Film Simulation recipe | FUJI X WEEKLY

1976 Kodak — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on August 3, 2023 by Ritchie Roesch

*All the World’s a Summer Day* – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe began as an attempt to recreate the aesthetic of legendary photographer Joel Meyerowitz, an American New Color photographer first known for serendipitous street photos of New York City. Meyerowitz has had one of the most prolific careers of any photographer, and he’s still active today at 85 years old! His look has been one of the most requested to replicate on Fujifilm cameras, so I eagerly delved into what exactly that is and how to mimic it.

One of the first roadblocks I encountered is that Joel Meyerowitz doesn’t have one unique style. His aesthetics vary significantly through the years. That shouldn’t be surprising because he’s on his seventh decade of photography. It’s well known that Meyerowitz used a lot of Kodachrome—in fact, he shot with all three eras of the film. In his early days it was the original ISO 10 Kodachrome, but very quickly that was replaced by Kodachome II and X; a significant chunk of his iconic street photography was captured during this time. Then Kodachrome 25 and 64 came along. All of those emulsions, while very similar, had their unique characteristics. I have a number of Film Simulation Recipes that can produce a Meyerowitz look because they replicate a film that he frequently used, including Vintage Kodachrome, Kodachrome 1, Kodachrome II (here, too), Kodachrome 25 (here, too), and Kodachrome 64 (here and here, too).

While Meyerowitz was known for Kodachrome, many of his most famous photographs were not captured on that film. He used Ektachrome sometimes for his 35mm work, and he used it extensively for his 8×10 large format photography. There have been over 40 different emulsions that carried the Ektachrome brand name, so it’s hard to know which specific ones he used. Some Ektachrome Film Simulation Recipes are Old Ektachrome, Kodak Ektachrome 100SW, Kodak Ektachrome E100VS, Ektachrome E100GX, Ektachrome, Ektachrome 320T, and Thommy’s Ektachrome. Some of these can probably be used to replicate a Meyerowitz look, too.

*Closed Red Umbrella* – Goodyear, AZ – Fujifilm X-T5 – 1976 Kodak

He didn’t just shoot with Kodachrome and Ektachrome, but also Anscochrome sometimes. He might have used other emulsions, too, it’s not real clear. One thing is for sure: whichever film he used, the emulsion wasn’t the finished picture, the print was (or the replication of the print in a book). Today, film is often scanned, and that’s how we see the photos captured with it, but for much of Meyerowitz’s career, the print (and not the scan) was what we saw. The printing process—the chemicals, the paper, and a host of other factors—could significantly affect the end result. That process changed and evolved over the decades. All of this is to say that no one Film Simulation Recipe will ever be able to replicate all of Joel’s various aesthetics. Probably not even ten Recipes. Aside from the ones already mentioned, 1970’s Summer and especially Summer of 1960 are a couple that could potentially produce a Meyerowitz look.

I studied about fifty of Joel’s photographs, mostly from the 1970’s. Some of them were urban street pictures, some were suburban or small-town images, and others were coastal photos. I looked for commonalities between the various pictures. I paid close attention to the lighting. I focused in on about two dozen that seemed similar enough, and tried to replicate the look with my Fujifilm X-T5. This 1976 Kodak Film Simulation Recipe was my sixth iteration. It’s not perfect, because, even within those 20+ similar Meyerowitz photographs, there are still some subtle differences. Aside from that, Fujifilm’s options, which are much more robust than they used to be, are still limited, and you can only do so much. Still, sometimes the resemblance between some of Joel’s pictures and the images captured with this Recipe are remarkable!

This Film Simulation Recipe got its name because the majority of the pictures that it is based on were captured in 1976. Some were 35mm and likely Kodachrome 25 and Kodachrome 64, but could also be Ektachrome-X and/or Ektachrome Pro 64, or even Anscochrome 64. Some were large format and likely Ektachrome Pro 64, Ektachrome 6118 Tungsten, and/or Ektachrome 160 Daylight, or even possibly Aschochrome 32. 1976 was a pivotal and transitional year for Joel Meyerowitz, as he began to explore landscapes and small-town life, particularly along the Massachusetts coast. He also began shooting with a large format Deardorff view camera. Since this was such an important year in Meyerowitz’s photographic journey, since many of the pictures that this Recipe was modeled after were captured in 1976, and because the vast majority of his photos were shot on Kodak film, I call this Recipe 1976 Kodak.

*Two Birds* – Tempe, AZ – Fujifilm X-T5 – 1976 Kodak

The 1976 Kodak Film Simulation Recipe is quite versatile, and works well in many lighting situations and for many genres of photography. You might find it to be slightly overly warm in artificial light, but otherwise use it anytime. It’s compatible with Fujifilm X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, X-H2s, and X-S20. Those with newer GFX cameras can use it, too, although it will likely render slightly different (use it anyway!). Try this Recipe with a vintage lens to further replicate a retro aesthetic.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Auto, -2 Red & -4 Blue
Dynamic Range: DR200
Highlight: +1.5
Shadow: +3
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this 1976 Kodak Film Simulation Recipe on my Fujifilm X-T5:

