I purchased the Fujifilm X-T5 specifically to try the Nostalgic Neg. film simulation, then, after using it, I discovered Nostalgic Neg. has a lot in common with Eterna. I initially stated that the new film simulation is as if Classic Chrome and Eterna had a baby—it has some similarities to both—but it is more like Eterna than Classic Chrome. If a Nostalgic Neg. recipe calls for minus Color, it’s possible to fairly closely approximate it with Eterna. One difference is that Nostalgic Neg. has more warmth and vibrancy in the shadows, which is unique to the new film simulation, but otherwise you can get pretty close.
This Film Simulation Recipe is a facsimile of Timeless Negative for X-Trans V cameras, using Eterna instead of the Nostalgic Neg., as only the latest cameras have the new film simulation. I think many of you are going to like it because it produces very lovely images in a variety of situations. It’s great for daylight, nighttime, golden hour, overcast, indoor, portraits, landscapes, etc., etc.. Once you program this one into your camera, you might not ever replace it, since it does so well in a lot of scenarios.
This version of Timeless Negative is intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. You can use this on X-Trans V cameras, too, if you want (although I would suggest the recipe with Nostalgic Neg.) by setting Color Chrome FX Blue to Off. For the X-T3, X-T30, if you ignore Grain size, Color Chrome FX Blue, and Clarity (or, even better, use a 5% CineBloom diffusion filter in lieu of Clarity), you’ll still get similar results, but it will look slightly different (give it a try anyway). I am currently working on a Nostalgic Neg.-like recipe for the X-T3 and X-T30 (and possibly the X-H1, too); if you are a Fuji X Weekly App Patron, there is an Early-Access Recipe (actually, two) called Vintage Eterna that unintentionally has some similarities to Nostalgic Neg., and I invite you to give that a try, too.
Eterna Dynamic Range: DR200 Highlight: +1 Shadow: -1 Color: +3 Noise Reduction: -4 Sharpness: 0 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto, +4 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X100V:
Candle – Buckeye, AZ – Fujifilm X100V
Drab Pink Blossom – Buckeye, AZ – Fujifilm X100V
Rainy Day Lightbulb – Buckeye, AZ – Fujifilm X100V
Joyful Corridor – Buckeye, AZ – Fujifilm X100V
Coffee, Waiting – Buckeye, AZ – Fujifilm X100V
Dear Santa – Buckeye, AZ – Fujifilm X100V
Oh Christmas Tree – Buckeye, AZ – Fujifilm X100V
North Pole Post – Buckeye, AZ – Fujifilm X100V
Saint Nicholas – Buckeye, AZ – Fujifilm X100V
Metalic Pinecone – Buckeye, AZ – Fujifilm X100V
Oleander Evening – Buckeye, AZ – Fujifilm X100V
Downtown Dusk – Buckeye, AZ – Fujifilm X100V
Color Transparencies – Buckeye, AZ – Fujifilm X100V
Night Lights – Buckeye, AZ – Fujifilm X100V
O Tannenbaum – Buckeye, AZ – Fujifilm X100V
Fountain – Buckeye, AZ – Fujifilm X100V
Green Leaf – Buckeye, AZ – Fujifilm X100V
Aslan – Buckeye, AZ – Fujifilm X100V
Upward Abstract – Buckeye, AZ – Fujifilm X100V
Palm Sky Vapor – Buckeye, AZ – Fujifilm X100V
Autumn Gold – Buckeye, AZ – Fujifilm X100V
Transition – Buckeye, AZ – Fujifilm X100V
Bougainvillea & Changing Weather – Buckeye, AZ – Fujifilm X100V
Bougainvillea in Autumn – Buckeye, AZ – Fujifilm X100V
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I went down a pretty deep rabbit hole. I started researching cinematographer Greig Fraser, which led to investigating other great cinematographers, such as Roger Deakins, Rodrigo Prieto, Hoyte van Hoytema, Caleb Deschanel, and several more. I spent quite a bit of time learning about various motion picture techniques. I came to the conclusion that cinematographers often better understand light than many photographers. By “understand light” I mean 1) light qualities, 2) how light is rendered on what it is being captured on, 3) how to use or manipulate light so that it is rendered precisely as intended, and 4) how light affects moods and emotions. Granted, a movie has a whole team of people who’s job it is to control and manipulate the light, but the cinematographer (working with the director) is the one in charge of it.
