DR200 Film Simulation Recipes

I thought it might be interesting to separate my film simulation recipes by Dynamic Range setting. There are a ton of different ways that one could organize these, so I thought it might be helpful to somebody to see them in various arrangements. Maybe you’ll see a recipe that you haven’t considered using before, or maybe a certain setting will stand out to you that never crossed your mind before. I don’t really know, but you never know, so I’m just going to do it. For this post I’m separating the film simulation recipes by DR setting. Below are all of my recipes that use DR200:

Eterna Low-Contrast

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Elite Chrome 200 Color Fade

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“Warm Contrast”

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Urban Vintage Chrome

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Redscale

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Velvia

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Astia

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Classic Chrome

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Vintage Kodachrome

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PRO Neg. Hi

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Fujicolor Superia 800

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CineStill 800T

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Cross Process

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Kodachrome II

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Kodak Ektachrome 100SW

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Fujicolor Pro 400H

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Acros

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Acros Push-Process

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Ilford HP5 Plus

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Tri-X Push-Process

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See also: DR400 Film Simulation Recipes

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DR400 Film Simulation Recipes

I thought it might be interesting to separate my film simulation recipes by Dynamic Range setting. There are a ton of different ways that one could organize these, so I thought it might be helpful to somebody to see them in various arrangements. Maybe you’ll see one that you haven’t considered using before, or maybe a certain setting will stand out to you that never crossed your mind before. I don’t really know, but you never know, so I’m just going to do it. To start with, I’m separating the film simulation recipes by DR setting. Below are all of my recipes that use DR400:

Kodachrome 64

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Kodacolor

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Fujicolor 100 Industrial

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“Eterna”

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Kodak Portra 400

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Aged Color

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Acros

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My Fujifilm X-T30 Kodak Elite Chrome 200 Color Fade Film Simulation Recipe

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JTPX 1204 – North Salt Lake, UT – Fujifilm X-T30 “Elite Chrome 200 Color Fade”

I recently ran across some old slides that I had forgotten about, and one of those color transparencies was a frame of Kodak Elite Chrome 200 that was beginning to fade and change color. The picture wasn’t especially good, but it looked interesting because of how the image was transforming. Elite Chrome was a version of Ektachrome, which has been dubbed Fade-a-chrome, as it’s very prone to fading and discoloration, especially if not stored correctly, which this particular picture wasn’t. You can see the fading Elite Chrome 200 photograph below.

I wondered if I could create a film simulation recipe that mimics the look of fading Elite Chrome 200. I experimented with the settings a bunch, but couldn’t get it to look right. After showing my wife, Amanda, she suggested that the digital picture looked too crisp, too detailed. I made some more modifications, and found myself much closer. Not perfect, but very close. I made more changes and adjustments, but unfortunately I couldn’t get it to look better, so I went back to those settings that were very close to being right, which is the recipe here.

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DGNO Locomotive – Dallas, TX – Canon AE-1 & Kodak Elite Chrome 200 35mm film

One addition to this film simulation recipe that you’ve never seen in any of my other recipes is Image Quality. I have always used Fine, because it’s the highest quality setting, but in this case Fine was, well, too fine. I set it to Normal instead so as to better mimic the transparency. While I’m sure this particular recipe is not for everyone, those looking for something that resembles film from decades ago might appreciate it, as it has an analog aesthetic, and a look that’s a bit unusual, perhaps a bit lomographic (did I just make up a word?).

Classic Chrome
Dynamic Range: DR200
Highlight: 0
Shadow: +2
Color: -2
Noise Reduction: +2
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
Image Quality: Normal
White Balance: 8300K, +4 Red & +8 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to -2/3 (typically)

Example photographs, all camera-made JPEGs using this Kodak Elite Chrome 200 Color Fade recipe on my Fujifilm X-T30:

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Green Locomotive – North Salt Lake, UT – Fujifilm X-T30

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Tank Rider – North Salt Lake, UT – Fujifilm X-T30

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Tracks By The Refinery – North Salt Lake, UT – Fujifilm X-T30

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American Joe – Layton, UT – Fujifilm X-T30

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Neighborhood Patriotism – South Weber, UT – Fujifilm X-T30

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Sidewalk Tricycle – South Weber, UT – Fujifilm X-T30