*Country Truck* – Buckeye, AZ – Fujifilm X-T5

*Truck being Photographed* – Buckeye, AZ – Fujifilm X-T5

*Tonka Wall* – Buckeye, AZ – Fujifilm X-T5

*Nissan Nature* – Buckeye, AZ – Fujifilm X-T5

*Empty Campus* – Avondale, AZ – Fujifilm X-T5

*Street Glimpse* – Buckeye, AZ – Fujifilm X-T5

*Leaf & Treats* – Buckeye, AZ – Fujifilm X-T5

*Evening Reflected in Glass* – Buckeye, AZ – Fujifilm X-T5

*Dead Decorative Flowers* – Buckeye, AZ – Fujifilm X-T5

*Old Tricycle* – Buckeye, AZ – Fujifilm X-T5

*Two Red Chairs* – Buckeye, AZ – Fujifilm X-T5

*Locked Bike* – Buckeye, AZ – Fujifilm X-T5

*Circles of Life* – Buckeye, AZ – Fujifilm X-T5

*Fountain Not Flowing* – Buckeye, AZ – Fujifilm X-T5

*Orange Pot* – Buckeye, AZ – Fujifilm X-T5

*Mineral Discoloring* – Buckeye, AZ – Fujifilm X-T5

*Covered Promenade* – Avondale, AZ – Fujifilm X-T5

*Curious Closed Curtain* – Buckeye, AZ – Fujifilm X-T5

*Office Abstract* – Buckeye, AZ – Fujifilm X-T5

*Plastic Green* – Buckeye, AZ – Fujifilm X-T5

*Joshua Waiting in a Blue Chair* – Avondale, AZ – Fujifilm X-T5

*Photography is Life* – Avondale, AZ – Fujifilm X-T5

*Friendly Neighborhood Spiderman* – Buckeye, AZ – Fujifilm X-T5

*Guitar Practice* – Buckeye, AZ – Fujifilm X-T5

*Green Leaves Hiding Behind Gate* – Buckeye, AZ – Fujifilm X-T5

*Park Bench* – Buckeye, AZ – Fujifilm X-T5

*Rainbow & Trumpets* – Buckeye, AZ – Fujifilm X-T5

*Ceramic Tile Roof* – Buckeye, AZ – Fujifilm X-T5

*Suburban Home* – Buckeye, AZ – Fujifilm X-T5

*Date Palm* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Garden* – Buckeye, AZ – Fujifilm X-T5

*Distant Thunderstorm Building* – Buckeye, AZ – Fujifilm X-T5

*Uptown Snake* – Sedona, AZ – Fujifilm X-T5

*Green Soccer Field* – Buckeye, AZ – Fujifilm X-T5

*Scootering* – Buckeye, AZ – Fujifilm X-T5

*Rooftop at Dusk* – Buckeye, AZ – Fujifilm X-T5

*Distant Sunset* – Buckeye, AZ – Fujifilm X-T5

*Pastel Sunset over Ball Field* – Buckeye, AZ – Fujifilm X-T5

*Foul Pole & Full Moon* – Buckeye, AZ – Fujifilm X-T5

*Saguaro at Sundown* – Buckeye, AZ – Fujifilm X-T5

*Dramatic Sunset behind Saguaro* – Buckeye, AZ – Fujifilm X-T5

*Purple Sky* – Buckeye, AZ – Fujifilm X-T5

*Sunset over School* – Buckeye, AZ – Fujifilm X-T5

*Sunset Lit Cloud* – Buckeye, AZ – Fujifilm X-T5

*Fast Scooter at Night* – Buckeye, AZ – Fujifilm X-T5

*Basketball Moon* – Buckeye, AZ – Fujifilm X-T5

*Moon Through the Hoop* – Buckeye, AZ – Fujifilm X-T5

*Moonshot* – Buckeye, AZ – Fujifilm X-T5

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Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

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Why do we Still make B&W Photos?

Posted on August 1, 2023 by Ritchie Roesch

*Round Window* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe

The world is full of color, so why would one want to photograph in black-and-white? It’s so old-fashioned anyway. Are there any good reasons to make monochrome pictures in 2023?

In 1826, the first photograph was captured by Joseph Nicéphore Niépce in France. It was black-and-white because the first process was B&W. But then in 1861 the first color picture was made by James Clerk Maxwell and Thomas Sutton in Scotland. That should have been the end of B&W photos, right? Actually, color photography didn’t catch on for a very long time because the process to create them was much more complex than B&W, and their color reproduction not particularly accurate. Kodak launched Kodachrome slide film in 1935, which was the first reasonably accurate color process. That should have been the end of B&W, but it wasn’t. In fact, many photographers shunned color photography, and derided it as for amateurs. Black-and-white was for the serious, while color was not.

The New American Color movement of the 1960’s and ’70’s is really what made color photography an acceptable art form. It challenged the idea that “real” photography was only in monochrome. Color images could be just as good as, or perhaps even better than, B&W pictures. It revolutionized photography.

*Epic Zip Line* – Sundance, UT – Fujifilm X100F – Agfa Scala Recipe

That was so long ago. Color photography is the norm now, not black-and-white. Your digital camera captures a color picture, and you have to convert it to B&W if you want to see in shades of grey. B&W has become a niche of sorts.

So why should you shoot black-and-white photographs in 2023? What reasons are there, other than nostalgia for a time long gone? I love B&W photography, so let me offer a few to you.

Black-and-white pictures are abstract by nature. They’re not faithful reproductions of the world as we see it. Because it is abstract, the photographer is invited to capture the scene in a unique way, with a vision that is dissimilar to, and perhaps even the opposite of, reality. It’s not so much about what the scene is, but about how we see the scene through a divergent eye, and how we can express that to the viewer. It’s a timeless approach to fine-art photography.

The strength of color photographs is color, but it’s also its weakness. When color works within a color theory—perhaps contrasting or harmonious—it can create an especially dramatic or beautiful picture; however, when the colors within an image work against each other, it can be a distraction. B&W photos remove the distraction of color, allowing the viewer to see the important elements without color fighting for their attention—it’s the art of subtraction.