You might notice when watching a movie that the colors and color cast change from scene-to-scene. The way you respond when viewing a predominately blueish scene is much different than a reddish scene. The colors, among other things, trigger certain responses from the viewers, and cinematographers use this extensively, and often brilliantly. Sometimes it’s quite obvious, and sometimes it’s much more subtle, and you might not even notice unless you’re paying careful attention. If you understand light similarly to a cinematographer, you could do the same thing in your photography.
Another thing that I stumbled across is gear. Obviously film and digital have different aesthetics—digital is much easier to work with, especially when it comes to incorporating special effects and CGI, but it can come across as clean, clinical, and soulless. Film has more character and a different feel, but is much more difficult to work with. There are also digital-film hybrid techniques. Whatever method is used will affect the final aesthetic. Some cinematographers like working with modern lenses, and some—like Greig Fraser—prefer vintage lenses because they have more character. Filters are a big part of the process. Color correction filters (to control the light) and diffusion filters (to give atmosphere) are pretty common. I was surprised to learn that some cinematographers like putting water, silicone, dirt, etc., on the filter to dirty them, and some even like shooting through glass (in-between the camera and the subject).
This is probably more than you ever wanted to know, but I think it’s important to understand for this recipe. First, the light you shoot in will affect how pictures are rendered (definitely not unique to this recipe, but worth noting). Cool light will give a cool color cast, warm light will give a warm color cast. You’ll want to think about the light—how it will render—and the mood or emotions you want to convey in your photographs. Second, inspired by Greig Fraser, I used vintage lenses for these photographs, mostly a Helios 44-2. You don’t have to use vintage glass, but I do think it helps to achieve the desired aesthetic. Third, for most of these images (especially if there was a bright light source) I used a 5% CineBloom diffusion filter. What I appreciate about this filter is that it’s quite subtle. The 5% CineBloom filter is not a requirement for this recipe, but it helps give it a filmic look, especially when there are bright highlights, so I do recommend it if you have one.
This “Cinematic Negative” Film Simulation Recipe isn’t modeled after any specific motion picture film, but is more inspired by a generic daylight-balanced cinema film aesthetic after researching a number of different cinematographers. It is compatible with the Fujifilm X-T30 and X-T3 cameras. To use it on newer X-Trans IV cameras (X-Pro3 and newer) plus X-Trans V, set Color Chrome FX Blue to Off, Clarity to 0 (or -2 in lieu of the 5% CineBloom filter), and decide on either Grain size Small or Large. For the X-H1, you can use this recipe if you ignore Color Chrome Effect; however, it will render slightly differently. I used the 16:9 aspect ratio for some of these photographs, but use whichever aspect ratio you prefer.
Eterna Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Strong White Balance: Incandescent, +8 Red & -9 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3
Below are all camera-made JPEGs captured using this “Cinematic Negative” Film Simulation Recipe on my Fujifilm X-T30:
Horseplay – Buckeye, AZ – Fujifilm X-T30
Scrabble – Buckeye, AZ – Fujifilm X-T30
Palms Trees – Glendale, AZ – Fujifilm X-T30
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T30
Crisscross Contrails – Buckeye, AZ – Fujifilm X-T30
Last Light on Rooftop – Glendale, AZ – Fujifilm X-T30
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Hold onto your hats, because, for this Film Simulation Recipe, we’re going to dive deep into the obscure and practically forgotten history of a unique film called GAF 500. We’re going to explore the intriguing history of GAF, discover what made this film unique, and discuss how this new GAF 500 Film Simulation Recipe came to be. You are in for a treat today!
GAF actually began in 1886 as the Standard Paint Company of New Jersey. After acquiring a holding company in 1928 that had (among other things) majority ownership of AGFA, the company changed its name to General Aniline & Film—GAF for short. Also in 1928, AGFA merged with Ansco, so in addition to acquiring AGFA, GAF also got ownership of Ansco, which was founded in 1842. Originally named E. Anthony & Co., after merging with Scovill Manufacturing in 1901 it was renamed Ansco (“An” from Anthony and “sco” from Scovill). Ansco was headquartered in New York, and was Kodak’s biggest competitor for many decades. The merger with AGFA was intended to bring Ansco’s photography products to a global market, which would allow them to better compete against Kodak.
Then World War II happened, and in 1941 the U.S. government seized and took ownership of GAF and Ansco (separating it from AGFA, which was a German-owned business), and officially merged Ansco into GAF. The U.S. government retained ownership of GAF until 1965, when it sold all of its shares.