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Red Flag – South Weber, UT – Fujifilm X-T30

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Peek – South Weber, UT – Fujifilm X-T30

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One Eye Open – South Weber, UT – Fujifilm X-T30

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Evening Bike – South Weber, UT – Fujifilm X-T30

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Fence & Path – South Weber, UT – Fujifilm X-T30

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Out Flowing – North Salt Lake, UT – Fujifilm X-T30

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Mountain Sky – South Weber, UT – Fujifilm X-T30

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Wet Red Rose – Layton, UT – Fujifilm X-T30

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Rose Blossom Fence – South Weber, UT – Fujifilm X-T30

15 Film Simulation Recipes So Far This Year

Fujicolor

As I was reviewing my different film simulation recipes, I realized that I have posted 15 different ones so far in 2019. That’s quite a few! I bet I made close to 25 more that were “failures” and were never shared on this blog. I have several in the works right now, and I hope at least a couple of them will be successful, and will be published in the coming weeks or months. I also have some crazy ideas that I want to try out, and maybe a recipe or two will come out of that, we’ll see.

More of these recipes are based on Classic Chrome than any other film simulation, which is probably because it’s my favorite for color. Eterna and Acros, which are also great film simulations, are tied for second most. PRO Neg. Std has two. Provia, Velvia and Astia have one each, while PRO Neg. Hi doesn’t have any. I would like to do more with those, so maybe I will come up with something soon. I also think Acros is overdue for a new recipe.

Which of these film simulation recipes that I posted in 2019 are your favorite? Which one would you like to try but have yet to do so? Let me know in the comments!

Provia:

Agfa Optima

Velvia:

Velvia

Astia:

Redscale

Classic Chrome:

Kodachrome 64
Kodacolor
Vintage Urban
Faded Color

PRO Neg. Std:

Warm Contrast
Fujicolor Industrial

Eterna:

Eterna
Expired Eterna
Low Contrast Eterna

Acros:

Agfa APX 400
Ilford HP5 Plus Push-Process
Faded Monochrome

[Not] My Fujifilm X Urban Vintage Chrome Film Simulation Recipe

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Refine – North Salt Lake, UT – Fujifilm X-T30 & Fujinon 90mm f/2 – “Urban Vintage Chrome”

Fuji X Weekly reader Thomas Schwab recently shared with me a film simulation recipe that he created. He calls it “Urban Vintage Chrome” because it has a classic analog aesthetic, it’s based on the Classic Chrome film simulation, and it pairs especially well with urban scenes. I tried it out and was highly impressed with the results. Thomas agreed to let me share it on this blog, and even allowed me to use some of his pictures in the article.

What the Urban Vintage Chrome recipe reminds me of is Bleach Bypass, which is a technique where, during development, you fully or partially skip the bleach. It increases contrast and grain and decreases saturation. The results can vary depending on the film used and how exactly it’s developed, but generally speaking this recipe produces a look that is similar to it, or at least the closest straight-out-of-camera that I’ve seen. It’s compatible with all Fujifilm X-Trans III and IV cameras.

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Hazy Rural Sunset – Woods Cross, UT – Fujifilm X-T30 & 90mm – “Urban Vintage Chrome”

Classic Chrome
Dynamic Range: DR200
Highlight: 0
Shadow: +2
Color: -4
Sharpening: 0
Noise Reduction: -4
Grain: Weak
Color Chrome Effect: Off
White Balance: 4300K, -1 Red & -3 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +1/3 to +2/3 (typically)

I want to give big “thank you” to Thomas for sharing this recipe and allowing me to use some of his photographs in this article. I really appreciate it! Be sure to show your appreciation in the comments!