*Playing with Waves* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400 Recipe

Black-and-white photography is about light and shadow. It’s about contrast. It’s about shape. Texture. Pattern. Space. Emotion. Those are very important elements to color photography, too, but they’re even more critical to B&W pictures. Mastering monochrome will make you a better photographer, even for your color work.

Fujifilm cameras are particularly great for black-and-white photography thanks to their wonderful film simulations: Monochrome and especially Acros. Many different Film Simulation Recipes can be made using these as the base, with a wide variety of characteristics. Pick one that looks interesting to you, and shoot with it for a day or two to see what you get. My personal favorite is Kodak Tri-X 400, but there are so many that are really good, it’s hard to go wrong with any of them.

Whether you’ve been shooting black-and-white for decades and decades, or if you never have before but are interested, I invite you to join myself and Fujifilm X-Photographer Nathalie Boucry as we discuss B&W photography in-depth on SOOC Live this Thursday, August 3rd, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve included it below so that you can easily find in on Thursday.

If you missed last Thursday’s SOOC Live broadcast, where Nathalie and I finished our discussion of travel photography, be sure to watch it now. I’ve included it below, or visit the SOOC Live YouTube Channel. Also, if you haven’t seen the Viewers’ Images slideshow (your pictures!), I’ve added that to the bottom of this article—be sure to watch!

Top 7 Best Nostalgic Neg. Film Simulation Recipes for Fujifilm X-Trans V Cameras

Posted on July 29, 2023 by Ritchie Roesch

*Duck Pond* – Tempe, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

The new Nostalgic Neg. film simulation found only on the latest Fujifilm cameras is becoming quite popular! A lot of people really seem to love the aesthetic of it. All X-Trans V models, which (as of this writing) are the X-H2, X-H2s, X-T5, and X-S20, have Nostalgic Neg., as well as a couple of GFX cameras (GFX100S and GFX50S II). Classic Chrome is the most-used film sim by a large margin, followed distantly by Classic Negative and Acros, but currently there’s a lot of interest in the new option.

According to Fujifilm, Nostalgic Neg. is based on “American New Color” photography of the 1970’s. They studied photographs by William Eggleston, Stephen Shore, Joel Sternfeld, and Richard Misrach in order to create it. Eggleston and Sternfeld largely shot on Kodachrome—II and X in the early 1970’s, 25 and 64 in the late ’70’s—while Shore shot mostly Kodacolor, and Misrach shot a lot of Vericolor. All of those are Kodak emulsions, but with different aesthetics. These four photographers had different styles and different darkroom processes, and they each had a unique look; the commonality that Fujifilm found was an “overall atmosphere based on amber.” That’s a basic explanation of what the new film simulation is. While not mentioned by Fujifilm, I think Nostalgic Neg. also has some similarities to photographs by Saul Leiter and Joel Meyerowitz. Leiter used a whole bunch of different films over the years, including Kodachrome and Anscochrome, but apparently he didn’t mind using generic drug store brands, either. Meyerowitz mostly shot a mix of Kodachrome and Ektachrome for his color work. Nostalgic Negative is a divergent approach for Fujifilm, I think, in that it is not intended to mimic a certain emulsion (or the “memory color” of a specific film stock), but instead tries to mimic the “memory color” of a certain decade (the 1970’s), or perhaps simply elicit a nostalgic emotional response.

A lot of various looks can be made using the Nostalgic Neg. film simulation. Because it is largely intended to mimic a retro Kodak aesthetic, it’s a good starting point for Kodak-esque Film Simulation Recipes. While some of my Recipes that use Nostalgic Neg. are intended to replicate a specific stock, most of them are not, and instead are more reminiscent of a certain time or era instead of a specific emulsion; however, some of those were made from studying pictures captured on specific films, so they do tend to resemble actual film stocks to an extent.

I get asked which Nostalgic Neg. Film Simulation Recipe one should try first on their X-Trans V camera. There are plenty to choose from, and the list is growing. Since your camera has seven custom presets (with the exception of the X-S20, which only has four), I would like to suggest the seven Nostalgic Neg. Recipes below. Choose one or two or even all seven to program into your camera, and give it a try! I bet at least one of them will become a new favorite Film Simulation Recipe that you find yourself using often.

1970’s Summer

The 1970’s Summer Film Simulation Recipe very much has a nostalgic Kodak “memory color” (as Fujifilm likes to say) that is reminiscent of old color photographs from the 1970’s. You might notice some similarities to William Eggleston’s Election Eve and 2 1/4 series and some of his other work from the late-1960’s through the mid-1970’s—not every picture, but certainly several. You might spot some similarities between this look and some of Stephen Shore’s photographs from the early-to-mid 1970’s. I think there are some similarities to a few of Joel Sternfeld’s American Prospects pictures. There’s a noticeable likeness to several of Richard Misrach’s desert photographs. In other words, 1970’s Summer produces a distinct American New Color aesthetic with a clear 1970’s vibe. This recipe works best in sunny daylight, and is excellent for midday photography.

*Going Out of Business* – Prescott, AZ – Fujifilm X-T5 – 1970’s Summer

*Short Train* – Buckeye, AZ – Fujifilm X-T5 – 1970’s Summer

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer

Summer of 1960

I found the December 1960 issue of Arizona Highways in a used bookstore. It has page after page of amazing photography! I really love the look of the pictures in this particular issue—while not every image looks alike, there is definitely a commonality to the photo aesthetic. For those who don’t know, Arizona Highways is a magazine with an important history. It began in 1925, and in 1946 published the world’s first all-color publication. From the beginning, Arizona Highways has been dedicated to the art of photography. Ansel Adams was a regular contributor. Barry Goldwater, Ray Manley, Chuck Abbott, David and Josef Muench, Ed Ellinger, Esther Henderson, and many other talented photographers were often featured. The publication is full of wonderful images even to this day. While it is not purely a photography magazine, Arizona Highways is a publication that photographers love due to their passion for the medium.