Morning Sunlight on a Curtain – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”
In 1967 GAF introduced a revolutionary new film: GAF 500. It was a high-ISO 35mm color transparency (slide) film—the highest ISO color film during its time; the second-highest color ISO film (another GAF emulsion) was rated at ISO 200, so it was more than twice as “fast” (as they called it back then) as the second fastest. 30 years prior to the introduction of GAF 500, the highest ISO color film was rated at ISO 8, so having an ISO 500 option was unthinkable back then, and a lot of people wondered why anyone would need such a high-ISO film. While it was mostly sold under the brand name GAF, it was sometimes sold as Anscochrome 500. Was GAF/Anscochrome 500 any good?
From all accounts, you either loved GAF 500 or hated it. The grain was extremely pronounced. Colors were “good” yet muted (a.k.a. “neutral” or “natural”) and generally considered to be not as “nice” as Kodak’s. It didn’t push-process nearly as well as, it wasn’t quite as sharp as, and it didn’t pair with color correction filters as well as Kodachrome or Ektachrome. It was inferior to all other color emulsions except for one fact: it was fast! You could use it when other films wouldn’t work due to low light. If it was dark and you wanted to shoot color, GAF 500 was your best bet.
GAF 500 had a warm color cast—some described it as orange, some said red-orange, and others stated that it was red—not as warm as some Kodak emulsions, but warm nonetheless. The shadows tended to lean blue. If you pushed the film, it had a purple cast across the frame. Some people liked how it looked when shooting under fluorescent lights or stage lights, and was a popular choice for concert photography.
What people seemed to like most about GAF 500 is that it was gritty yet soft. It was grainy, like a high-ISO black-and-white film, and it was contrasty with a very narrow exposure latitude—it was easy to blow out the whites or block up the blacks; however, it also had low color saturation (or was “more neutral” as some put it) , and the gradations were gentle. It was like a biker ballerina, if you will. Some people loved the aesthetic of GAF 500, and would use it even in bright-light situations just for the look that it produced. Many photographers steered clear of it just because there were “better” options, such as push-processing lower ISO films.
There was a time in the 1970’s that GAF was everywhere. It was the official film of Disneyland, and, for a time, was the only brand of film that you could purchase inside the park. Sears sold GAF cameras and film. Henry Fonda was the spokesman. Despite that, GAF struggled to be profitable competing against Kodak, Fujifilm, and other brands.
GAF made a few minor “improvements” to their ISO 500 film over the years, and (from what I read) it seemed to get “better” towards the mid-1970’s. In 1977, due to sluggish sales, GAF decided to get out of the photography business altogether. GAF/Anscochrome 500 was discontinued, along with all of the other GAF films. The Ansco brand name was licensed out to other companies for years to come, although it was largely used for rebranded films and not original emulsions. GAF 500 was gone forever.
Perhaps thanks to Alien Skin Exposure software, there’s been a renewed interest in GAF 500. Alien Skin has a GAF 500 preset that is supposed to allow you to mimic the aesthetic of the film with your digital images. I’ve used it before, and that’s the closest I’ve come to shooting GAF 500. It’s been awhile since I’ve used Exposure software, so I don’t recall too much about the preset (other than it was grainy). So, for this Film Simulation Recipe, I spent significant time studying whatever I could find on the film. There’s a lot of written information out there, but photographs were hard to come by. Still, I found some, and did my best to emulate the look with my Fujifilm X-E4.
Recreating GAF 500 on my Fujifilm camera was tricky for several reasons. First, I wouldn’t have considered Eterna as the best base (just because it lacks the necessary contrast to emulate a contrasty slide film), but after trying Classic Chrome, PRO Neg. Low, and Eterna Bleach Bypass, I decided to give Eterna a go. Bingo! This one had the right tonality (those “gentle gradations”); however, I do wish that Shadow could be set to +5 to get deeper blacks, but that’s not an option. Another tricky aspect was achieving the warm, reddish/orangish color cast that could still produce a hint of blue in the shadows. Fujifilm cameras aren’t capable of split-toning, so I did my best to approximate this with the white balance; I do wish the shadows were just a little more blue, but it’s not possible without sacrificing the overall warmth. Another challenge was replicating the grain. Fujifilm’s option of Grain Strong Large wasn’t nearly as pronounced as it needed to be, so I set out to supplement it with digital noise using high-ISO. But how high? ISO 1600 wasn’t nearly enough. ISO 3200 wasn’t enough, either. ISO 6400… much closer, but not quite there, either. Should I dare try ISO 12800? Yes, that’s it! More importantly, it looks good, which I had my doubts about.