Example photographs using this film simulation recipe:

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Freiburg im Breisgau, Germany – Fujifilm X100F – Photo by Thomas Schwab

Freiburg im Breisgau, Germany – Fujifilm X-T2 & Fujinon 35mm f/2 – Photo by Thomas Schwab

Freiburg im Breisgau, Germany – Fujifilm X100F – Photo by Thomas Schwab

Freiburg im Breisgau, Germany – Fujifilm X100F – Photo by Thomas Schwab

Freiburg im Breisgau, Germany – Fujifilm X100F – Photo by Thomas Schwab

Freiburg im Breisgau, Germany – Fujifilm X100F – Photo by Thomas Schwab

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Creek Ducks – Salt Lake City, UT – Fujifilm X-T30 & 90mm

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Green Locomotive – North Salt Lake, UT – Fujifilm X-T30 & 90mm

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Oil Toil – North Salt Lake, UT – Fujifilm X-T30 & 90mm

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Tracks By The Refinery – North Salt Lake, UT – Fujifilm X-T30 & 90mm

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Gate Arm Nut – North Salt Lake, UT – Fujifilm X-T30 & 90mm

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CF Trailer – Salt Lake City, UT – Fujifilm X-T30 & 90mm

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Hidden Wall Street – Salt Lake City, UT – Fujifilm X-T30 & 90mm

[Not] My Fujifilm X-T30 “Warm Contrast” Film Simulation Recipe

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Flower Pots – Salt Lake City, UT – Fujifilm X-T30 – “Warm Contrast”

Fuji X Weekly reader Manuel Sechi recently contacted me regarding some camera settings that he was working on. He was trying to replicate the look of the “Warm Contrast” preset in Lightroom. He felt that he was close but was hoping that I might help refine the settings to get a little closer. He showed me some of his pictures where he had applied the preset, which was helpful as I don’t use Lightroom. I tried out his settings and indeed they looked very close to the photographs that he shared. I made some small adjustments to refine it to what I thought might be a closer match to the preset, although not having the preset at my disposable was admittedly a challenge, and I can only hope that I made the recipe better and not worse.

While I call this film simulation recipe “Warm Contrast” due to its intended replication, it’s not particularly warm nor especially high in contrast. It seems to work best in mid-contrast situations, and when the light is already a bit on the warm side. When it works, though, it looks really good. I can see why Manuel was interested in creating it. I’m sure some of you will appreciate these settings, and I’m eager to share them with you.

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August Wasatch – South Weber, UT – Fujifilm X-T30 – “Warm Contrast”

Thank you, Manuel, for sharing your settings, and allowing me the opportunity to tweak them. While I put “Fujifilm X-T30” in the title, this recipe can be used on any X-Trans III or IV camera. In low-contrast situations, going +4 on Shadow and +2 on Highlight might produce better results. In cooler light, -1 Red and -5 Blue might prove to be better. As always, don’t be afraid to season this film simulation recipe to taste.

PRO Neg. Std
Dynamic Range: DR200
Highlight: +1
Shadow:+3
Color: +4
Sharpening: +1
Noise Reduction: -4
Grain: Strong
Color Chrome Effect: Off
White Balance: Auto, -2 Red & -4 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using these settings on my Fujifilm X-T30:

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Fighting Flamingos – Salt Lake City, UT – Fujifilm X-T30

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Duck In A Stream – Salt Lake City, UT – Fujifilm X-T30

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Rural Stream – Salt Lake City, UT – Fujifilm X-T30

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Bee On A Pink Flower – Salt Lake City, UT – Fujifilm X-T30

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Bee At Work – Salt Lake City, UT – Fujifilm X-T30

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Kids on a Bridge – Salt Lake City, UT – Fujifilm X-T30

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Confident Direction – Salt Lake City, UT – Fujifilm X-T30

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Leaves of Various Colors – Salt Lake City, UT – Fujifilm X-T30

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Looking Bird – Salt Lake City, UT – Fujifilm X-T30

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Yarn Owl – Salt Lake City, UT – Fujifilm X-T30

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Green Mountain Majesty – South Weber, UT – Fujifilm X-T30

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Sloping Ridges – South Weber, UT – Fujifilm X-T30

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Canvas Sky – Salt Lake City, UT – Fujifilm X-T30

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American Fair – Salt Lake City, Utah – Fujifilm X-T30

My Fujifilm X-T30 Eterna Low-Contrast Film Simulation Recipe

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Gap of Light – South Weber, UT – Fujifilm X-T30 – “Eterna Low-Contrast”

After choosing my Eterna film simulation recipe for the Film Simulation Challenge, I thought it might be interesting to attempt a low-contrast Eterna recipe. I wanted to replicating the look of low-cost color negative film, but I didn’t have any specific film in mind, and didn’t do any of my typical film research. What I did do was play with the settings until I found something that I thought might look good. Even though Eterna is supposed to look cinematic, I’ve found it to be a great starting point for color negative aesthetics, and in the case of this recipe, it sometimes roughly resembles Fujifilm C200 and it sometimes (oftentimes?) doesn’t.