The vast majority of the pictures in the December 1960 issue were captured on Ektachrome, and fair number were shot on Kodachrome. While it was the December issue, most of the photographs had been captured that previous summer. The Summer of 1960 Film Simulation Recipe mimics the aesthetic of the those images, including the magazine photo below, made by Chuck Abbott in July 1960 using Kodachrome.

*Agaves in 1960* – Buckeye, AZ – Fujifilm X-T5 – Summer of 1960

*Saguaro Spines* – Tucson, AZ – Fujifilm X-T5 – Summer of 1960

*Agua Caliente Pond* – Tucson, AZ – Fujifilm X-T5 – Summer of 1960

Emulsion ’86

When I was six-years-old, my family and I went to Expo ’86 World’s Fair in Vancouver, Canada. Not long ago I found many old pictures of that event—personal, in books, and online. The Emulsion ’86 Film Simulation Recipe is highly reminiscent of some of those photographs, producing a nostalgic analog aesthetic that is similar to some pictures from the mid-1980’s (presumably primarily Kodak emulsions). While it is a good option for sunny daylight photography, I especially like how this one looks on dreary overcast days.

*Old California Architecture* – San Diego, CA – Fujifilm X-T5 – Emulsion ’86

*Don’t Climb on the Bikes* – Oceanside, CA – Fujifilm X-T5 – Emulsion ’86

*Pink Blossom Bush* – San Diego, CA – Fujifilm X-T5 – Emulsion ’86

Kodak Negative

The Kodak Negative Film Simulation Recipe isn’t intended to mimic any specific emulsions; instead it has a “memory color” similar to some Kodak films, like Royal Gold, Gold 100, and Ektar 100. It’s not an exact match to any of those, but just in the general ballpark with a warm and vibrant Kodak color negative film palette. Because it uses Auto White Balance, the Kodak Negative Recipe is fairly versatile and can be used for many subjects and lighting situations.

*Three Oranges* – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative

Lake Lamp – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative

*Water & Reflection* – Litchfield Park, AZ – Fujifilm X-T5 – Kodak Negative

Thommy’s Ektachrome

Thommy’s Ektachrome was made by Thomas Schwab, who was simply trying to make a Recipe using the Nostalgic Neg. film sim that would be good for portraits. The Recipe he created has a distinctive Ektachrome aesthetic, especially similar to National Geographic photographs prior to Ektachrome’s discontinuation by 2013 (prior to the revival in 2018). That was, of course, by chance and not intentional, but there certainly are some similarities. This Recipe is not only good for portraits, but also landscapes and I’m sure many genres of photography. Thommy’s Ektachrome does particularly well in sunny daylight, but is good for overcast, shade, and natural-light indoors, too.

*Way Over That Way* – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

*Wildflower Spring* – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

*Historic Ranch House* – Tucson, AZ – Fujifilm X-T5 – Thommy’s Ektachrome

Nostalgia Negative

I wasn’t trying to emulate any specific film or process when I created the Nostalgia Negative Film Simulation Recipe, I just wanted something that looked good. This was my very first X-Trans V Recipe, and it was simply an attempt to create a better Nostalgic Neg. than just using the default settings. I hoped that perhaps it would even evoke feelings of nostalgia with a vintage analog-like aesthetic.

*Two Ducks* – Lynx Lake, AZ – Fujifilm X-T5 – Nostalgia Negative

*311* – Lynx Lake, AZ – Fujifilm X-T5 – Nostalgia Negative

*Don’t Shoot* – Buckeye, AZ – Fujifilm X-T5 – Nostalgia Negative

Timeless Negative

The creators of the Nostalgic Neg. film simulation stated, “Nostalgic Negative is tuned for the best allrounder settings, but if you want to tweak it to get that classic American New Color look from the ’70’s, there are some adjustments you should make.” This Timeless Negative Film Simulation Recipe is a tweak to Fujifilm’s recommended settings, bringing it closer to a ’70’s vibe. This particular Recipe is especially versatile, and can be used for many different genres of photography and in various light conditions—it’s good for anytime of the day or night.

*Dark Coffee* – Buckeye, AZ – Fujifilm X-T5 – Timeless Negative

*Evening Bougainvillea* – Buckeye, AZ – Fujifilm X-T5 – Timeless Negative

*UnAmerican Experience* – Williams, AZ – Fujifilm X-T5 – Timeless Negative

Comparison

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

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

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

Don’t Forget: Join me LIVE this Thursday!

Posted on July 25, 2023 by Ritchie Roesch

We’re just two days away from the next SOOC Live broadcast! Fujifilm X-Photographer Nathalie Boucry and I will finish our discussion on Travel Photography, share your pictures (better upload your pictures quick if you haven’t yet), and answer any questions that you might have. It will be a great time, and I hope to see you there!

The four Film Simulation Recipes that we’ve been shooting with are 1970’s Summer, Elite Chrome 200, Fujichrome Provia 100F, and Kodacolor VR. I hope that you’ve enjoyed those four. I can’t wait to find out which are your favorites and why.

Join Nathalie and I on Thursday, July 27th, at 10:00 AM Pacific Time, 1:00 PM Eastern. Your participation makes these episodes great, so I hope that you can be there. See you in two days!

If you missed Part 1 of Travel Photography, be sure to watch it. I’ve included it below:

Fuji X Weekly is now Available on Apple Watch!!