With slide film, depending on the emulsion, you had to nail the exposure exactly, as the dynamic range was extraordinarily narrow. You didn’t know what you had until you got the film back from the lab (or developed it yourself at home); some frames would be underexposed, some frames would be overexposed, and some frames (hopefully) would be correctly exposed—I found examples of all three when searching for GAF 500 photographs. You can achieve similar aesthetics with this recipe if you want, by either dropping the exposure a little or increasing it a little—the exact look of this recipe will vary some depending on the exposure. While I couldn’t replicate every potential GAF 500 aesthetic with this one recipe, and no recipe will ever be 100% spot-on accurate (because of the limited tools available on the camera, and because the results of one film can vary significantly depending an a whole host of factors), I do believe that this recipe is pretty close to replicating the look and feel of GAF 500 film—at least from the perspective of someone who was born after the film was discontinued, so I never had a chance to use it myself.
Because this “GAF 500” recipe uses Clarity and Color Chrome FX Blue, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, and is not compatible with the X-T3 or X-T30. Those with X-Trans V cameras can also use it, and it should render identically, although I have no first-hand experience to verify that. Those with newer GFX cameras can use it, too, although it will render differently. Because of the ultra high-ISO that’s required, I recommend using your electronic shutter and a small aperture (like f/8, f/11, or even f/16) when shooting in bright light outdoors.
Eterna Dynamic Range: DR100 Highlight: +2 Shadow: +4 Color: 0 Noise Reduction: -4 Sharpness: -3 Clarity: -2 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome Effect Blue: Strong White Balance: 2900K, +9 Red & -9 Blue ISO: 12800 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “GAF 500” Film Simulation Recipe on my Fujifilm X-E4:
Eat – Phoenix, AZ – Fujifilm X-E4
Bird Scooters – Phoenix, AZ – Fujifilm X-E4
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4
FAO JUG – Phoenix, AZ – Fujifilm X-E4
Why Love? – Phoenix, AZ – Fujifilm X-E4
Twin Dumpsters – Phoenix, AZ – Fujifilm X-E4
Garfield – Phoenix, AZ – Fujifilm X-E4
Overhead Crane – Phoenix, AZ – Fujifilm X-E4
Oversized Load – Phoenix, AZ – Fujifilm X-E4
And So It Begins – Phoenix, AZ – Fujifilm X-E4
Air Garage & Graffiti – Phoenix, AZ – Fujifilm X-E4
Can in the Sage – Phoenix, AZ – Fujifilm X-E4
Suburban Barrel Cacti – Phoenix, AZ – Fujifilm X-E4
Double Peace – Buckeye, AZ – Fujifilm X-E4
Table Roses – Buckeye, AZ – Fujifilm X-E4
Sunlit Curtain – Buckeye, AZ – Fujifilm X-E4
Yellow Trumpets & Sunstar – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch in the Blue – Buckeye, AZ – Fujifilm X-E4
Orange Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X-E4
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Building Storm Over Desert Ridge – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
Inspiration can come suddenly and unexpectedly, and it’s important to be open to it when it comes.
I was at the grocery store the other day, waiting in line to checkout, standing right next to the magazine stand. My wife points out the latest issue of Arizona Highways, which I previously subscribed to, but (with my move from Utah) I let the renewal lapse. She says, “Wanna get it?” I shake my head no, then begin to load the groceries onto the belt. I didn’t want to get it because the subscription price for a year is the same price as four issues at the stand, and because I’m pretty busy right now (still unpacking boxes and such) and I might not read it anyway.
“Do you mind getting me an iced coffee?” My wife asked a moment later. Then, pointing at the stuff on the belt, she stated, “I’ve got this.” There’s a Starbucks in the grocery store, and I was happy to jump out of the line and get a couple of coffees. A few minutes later, just as the barista was done with our order, my wife walks up with the basket of bagged groceries. Sitting right on top was the Arizona Highways magazine.
Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
When we got home, after unloading the car and putting everything away, I thumbed through the August issue. On page 10 was a photograph by Scott Baxter of a rancher wrangling cattle, which was in a small article called Sierra Bonita Ranch (the picture can be seen if you click the link—click on the picture to see the whole thing—I find it interesting how different it appears on my screen vs in the magazine). I grabbed my Fujifilm X-E4 and threw in some settings that I thought might be close.
I snapped a few photos in the yard, then showed my wife. “Those look good,” she said. “This is where I got the inspiration,” I stated as I showed her Scott’s picture in the magazine. She viewed the picture, then gave me a puzzled look. “We’ve only been home 10 minutes. You made this recipe from that picture?”