I almost didn’t share this recipe. I do sometimes create film simulation recipes that I don’t share, usually because I’m not happy with the results. There’s something not right about it, so I keep it to myself, and either shelve it or attempt to improve it. I was really on the fence with this one. On one hand it can sometimes produce really lovely results, and on the other hand it can be too flat and boring. It seems to require strong light and bright colors, and it makes something beautiful and soft out of it. Even outside of those parameters it can occasionally render a picture quite nice, but often it just delivers a boring rendition. It’s for those times where it might be the just-right recipe that I decided to share it, and hopefully it will be useful to some of you.

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Stock Photography – Layton, UT – Fujifilm X-T30 – “Eterna Low-Contrast”

Eterna
Dynamic Range: DR200
Highlight: -2
Shadow: -1
Color: +4
Noise Reduction: -4
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: 5900K, -3 Red & +3 Blue
ISO: Auto, up to ISO 6400

Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using my Eterna Low-Contrast film simulation recipe on a Fujifilm X-T30:

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Red – South Weber, UT – Fujifilm X-T30

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Sunset In The City – Layton, UT – Fujifilm X-T30

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Vintage & Antique – Layton, UT – Fujifilm X-T30

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Been Better – Layton, UT – Fujifilm X-T30

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No Trespassing – Layton, UT – Fujifilm X-T30

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Everyone Has A Cross To Bear – Layton, UT – Fujifilm X-T30

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Joe Shortino – Layton, UT – Fujifilm X-T30

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The Good Stuff – Layton, UT – Fujifilm X-T30

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Shopping Cart Line – Layton, UT – Fujifilm X-T30

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Cart – Layton, UT – Fujifilm X-T30

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Fishing For A Laugh – South Weber, UT – Fujifilm X-T30

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Sitting In The Evening Light – South Weber, UT – Fujifilm X-T30

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Jo Cool – South Weber, UT – Fujifilm X-T30

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Kitchen Towel Roll – South Weber, UT – Fujifilm X-T30

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R Is For Roesch – South Weber, UT – Fujifilm X-T30

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Too Many Coffee Beans – Layton, UT – Fujifilm X-T30

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Third Wheel – South Weber, UT – Fujifilm X-T30

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Backyard Shed – South Weber, UT – Fujifilm X-T30

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Green Tree Leaves – Layton, UT – Fujifilm X-T30

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Cottonwood Tree Leaf – South Weber, UT – Fujifilm X-T30

Kodachrome Compared

I have made film simulation recipes for all three major eras of Kodachrome film. The first recipe is called Vintage Kodachrome, which simulates the look of pre-1960’s Kodachrome. The next recipe is Kodachrome II, which mimics the look of 1960’s through mid-1970’s era of the film. The latest recipe is Kodachrome 64, which resembles the final version of the film, from 1974 through 2009.

You might wonder how these settings, which all share the Kodachrome name, compare to each other. Well, I made multiple versions of the same images to see. I wanted to place them against each other to observe their differences. It’s interesting to see how they render the same scene differently. Vintage Kodachrome is the most dissimilar. Kodachrome II and Kodachrome 64 sometimes look very similar (much like the real film), and sometimes there’s an obvious difference. One reason why they might be noticeably different is because the Kodachrome II recipe uses auto-white-balance while the Kodachrome 64 recipe doesn’t. You could use warming or cooling filters in conjunction with the Kodachrome 64 recipe (much like the real film) in order to better control the white balance. I sometimes did this back when I shot actual Kodachrome, but I haven’t tried it with the recipe.

I surprised myself in that I prefer the Kodachrome 64 versions more often than the Kodachrome II. I have said many times that Kodachrome II is one of my all-time favorite recipes, but I think I might prefer the new version just slightly more. It’s a close call, though, and in certain situations Kodachrome II would probably be the better choice.  Which recipe do you prefer? Which version of Kodachrome is the winner in this comparison?