Posted on July 24, 2023 by Ritchie Roesch

The Fuji X Weekly App is now on Apple Watch!

For those with an iPhone, you can access Fujifilm Film Simulation Recipes right on your wrist! With the latest Fuji X Weekly update for iOS (1.6.0), the App is available for Apple Watch. If your iPhone didn’t automatically update the App, be sure to manually do it now.

Why might you need Film Simulation Recipes on your Apple Watch? First, for some it will be easier to enter a Recipe into your camera with the parameters on your wrist, rather than trying to do it while holding a phone (especially when out in the field). Second, if you left your phone behind (say, in the car), you can still access a particular Recipe if you have an Apple Watch on your wrist—a scenario that actually happened during the process of creating this update. Third, the Random Recipe selector is more readily available, and can make your photo outing even more fun. Fourth, the Fuji X Weekly Apple Watch App has a unique feature.

On the Apple Watch, the Fuji X Weekly App will display the five most recently-viewed Film Simulation Recipes (it will begin tracking this once the App has been updated). If you viewed a particular Recipe, then maybe looked at a couple others, but now want to go back to the first, it’s easy, because the App keeps track of the last five viewed—this is whether the Recipes were opened on the Apple Watch or the iPhone. This is also for the Random Recipe selector, so you could have the Fuji X Weekly App pick (for example) three different Random Recipes to use on a photowalk, and you’ll find all three in the Recently Viewed list on your watch. Cool, right?! This is the new feature that’s only available on the Apple Watch.

If you are a Fuji X Weekly App Patron subscriber, whatever Filtering you have on your iPhone will carry over to the watch App. So if you have (for example) Filter by Fujifilm X-T4 and Filter by Black & White selected, the watch will only display B&W Film Simulation Recipes that are compatible with the X-T4. The Apple Watch mirrors whatever Filter options are currently selected on the phone App. Also, multi-colored Stars for Favorite Recipes behaves the same on the Apple Watch as the iPhone; you cannot add or modify a Star on the watch—only the phone—but it will display the same on the Apple Watch as the iPhone. Oh, and any Custom Recipes you’ve created in the phone App will be displayed in the watch. The best App experience—including the best Apple Watch App experience—is reserved for Patron subscribers!

Any notes that you have added underneath the Film Simulation Recipes on the Fuji X Weekly iPhone App will be displayed in the Apple Watch; you cannot type any notes on the watch App, only on the phone, but you can view the notes you’ve already added.

The Recipes on the Apple Watch are sorted A-Z. Whatever Sort option (Z-A, New-to-Old, etc.) you have selected in the phone App will not carry over to the watch. The logic behind this is that you’re not likely going to use the Apple Watch to browse Film Simulation Recipes, but are most likely seeking a specific Recipe, and it’s probably going to be significantly easier to find when displayed in alphabetical order. For this reason, the watch will only Sort A-Z, and the other options are unavailable.

When you update the Fuji X Weekly App on your iPhone (if your phone didn’t automatically do it), be sure to open the App on your phone first. The Fuji X Weekly App should automatically be added to your Apple Watch, but if not, here’s the fix: open the Apple Watch App, tap My Watch, scroll to Fuji X Weekly, and select Install. If that doesn’t work, ensure that the iOS on your iPhone and Apple Watch are up-to-date. For those on Android phones or with a third-party watch, this update doesn’t affect you, but I am looking into the feasibility of potentially adding that compatibility in the future; however I’m not sure at this time if it will happen, and (if so) when. For those with an iPhone and Apple Watch, I hope that you enjoy this update!

Don’t have the Fuji X Weekly App? Download for free today!

Pushed CineStill 800T — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on July 22, 2023 by Ritchie Roesch

*July Bougainvillea* – Buckeye, AZ – Fujifilm X-T5 – Pushed CineStill 800T

CineStill 800T is a Kodak Tungsten-balanced motion picture film (specifically, Vision3 500T) that has had the Remjet layer removed so that it can be processed in C41 chemistry. It’s intended for use in indoor artificial light and at night (but could be used anytime with the appropriate color correction filter). Awhile back I found some examples of CineStill 800T that had been shot during the day in overcast conditions and had been push-processed. I liked the picture aesthetics, so I set out to recreate it.

While this Film Simulation Recipe is intended for daytime photography (particularly on overcast days), it does really well at night, too. For the after-dark pictures in this article, I used a 5% CineBloom diffusion filter, but a 10% or 20% might have been more appropriate for replicating the emulsion. I do recommend the use of a diffusion filter for nighttime photography when shooting with this Recipe.

*Mellow Mushroom* – Tempe, AZ – Fujifilm X-T5 – Pushed CineStill 800T

This Pushed CineStill 800T Recipe isn’t new, but simply a modification of the X-Trans IV version for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on some film simulations, a tweak to Color Chrome FX Blue—selecting Weak instead of Strong—was necessary for my Fujifilm X-T5. This Film Simulation Recipe isn’t for everyone or every situation, but some of you will really appreciate it for certain pictures.