“Yes!” I replied with a smile. “Wow,” she said, “that’s really amazing!”
Suburban Americana – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
This recipe isn’t a 100% accurate match to Scott’s picture—it’s pretty close, but not perfect. Not surprising, it’s closer to the printed aesthetic than the digital look, as I hadn’t yet seen it online when I created the recipe. I considered attempting to more closely replicate the aesthetic of the picture, but I really like the look of this recipe—accurate or not—so I decided not to change it. I have no idea what Scott used to capture his picture… apparently he shoots a mix of film and digital.
Thanks to Scott Baxter, Arizona Highways, and my wife’s thoughtful gesture, the inspiration for this recipe came quickly. It was one of the fastest recipes that I’ve ever created. Certainly it’s not for every person or every situation, but I’m sure for some of you in the right situations, you’ll appreciate the aesthetic that this “Arizona Analog” Film Simulation Recipe delivers. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras—I assume the new X-H2s, too, but I haven’t yet tested it on X-Trans V.
Eterna Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: -2 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: Daylight, +6 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Arizona Analog” Film Simulation Recipe on a Fujifilm X-E4:
Pavillion – Buckeye, AZ – Fujifilm X-E4
The New West – Buckeye, AZ – Fujifilm X-E4
Curved Trellis – Buckeye, AZ – Fujifilm X-E4
Evening Flowers – Buckeye, AZ – Fujifilm X-E4
Flower Garden Blossoms – Buckeye, AZ – Fujifilm X-E4
Real Bloom over Artificial Turf – Buckeye, AZ – Fujifilm X-E4
Trunk & Flowers – Buckeye, AZ – Fujifilm X-E4
Wall Flowers – Buckeye, AZ – Fujifilm X-E4
Fishhook Barrel Cactus Blossom – Mesa, AZ – Fujifilm X-E4
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VW Bus – Avila Beach, CA – Fujifilm X-E4 – “SantaColor”
There’s a brand-new color negative film stock called SantaColor 100, which is actually repurposed Kodak AeroColor 125, an emulsion intended for areal photography. I don’t believe that AeroColor is still produced (although it can still be found if you look hard enough); SantaColor 100 could be an old batch that’s been stored for awhile and is now surplus. This film has a reddish-orange color cast, which (depending on how it was shot, developed, and scanned) can be somewhat subtle or quite pronounced. This Film Simulation Recipe is an attempt to mimic that film; however, I’m not 100% satisfied with how closely it does (or doesn’t) replicate it—I think it can be really close sometimes, and other times not so much. Still, I like how this recipe looks, so I thought I’d share it with you in case some of you like it, too.
Why are special films used for aerial mapping? I tried to find an answer to this, but couldn’t. My suspicion is that atmosphere/haze can obscure “regular” film, and aerial films are made to be less susceptible to that. Another thought is that the temperature at high altitude is cold, so maybe the film has to work well in cold temperatures. Still, another idea is that the angle of the sun is different, so the film needs to be adjusted for that. It could be one, all, or none of those things—if you know the answer, please enlighten me by commenting below!
Sport Fishing – Avila Beach, CA – Fujifilm X-E4 – “SantaColor”
This “SantaColor” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For those with an X-T3 and X-T30, you will need to ignore Grain size (since your camera doesn’t have that), and use a diffusion filter (such as 10% CineBloom) in lieu of Clarity. For those with an X-H1, you will need to additionally ignore Color Chrome Effect (the results will be just a little different).
Eterna Dynamic Range: DR200 Highlight: -2 Shadow: +4 Color: +4 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: 5100K, +5 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “SantaColor” Film Simulation Recipe on a Fujifilm X-E4:
Last Limelight – Redlands, CA – Fujifilm X-E4
We Hot – Pismo Beach, CA – Fujifilm X-E4
Fish out of Water – Pismo Beach, CA – Fujifilm X-E4
Agave Garden – Pasadena, CA – Fujifilm X-E4
Plymouth – Pismo Beach, CA – Fujifilm X-E4
Palm & Rooftop – Pismo Beach, CA – Fujifilm X-E4
Rooftop Stairs – Pismo Beach, CA – Fujifilm X-E4
Houses on the Hillside – Pismo Beach, CA – Fujifilm X-E4
Irregular – Avila Beach, CA – Fujifilm X-E4
Life Ring – Avila Beach, CA – Fujifilm X-E4
Wishing Posts – Avila Beach, CA – Fujifilm X-E4
Ball & Blue Boat – Avila Beach, CA – Fujifilm X-E4
Red Rowboats – Avila Beach, CA – Fujifilm X-E4
Beach-Walking Seagull – Pismo Beach, CA – Fujifilm X-E4
Grassy Sand Dune – Pismo Beach, CA – 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!