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

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Vintage Kodachrome

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Kodachrome II

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Kodachrome 64

The Film Simulation Challenge

 

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#filmsimulationchallenge

Back in the analog days, I would load film into the camera, and I was stuck with whatever was in the camera until the very last frame was exposed. The most common options were 12, 24 or 36 exposures, and frequently the roll of film that I loaded was either 24 or 36 exposures. Once the film was fully exposed, I could then change to another film if I wanted, or load another roll of the same. What I appreciate about this is that you know what you’re going to get, the strengths and weaknesses of the film, and your photographic vision is tuned into that. You look for picture opportunities that best fit what the film is good at.

With digital photography, it’s easy to make the exposure first and think about the end result later. If you don’t like how it looks one way, it’s simple to change it to another look. You might even post-process one frame to have several different aesthetics and decide later which version you like best. There’s nothing wrong with this technique, but I personally find it better to consider in advance the finished photograph, and do what you can to get as close as you can to that finished picture in-camera.

One way that you can practice this using your Fujifilm X camera is to load it with “film” and force yourself to capture a predetermined number of frames with that film before changing. The film in this case is a film simulation recipe, programming into your camera in advance the one that you want to use. You tell yourself that you’ll capture 24 or 36 exposures with those settings, then, when you’re done with those frames, consider if you want to use another “film” or shoot a second “roll” of the first one. I call this the Film Simulation Challenge.

Back when I shot a lot of film, I would consider three to five good pictures from one roll of film to be average. If I got more than five good pictures from 36 exposures, that was a good day for me. If I had less than three, it wasn’t a good day, unless one of those frames was especially good. The idea with the Film Simulation Challenge is that from each “roll” of “film” that you capture, you share three to five (or more if you had a good day) of your best photos from that roll. Share it on your blog, share it Facebook, share it on Instagram, share it somewhere. You can use the hashtag #filmsimulationchallenge if you’d like. You can link to Fuji X Weekly if you want (you certainly don’t have to), or post a link to it in the comments. The purpose of this is to practice photographic vision in a fun way, while also sharing the joy of shooting with Fujifilm X cameras.

You can consider yourself officially challenged. I’m looking forward to seeing what you do, which films you choose and the pictures that you create. Best of luck in this challenge! I’ll be doing the Film Simulation Challenge, too, and I’ll share the results periodically on this blog.

My Fujifilm X-T30 Kodachrome 64 Film Simulation Recipe

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Kodachrome Slides – South Weber, UT – Fujifilm X-T30 – “Kodachrome 64”

Kodachrome 64 is probably the most requested film that people have asked me to create a recipe for. Kodachrome has a long history, with the first successful version debuting in 1935 (film simulation recipe here). In the early 1960’s Kodak replaced that version of the film with Kodachrome II and Kodachrome X (film simulation recipe here). In 1974 Kodak made the final version of Kodachrome, available in ISO 25 and ISO 64 (and later ISO 200) versions. This Kodachrome was discontinued 10 years ago. Kodak also discontinued the chemicals to process Kodachrome, and nine years ago the last roll was developed. This film simulation recipe is meant to mimic the aesthetics of Kodachrome 64.

In the early 1970’s there was a movement to end Kodachrome. The process to develop the film was toxic and complex. Kodachrome is actually a black-and-white film with color added during development, which you can imagine isn’t a simple procedure. Instead of discontinuing their most popular color film, Kodak made a new version that required a less-toxic (but still toxic) and less complicated (but still complicated) development process. This appeased those who wanted the film gone, but the new version of Kodachrome was not initially well received by photographers, many of whom liked the old version better. William Eggleston, for example, who used Kodachrome extensively in his early career, wasn’t a fan of the new version, and began to use other films instead.

The photography community did come around to Kodachrome 25 and Kodachrome 64. Due to Kodachrome’s sharpness, grain, color, contrast and archival characteristics, this film was a great all-around option that worked well in almost any circumstance. The film became incredibly popular, and was found on the pages of many magazines, including National Geographic, which practically made its use a requirement. Steve McCurry was perhaps the best known photographer to extensively use this era of Kodachrome. He said of the film, “It has almost a poetic look with beautiful colors that were vibrant and true to what you were shooting.”