Film Simulation: Eterna Bleach Bypass
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 7700K, -9 Red & +5 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +1.5
Color: +3
Sharpness: 0
High ISO NR: -4
Clarity: -3
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 X-T5:

*Flower Stems in Colored Water* – Buckeye, AZ – Fujifilm X-T5

*Playing Video Games* – Buckeye, AZ – Fujifilm X-T5

*Yellow Flowers on a Dreary Day* – Buckeye, AZ – Fujifilm X-T5

*Birdcage Wall* – Buckeye, AZ – Fujifilm X-T5

*Empty Cage* – Buckeye, AZ – Fujifilm X-T5

*Green Tree on a Blue Day* – Buckeye, AZ – Fujifilm X-T5

*Suburban Grey* – Buckeye, AZ – Fujifilm X-T5

*Street Train* – Tempe, AZ – Fujifilm X-T5

*Hand Signal* – Tempe, AZ – Fujifilm X-T5

*Hair Chairs* – Tempe, AZ – Fujifilm X-T5

*Mellow Mushroom Pizza* – Tempe, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

8 Fujifilm Film Simulation Recipes for Those Hot Summer Nights

Posted on July 22, 2023 by Ritchie Roesch

*Tattoo & Turkish Pizza* – Tempe, AZ – Fujifilm X-T5 – Xpro ’62

It’s summer and it’s hot. I live in Arizona, so when I say it’s hot, I mean that it feels like someone opened an oven door! Nobody wants to be outside during the day right now, so (like vampires) everyone comes out at night. Not that it’s all that much cooler at dusk—it’s still triple digits—but at least it’s more bearable. While it’s easy to look at the negative side of things, the positive aspect to the excessive heat is that opportunities for night photography are plentiful.

A few days ago I took my Fujifilm X-T5 to downtown Tempe for some after-dark photography. Attached to the camera was a Meike 35mm f/1.7 lens, and I had a 5% CineBloom diffusion filter screwed onto it. I like the Meike lens for its vintage-like character. I chose the 5% CineBloom because its effect is subtle. While the 10% or 20% might have been more appropriate for a couple of the Film Simulation Recipes, overall I appreciate what the 5% CineBloom does to the photographs, which is not much yet oftentimes just enough.

I programmed into my Fujifilm X-T5 eight different Film Simulation Recipes, and shot with all of them. How was I able to program eight? Well, obviously, there’s C1-C7. On the X-T5 (as well as my X-E4 and a few other newer models), you can program an additional Recipe into the IQ menu. As you scroll through C1-C7, when you’re in-between C7 and C1, the camera will display the shooting mode (either P, A, S, or M, depending on the configuration of your dials), and it will select the settings programmed into the IQ menu, giving you a bonus eighth custom preset.

I didn’t walk all that far with my camera—going down a few blocks on one side of the road, and then back up on the other side. It was dark, but still blazing hot. I did manage to capture a whole bunch of pictures, making sure that I had at least six decent exposures with each Recipe. Afterwards I cooled off with an ice cream shake at In-N-Out, a nice treat to beat the heat.

If you are searching for some Film Simulation Recipes to try out on a hot summer night, take a look at the eight below. They’re certainly not the only ones that are good for after-dark photography, but they are all excellent options, and have their own unique aesthetics. These eight Recipes are the ones that I used, and I invite you to try them, too, the next time you go out for some night photography.

Fujicolor Super HG v2

Fujicolor Super HG v2 is a highly versatile Film Simulation Recipe that—because it uses the Auto White Priority white balance—you can use anytime of the day or night. This is a Recipe that makes a lot of sense to always have programmed into your camera, since, no matter the light scenario, it’s going to give you good results. There’s an X-Trans V version of Fujicolor Super HG v2 (for those with an X-T5, X-H2, X-H2s, or X-S20), and an X-Trans IV version of this Recipe (for those with an X-T4, X-S10, X-E4, or X-T30 II).

Ektachrome 320T

While the previous Recipe used Auto White Priority, Ektachrome 320T uses Auto Ambiance Priority, but don’t let that fool you: this Recipe is intended for use at night or indoors under artificial light, where it works very well. Ektachrome 320T is compatible with some X-Trans IV models that have the Eterna Bleach Bypass film simulation (X-T4, X-S10, X-E4 & X-T30 II); to use it on X-Trans V, simply set Color Chrome FX Blue to Weak instead of Strong, since X-Trans V renders blue more deeply on some film simulations.

Expired ECN-2 100T

Expired ECN-2 100T is currently a Fuji X Weekly App Patron Early-Access Recipe. If you are a subscriber on the App, you have access to this Film Simulation Recipe; otherwise, you’ll have to wait a little while for it to become available to everyone. This particular Recipe produces a green or yellow cast (depending on the light) when used at night, and a teal-ish cast when used in daylight. Like the previous Recipe, this one is compatible with the X-T4, X-S10, X-E4, and X-T30 II cameras; to use it on X-Trans V models, set Color Chrome FX Blue to Weak instead of Strong.

Fujicolor NPS 160 Pulled

Fujicolor NPS 160 Pulled isn’t intended specifically as a Film Simulation Recipe for nighttime photography, but because it is so versatile it works really well for this. It has a low-contrast, low-saturation rendering with an earthy cast. It’s really good for toning down a scene when you’d prefer a softer picture. Fujicolor NPS 160 Pulled is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.

Xpro ’62

When I first learned that Xpro ’62 was great for after-dark photography, I was actually a little surprised, because this is intended as a daylight Recipe, and on paper it doesn’t seem versatile enough to be a good nighttime option. But it’s absolutely wonderful for night images! If you’ve never tried Xpro ’62 for post-sunset pictures, be sure to do so. It’s compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.

CineStill 800T

The CineStill 800T Film Simulation Recipe is specifically intended for night photography, so it should be no surprise that it does well for after-dark pictures. If you want to even more closely mimic the film, try it with a 10% or 20% CineBloom diffusion filter. Like the previous two Recipes, CineStill 800T is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong. There is a version for X-Trans III cameras plus the X-T3 and X-T30, and a version for X-Trans II models.