City Roses – Farmington, UT – Fujifilm X100V – “Pushed CineStill 800T”
This “Pushed CineStill 800T” Film Simulation Recipe came about after I stumbled across an amazing picture that was captured on CineStill 800T film during daytime with an overcast sky. It turned out that the film was push-processed, but I never learned by how many stops (I’m guessing one-stop). After some extensive Googling, I was able to find several more examples of push-processed CineStill 800T film shot in overcast daytime light. I then set out to mimic that aesthetic on my Fujifilm camera, and I figured it out; however, my first recipe was only compatible with the X-T4, X-S10, X-E4, and X-T30 II cameras, so I made this alternative version that works on the X-Pro3 and X100V (you can use it on those “newer” cameras, too, if you’d like).
Interestingly enough, even though this recipe is intended for daytime photography, it does quite well at night, too; however, I do believe it more faithfully mimics the film in cloudy daytime conditions. It does produce nice results in daylight or night, so feel free to use it anytime. Film can look different depending on how it is shot, developed, or scanned (among many other things). This recipe doesn’t replicate pushed CineStill 800T film under all circumstances, but in certain conditions it’s a good facsimile. I really like how this one looks, and I think some of you will really appreciate it, too!
This was a Fuji X Weekly App Patron Early-Access Recipe, so App Patrons have had access to it since October, but now it’s available to everyone! A new Early-Access Recipe replaced it—find it in the Fuji X Weekly App!
Eterna Dynamic Range: DR400 Highlight: +3 Shadow: +1 Color: -2 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: 7700K, -9 Red & +7 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Pushed CineStill 800T” film simulation recipe on my Fujifilm X100V & Fujifilm X-E4:
Gas Pumps at Night – Farmington, UT – Fujifilm X-E4
Nighttime Neighborhood – Farmington, UT – Fujifilm X-E4
Night Walkway – Farmington, UT – Fujifilm X-E4
Nighttime Flowerpot – Farmington, UT – Fujifilm X-E4
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Last Warm Light on Wasatch Front – Farmington, UT – Fujifilm X-H1 – “Negative Print”
This film simulation recipe was inspired by various pictures I found while browsing old issues of Arizona Highways magazine. I have a small collection of old issues of this publication, which I enjoy flipping through from time-to-time for inspiration. Arizona Highways has a long history of publishing great photographs—even Ansel Adams was a regular contributor back in the day. As I was browsing old issues published over several decades, there was a certain aesthetic that seemed to reappear over and over. It caught my attention because of how lovely it looks. I don’t know the specifics of the film used—most likely Kodak of some sort, and probably multiple emulsion. My suspicion is that the printing process played a significant part in the aesthetic, and that’s why I call this recipe Negative Print.
After some experimenting, I decided that the Eterna film simulation was the best base. Because of that, this recipe is only compatible with the Fujifilm X-H1, X-T3, and X-T30 cameras (as well as older GFX models, although the results will be slightly different). For newer X-Trans IV cameras (plus newer GFX), you’ll have to decide on Grain size (either Small or Large—I recommend Large), Color Chrome FX Blue (I recommend Off), and Clarity (I suggest either 0 or -2). I really like how this recipe renders pictures, and at times it really is reminiscent of those pictures printed in the magazine!
White & Red Rose – Ogden, UT – Fujifilm X-T30 – “Negative Print”
If you are looking for a classic analog aesthetic, this recipe is a great one to try. The way it renders shadows and colors definitely gives it a film-like look, and I know that this recipe will quickly become a favorite for some of you. I think it might just have a permanent place in my X-H1.
