. While there are a few decent shots, some pictures that I really thought were worthwhile are actually cringe-worthy. Still, I separated the “best” slides from the rest and had them scanned. I never scan my old slides because it’s expensive to do so, but I thought it would be fun to do it in this case.

The Kodachromes appear to have a cool color cast, but in reality they don’t. That’s the difference between scanning them and viewing them through a projector or light table. I could have corrected that in software, but I chose not to. The Elite Chrome 200 shot is clearly fading, showing discoloration from age and inappropriate storage. Elite Chrome was a version of Ektachrome, and Ektachrome has been referred to as Fade-a-chrome for not having an especially long shelf life. It looks kind of neat, though, so I had it scanned. The actual slide seems a tad more red/purple than the digital version, but it’s close. In the early days, a lot of my photography had transportation themes, such as trains, trucks and airplanes, so you see that represented here (mostly trains). Even though these are old pictures, and despite the only Fujifilm connection being the singular Provia frame, I thought it might be worthwhile to share. I hope that you appreciate the ten slides below.

Night Train – Plano, TX – Canon AE-1 & Kodachrome 64 – 1999

Sunrise Tracks – Floyd, TX – Canon AE-1 & Elite Chrome 100 – 1999

DGNO Locomotive – Dallas, TX – Canon AE-1 & Elite Chrome 200 – 1999

Moving Tracks – Palestine, TX – Canon AE-1 & Ektachrome E100VS – 1999

Colorful Circles – Greenville, TX – Canon AE-1 & Ektachrome E100VS – 1999

Camaro & Caboose – Farmersville, TX – Canon AE-1 & Kodachrome 64 – 1999

Kansas City Southern – Plano, TX – Canon AE-1 & Kodachrome 64 – 1999

Lake Michigan From Sears Tower – Chicago, IL – Promaster 2500PK & Provia 100F – 2005

Flat Ball – Surprise, AZ – Promaster 2500PK & Elite Chrome 100 – 2004

Grand Canyon Summer – Grand Canyon NP, AZ – Canon AE-1 & Ektachrome E100SW – 2000

Kodachrome vs. Ektachrome – A Film Simulation Showdown

Posted on January 12, 2019 by Ritchie Roesch

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

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

Take a look at the pictures below:

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

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

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

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

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

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

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

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

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

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

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

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

Posted on December 2, 2018 by Ritchie Roesch

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

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

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

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

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