Pushed CineStill 800T

The Pushed CineStill 800T Recipe is actually modeled after some pictures of the film that were captured in daylight on an overcast day. This Recipe wasn’t necessarily purposefully intended for night photography, but it shouldn’t be surprising that it does well for it. It also shouldn’t be too surprising that it renders noticeably different than the CineStill 800T Recipe above. Pushed CineStill 800T is compatible with X-Trans IV cameras that have Eterna Bleach Bypass (X-T4, X-S10, X-E4 & X-T30 II; however, there is a version for the X-Pro3 and X100V); to use it on X-Trans V cameras, set Color Chrome FX Blue to Weak instead of Strong.

Serr’s 500T

Last but far from least is Serr’s 500T, which is one of my absolute favorite nighttime Film Simulation Recipes. Due to its strong blue cast, this one is especially great for countering warm artificial light. Serr’s 500T is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

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

Fujifilm X-T5 in black:  Amazon  B&H  Moment
Fujifilm X-T5 in silver:  Amazon  B&H  Moment
Meike 35mm f/1.7:  Amazon B&H

Fujicolor Super HG v2 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on July 20, 2023 by Ritchie Roesch

Fujifilm introduced the Super HG line in 1986, with ISO versions between 100 and 1600. It saw several iterations and improvements before Fujifilm replaced it with the Superia line is 1998. This Fujicolor Super HG v2 recipe produces results similar to Super HG 100 or Super HG 200 film. One film can have many different looks depending on how it was shot, developed, and printed or scanned, so this Recipe won’t match every image from the emulsion, but it is definitely in the general ballpark of the film.

This isn’t a new Recipe, but rather a slight modification of an X-Trans IV Recipe for use on X-Trans V cameras. The X-Trans IV version of Fujicolor Super HG v2 was a collaboration between myself and Thomas Schwab, but he did most of the work on it, and I only contributed a little. Because X-Trans V renders blue more deeply on some film simulations, a tweak to Color Chrome FX Blue—selecting Weak instead of Strong—was necessary for my Fujifilm X-T5.

*Bridge to Nowhere* – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2

Because this Recipe uses the Auto White Priority white balance, it is extremely versatile. It would be like having a whole case full of various color correction filters for your film back in the day, except now you don’t need to carry around a bunch of filters. Use this Recipe anytime of the day or night! As of this writing, this version of Fujicolor Super HG v2 is compatible with the Fujifilm X-T5, X-H2, X-H2s, and X-S20 cameras. The X-Trans IV version is compatible with the X-T4, X-S10, X-E4, and X-T30 II models. If you have a newer GFX model, you can try this or the original iteration—I’m not certain which is most appropriate, so maybe try both and see which one you like better.

Film Simulation: Classic Negative
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome FX Blue: Weak
White Balance: Auto White Priority, -3 Red & -1 Blue
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: +2
Sharpness: 0
High ISO NR: -4
Clarity: +2
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor Super HG v2 Film Simulation Recipe on my Fujifilm X-T5:

*Bougainvillea Arm* – Buckeye, AZ – Fujifilm X-T5

*Bored Boy Tossing Football* – Buckeye, AZ – Fujifilm X-T5

*Potted Palm* – Buckeye, AZ – Fujifilm X-T5

*Water Angels* – Buckeye, AZ – Fujifilm X-T5

*Sidewalk* – Buckeye, AZ – Fujifilm X-T5

*Resting Cat* – Buckeye, AZ – Fujifilm X-T5

*Stone Fencepost* – Buckeye, AZ – Fujifilm X-T5

*Empty Adirondack* – Buckeye, AZ – Fujifilm X-T5

*Sunset over Black Ridge* – Buckeye, AZ – Fujifilm X-T5

*Birds not of a Feather* – Tempe, AZ – Fujifilm X-T5

*Double-Double* – Tempe, AZ – Fujifilm X-T5

*Corner of 6th* – Tempe, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Fujicolor Superia 100 — Fujifilm X-T5 (X-Trans V) Film Simulation Recipe

Posted on July 11, 2023 by Ritchie Roesch

*Small Windmill* – Avondale, AZ – Fujifilm X-T5 – Fujicolor Superia 100

Fujicolor Superia 100 was a daylight-balanced color negative film produced by Fujifilm between 1998 and 2009. It replaced Fujicolor Super G Plus 100, which, honestly, didn’t look all that much different. Superia 100 had improved grain, sharpness, and more accurate color under florescent light; under normal conditions, and without a very close inspection, the two films looked nearly identical. Superia 100 was a “consumer” film that was widely found in drug and convenient stores. It was regularly used for family snapshots, but was also popular among photojournalists, as well as portrait and wedding photographers. Superia 100 was marketed as a “general use” low-ISO color film. Like the film, this Fujicolor Superia 100 Film Simulation Recipe could serve as a general-use option.

This isn’t a new Recipe, but an adaption of the X-Trans IV version of Fujicolor Superia 100 for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on Classic Negative (and some other film sims), a slight tweak is needed for my X-T5; specifically, Color Chrome FX Blue should be set to Off instead of Weak. That’s the only difference between the X-Trans IV and V versions of Fujicolor Superia 100.

*Purple Patina* – Buckeye, AZ – Fujifilm X-T5 – Fujicolor Superia 100

This Film Simulation Recipe has fairly low contrast—but not too low—and produces very nice colors. It has a nostalgic quality to it, since the film that it’s based on was widely used for family snapshots in the 1990’s and 2000’s. You can use it for portraits or street photography or landscapes—really, it’s good for most situations. Like the film, in indoor artificial light it will render especially warm, which you might or might not appreciate. This Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, X-H2s, and X-S20. For newer GFX models, you can use either version, but I’m sure it will look slightly different than an the X series.