Eterna Dynamic Range: DR200 Highlight: +2 Shadow: +4 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: Fluorescent 3, -2 Red & -7 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +2/3
Below are example pictures, all camera-made JPEGs captured using this “Negative Print” Film Simulation Recipe:
Fire & Pine – Farmington, UT – Fujifilm X-H1
Trail in the Trees – Farmington, UT – Fujifilm X-H1
Tree by a Creek – Farmington, UT – Fujifilm X-H1
Old Blooms – Farmington, UT – Fujifilm X-H1
Snow on the Creek Bank – Farmington, UT – Fujifilm X-H1
Small Waterfall – Ogden, UT – Fujifilm X-T30
Rural Pipe – Farmington, UT – Fujifilm X-H1
Suburban Snowman – Farmington, UT – Fujifilm X-H1
Love Yourself – Salt Lake City, UT – Fujifilm X-H1
Stairs to Foot Bridge – Farmington, UT – Fujifilm X-H1
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Red Mountain – Farmington, UT – Fujifilm X-T30 – “Eterna v3”
This film simulation recipe began as an attempt to recreate a certain look. It wasn’t successful, and I didn’t like the look of it, but it sat as a C3 preset on my Fujifilm X-T30 for many months. Recently I decided to revisit this preset, and, after a couple of quick adjustments, I had something that I liked. Unfortunately, it doesn’t mimic the aesthetic that I was asked to recreate. Fortunately, it looks pretty good nonetheless, so I’m making it an official recipe.
What does this film simulation recipe resemble? There are some similarities to Eterna 250D developed using the ECN-2 process, but it’s not an exact match. Maybe push-processed Eterna 250D? I’m still not sure, as I didn’t find very many examples to compare it to. Since I wasn’t sure what to call this recipe, I named it Eterna v3. The original Eterna recipe can be found here and the Eterna v2 recipe can be found here.
Yellow Path – Fruit Heights, UT – Fujifilm X-T30 – “Eterna v3”
While I think this recipe does well enough in many circumstances, it seems to be best suited for sunny days, including “golden hour” photography. This recipe isn’t directly compatible with the Fujifilm X-H1 because it uses Color Chrome Effect; however, if you want to use it on the X-H1, simply ignore CCE and try it anyway—it will look slightly different, but you might like it anyway. For “newer” X-Trans IV cameras, like the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II, you’ll have to decide what Grain Size to select—either Small or Large—but otherwise this recipe is compatible with your camera.
Eterna Dynamic Range: DR400 Highlight: +2 Shadow: +3 Color: +4 Noise Reduction: -4 Sharpening: -2 Grain Effect: Strong Color Chrome Effect: Strong White Balance: Auto, -1 Red & -1 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +2/3
Below are all camera-made JPEGs captured using this Eterna v3 Film Simulation recipe on my Fujifilm X-T30 camera:
Girl on Playground Swing – Farmington, UT – Fujifilm X-T30
Red Playground Structure – Farmington, UT – Fujifilm X-T30
Caution for Falling Bicycles – Farmington, UT – Fujifilm X-T30
Yellow Leaves at a Park – Farmington, UT – Fujifilm X-T30
Yellow Leaves on the Ground – Fruit Heights, UT – Fujifilm X-T30
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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
Click – Layton, UT – Fujifilm X-E4
Sevenhundred Sixty – Farmington, UT – Fujifilm X-E4
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I created my original CineStill 800T film simulation recipe about two-and-a-half years ago. That recipe has remained quite popular. It’s received a lot of positive feedback and I remain quite proud of it. That recipe was created for X-Trans III cameras, but newer models have more JPEG options. I’ve been asked a few times if that recipe can be improved using the new features that weren’t around when I created it.
This new version is something that I’ve been working on for months and months. My CineTeal recipe is actually one of the failed attempts. I’ve been trying to achieve either an accurate CineStill 800T or Kodak Vision3 500T look straight-out-of-camera. These two films are actually the same film, but the CineStill version has the RemJet layer removed, which means that it is more prone to halation and can be processed in C-41 chemistry. Vision3 500T is meant to be developed using the ECN-2 process. With either CineStill 800T or Vision3 500T, how the film is shot, developed, and scanned and/or printed can significantly effect the aesthetic.
I’m not 100% satisfied with this recipe. I think in some situations and in certain lighting, it looks pretty darn accurate to the film. In other situations and in other lighting, it’s a little off. There’s a lot of variation in how the film can look, and it’s just not possible to encapsulate it all in one recipe. In any event, if you are looking for a recipe that produces results similar to Tungsten film, this is one to consider. It is only compatible (as of this writing) with the Fujifilm X100V, X-Pro3 and X-T4.