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Onaqui Wild Horses – Dugway, UT – Fujifilm X-T30 – “Kodachrome 64”

I shot many rolls of Kodachrome 64, and a few rolls of Kodachrome 25. My favorite was Kodachrome 64 because it had a little more contrast and was slightly more saturated. It was a sad day for me when Kodak discontinued it. I was just getting into digital photography at that time, and in retrospect I wish that I had paused on digital and shot a few more rolls of Kodachrome. Kodak has hinted that they might resurrect it, but I would be surprised if they actually did because of the complex development process.

When I decided to attempt a Kodachrome 64 film simulation recipe for my Fujifilm X-T30, I did some experiments, and after a few tries I thought that I had it figured out. Excitingly, I snapped many frames with these settings, but then I figured that I should consult some actual Kodachrome 64 slides to make sure that it matched. It didn’t. Kodachrome 64 looked different than how I remembered it. I was close, but not close enough, so I went back to the drawing board. A handful of experiments later I got it right, which is the recipe that you see here.

Of course, the issue with all of these film simulation recipes that mimic actual film is that one film can have many different looks, depending on how it was shot, under what conditions, how it was developed, and how it’s viewed, whether through a projector or light table, a print (and how it was printed), or a scan (and how it was scanned and perhaps digitally altered, and the monitor). There are a ton of variables! Kodachrome looks best when viewed by projector, no doubt about it, but that’s not how Kodachrome is seen today, unless you own a projector and have some slides. While I don’t think that this recipe will ever match the magic of projected Kodachrome, I do think it’s a close approximation of the film and it deserves to share the famed name.

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Mayhem – Tooele, UT – Fujifilm X-T30 – “Kodachrome 64”

I have Grain set to Weak, but I feel that when using this recipe at higher ISOs Grain should be set to Off. While I chose DR400, in low-contrast situations DR200 is a good Dynamic Range option. For X-Trans III cameras, which obviously don’t have Color Chrome Effect, this recipe will still work and will appear nearly identical, but it will produce a slightly different look. To modify this recipe for Kodachrome 25, I suggest setting Shadow to +1, Color to -1, Grain to Off, and Sharpness to +3.

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +2
Color: 0
Noise Reduction: -4
Sharpening: +2
Grain Effect: Weak
Color Chrome Effect: Weak
White Balance: Daylight, +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 Kodachrome 64 film simulation recipe on my Fujifilm X-T30:

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Shopping Cart Car – Riverdale, UT – Fujifilm X-T30

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Traffic Lamp – Bountiful, UT – Fujifilm X-T30

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Red Tricycle – South Weber, UT – Fujifilm X-T30

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Hay Stack – Layton, UT – Fujifilm X-T30

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Pony Express Trail – Faust, UT – Fujifilm X-T30

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Wild Horse Country – Dugway, UT – Fujifilm X-T30

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Wild Horse Grazing – Dugway, UT – Fujifilm X-T30

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Lonely Horse – Dugway, UT – Fujifilm X-T30

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Wild & Free – Dugway, UT – Fujifilm X-T30

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Onaqui Horses – Dugway, UT – Fujifilm X-T30

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Spotted Green – Dugway, UT – Fujifilm X-T30

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Grassland – Dugway, UT – Fujifilm X-T30

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In The Dust – Faust, UT – Fujifilm X-T30

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Roar Forever – South Weber, UT – Fujifilm X-T30

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Jon In The Backyard – South Weber, UT – Fujifilm X-T30

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Big Wheel – South Weber, UT – Fujifilm X-T30

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Evening Tree – South Weber, UT – Fujifilm X-T30

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Look Up To The Sky – South Weber, UT – Fujifilm X-T30

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Lavender Bee – South Weber, UT – Fujifilm X-T30

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Lavender Sunset – South Weber, UT – Fujifilm X-T30

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Sunset Leaves – South Weber, UT – Fujifilm X-T30

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Sun Kissed Leaf – South Weber, UT – Fujifilm X-T30

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Summer Tree Leaves – South Weber, UT – Fujifilm X-T30

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Jar of Coffee Beans – South Weber, UT – Fujifilm X-T30

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Beans To Grind – South Weber, UT – Fujifilm X-T30

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Sugar Dish – South Weber, UT – Fujifilm X-T30

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Morning Coffee – South Weber, UT – Fujifilm X-T30

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Processed by Kodak – South Weber, UT – Fujifilm X-T30