Eterna Dynamic Range: DR400 Highlight: 0 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpening: -3 Clarity: -5 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Fluorescent 3 (Cool White Fluorescent), -6 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 CineStill 800T film simulation recipe on my Fujifilm X100V:
Garage Door Light – Farmington, UT – Fujifilm X100V
Inside Looking Out – Farmington, UT – Fujifilm X100V
Fuel Stop – Farmington, UT – Fujifilm X100V
Quick Quack– Centerville, UT – Fujifilm X100V
Old Navy – Farmington, UT – Fujifilm X100V
Brick at Night – Farmington, UT – Fujifilm X100V
Empty Bench – Farmington, UT – Fujifilm X100V
40% Off – Centerville, UT – Fujifilm X100V
Hi – Farmington, UT – Fujifilm X100V
Navy Surplus Baskets – Farmington, UT – Fujifilm X100V
Ghost Shoppers – Farmington, UT – Fujifilm X100V
Remodel – Farmington, UT – Fujifilm X100V
Red Cotton – Farmington, UT – Fujifilm X100V
Lit Corner – Centerville, UT – Fujifilm X100V
Chillin’ in the Drive Thru – Centerville, UT – Fujifilm X100V
Tree Leaves at Night – Farmington, UT – Fujifilm X100V
Night Rose – Farmington, UT – Fujifilm X100V
Hot Beans – Farmington, UT – Fujifilm X100V
Kitchen Ornament – Farmington, UT – Fujifilm X100V
Book Table – Farmington, UT – Fujifilm X100V
End Table – Farmington, UT – Fujifilm X100V
Girl in Window Light – Farmington, UT – Fujifilm X100V
Home Umbrella– Farmington, 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.
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Red Lights & Raindrops – Farmington, UT – Fujifilm X100V – “Cine Teal”
Baseball legend Lefty Gomez said, “I’d rather be lucky than good.” This particular film simulation recipe was a failure, but it was a lucky failure. I’ve been trying to create a Kodak Vision3 500T recipe, but I can’t get it right. I’ve tried a number of different combinations of settings, but I haven’t cracked the code (yet). This was one attempt. Under the right light, it does resemble Vision3 500T, but under most conditions it does not. Even though it was a failure, I like the look of this recipe, so I thought I’d share it with you.
I call this new film simulation recipe “Cine Teal” because it looks a bit cinematic thanks to the Eterna film simulation, and has a teal, green or yellow cast, depending on the light. This recipe looks best when used in the “blue hour” of dusk or dawn, and does well in shade and on overcast days. It can be used in other situations, but the results tend to be so-so, although you can still get interesting pictures sometimes. This recipe is a little limited in where it works best, but in the right situations it can look very nice. It’s not for everyone, but some of you will really appreciate it.
Sunlit Tree Leaves – Farmington, UT – Fujifilm X100V – “Cine Teal”
Because this film simulation recipe requires the use of Clarity, it will slow your camera down considerably. Fujifilm suggests, if you shoot RAW+JPEG, to add Clarity later by reprocessing the RAW file in-camera or with X RAW Studio. I just use the pause to slow myself down. This recipe is only compatible (as of this writing) with the Fujifilm X100V, X-Pro3 and X-T4.
Eterna
Dynamic Range: DR200
Highlight: -2
Shadow: +4
Color: -1
Noise Reduction: -4
Sharpening: -2
Clarity: -5
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Strong
White Balance: 4550K, +1 Red & -9 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Cine Teal” film simulation recipe on my Fujifilm X100V:
Small Garden Flowers – Farmington, UT – Fujifilm X100V
Roses Red – Farmington, UT – Fujifilm X100V
Roses are Red – Farmington, UT – Fujifilm X100V
Waiting Wishes – Farmington, UT – Fujifilm X100V
Subtle Rays – Farmington, UT – Fujifilm X100V
Cloud & Half Moon – Farmington, UT – Fujifilm X100V
Suburban Cloud – Farmington, UT – Fujifilm X100V
Evening House – Farmington, UT – Fujifilm X100V
Shadow of Self – Farmington, UT – Fujifilm X100V
Apple & Bike – Farmington, UT – Fujifilm X100V
Masked Man – Farmington, UT – Fujifilm X100V
Urban Blossoms – Farmington, UT – Fujifilm X100V
Evergreen – Farmington, UT – Fujifilm X100V
Small Table & Chairs – Orem, UT – Fujifilm X100V
Grand Girl – Farmington, UT – Fujifilm X100V
Mischievous Smile – Farmington, UT – Fujifilm X100V
Learning to Play – Farmington, UT – Fujifilm X100V
Lights Off – Farmington, UT – Fujifilm X100V
Coffee Table – Farmington, UT – Fujifilm X100V
Asian Decor – Farmington, UT – Fujifilm X100V
Dining – Farmington, UT – Fujifilm X100V
Hood Ornament – Farmington, UT – Fujifilm X100V
Open for Business – Orem, UT – Fujifilm X100V
FedEx – Farmington, UT – Fujifilm X100V
Movie Theater – Farmington, 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.
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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