Film Simulation: Classic Negative
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, 0 Red & -1 Blue
Dynamic Range: DR-Auto
Highlight: -1
Shadow: -2
Color: +1
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Fujicolor Superia 100 Film Simulation Recipe on my Fujifilm X-T5:

*Red Bike* – Buckeye, AZ – Fujifilm X-T5

*Taillight* – Avondale, AZ – Fujifilm X-T5

*Jon with a Camera* – Buckeye, AZ – Fujifilm X-T5

*Water & Light* – Buckeye, AZ – Fujifilm X-T5

*Spiderweb Leaves* – Buckeye, AZ – Fujifilm X-T5

*Greens of Summer* – Buckeye, AZ – Fujifilm X-T5

*Birdcage Light* – Buckeye, AZ – Fujifilm X-T5

*Americana Girl* – Buckeye, AZ – Fujifilm X-T5

*Backlit Girl in the Garden* – Buckeye, AZ – Fujifilm X-T5

*Bougainvillea Blooms of Summer* – Buckeye, AZ – Fujifilm X-T5

*Blooms Above Blocks* – Buckeye, AZ – Fujifilm X-T5

*Tiny Purple Backyard Blossoms* – Buckeye, AZ – Fujifilm X-T5

*Flowerpot* – Buckeye, AZ – Fujifilm X-T5

*Love Lost* – Buckeye, AZ – Fujifilm X-T5

*Concentration* – Avondale, AZ – Fujifilm X-T5

*Hanging Lamps* – Phoenix, AZ – Fujifilm X-T5

*Yellow Coffee* – Phoenix, AZ – Fujifilm X-T5

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

Fujifilm X-T5 in black: Amazon B&H Moment
Fujifilm X-T5 in silver: Amazon B&H Moment

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

The Future of Photography is Unedited

Posted on July 7, 2023 by Ritchie Roesch

*Bench with a View* – Prefumo Canyon, CA – Fujifilm X-E4 – Pacific Blues Recipe – *unedited*

Photography is moving in a clear direction, and it is unedited. Let me explain.

There’s a new photography trend on the iPhone. Instead of using the front-facing camera to take selfies, people are taking screen shots of the preview from the selfie camera. Why? What’s the difference? The pipeline for the image preview and the actual photographs are different on the iPhone. Most notably, Apple applies an HDR processing to the exposure (but not the preview), which creates a less-contrasty picture. If you are going to apply a filter to the photo and edit it, having a flatter starting point makes sense; however, if you are not editing, one might prefer the more-contrasty image preview. Aside from that, it can be frustrating that the preview doesn’t match the photograph.

My RitchieCam iPhone camera app uses the same pipeline for both the image processing and the preview, so it doesn’t have this issue. The preview you see will be the picture you get. No need to screenshot, which produces a much-lower resolution image. Those using my camera app (instead of the native iPhone app) won’t need to go through the hassle of the screen shot (plus cropping out the non-image part); instead, they’ll have better quality pictures with an analog-inspired aesthetic to post to social media.

Photo by Amanda Roesch – iPhone 13 Pro – RitchieCam App – Standard Film filter – *unedited*

Of course, we’re not talking about photographers here, but snap-shooters, as I doubt that anyone who would self-identify as a photographer is taking screenshots instead of using the camera. It shouldn’t be surprising that they’re uninterested in picture manipulation, and just want good results without fuss. Maybe they don’t know how to edit pictures, and the idea of doing so is very intimidating, so they have no interest in learning. It could be that they don’t want to spend their time with picture editing, and just want to share (either through text or social media) their snaps quickly—the easier the better, but the pictures still need to look decent. Others don’t edit because doing so seems less authentic; Photoshop is a bad word, and picture-manipulation equals people-manipulation. Let’s not forget that the vast majority of photos captured across the world are by amateurs, so their opinions, preferences, and trends do matter.

For the advanced-hobbyist or professional, surely photo manipulation is a requirement, right? There’s a growing movement towards reduced (or even eliminated) photo editing. First, the less time spent sitting at a computer equals more production and/or more time with friends and family. For a lot of people, for every hour out with a camera photographing means two hours in Lightroom or Capture One fiddling with the RAW files; if those two hours can be reduced by 50% or more (especially more), that’s a huge win! Second, shooting camera-made JPEGs affords the advantage of knowing exactly what you’re going to get before even pressing the shutter. Don’t like what you see? Simply make a few quick adjustments until you do, then take the picture. Not having to pre-visualize in your mind the finished photo, but seeing it right there in the viewfinder in real time, is a game-changer for many. Third, getting great (often analog-like) results straight-out-of-camera can be a much more fun photographic process, especially if you don’t enjoy sitting for hours at a computer post-processing pictures.

I used to shoot RAW and edit, but thanks to Fujifilm cameras and Film Simulation Recipes, I now use unedited (or sometimes lightly-edited) camera-made JPEGs. I will crop or straighten when needed, which is the majority of my post-processing; occasionally I will adjust the brightness a notch, but very rarely do I manipulate any further than that. Most of my pictures are unedited, even to a strict definition. This has changed my life, no hyperbole! My post workflow takes minutes instead of hours, which has made me a much more productive photographer while simultaneously improving home-life, because I can now spend more time with my wife and kids. That’s amazing!

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues – *unedited*

For example, on a recent trip to the California coast, during the downtimes—such as while at lunch, as a passenger in a car, or at night before bed—I transferred the JPEGs from my cameras to my phone, cropped if needed, and uploaded to cloud storage. A few minutes here and there meant that, by the time I got home, my workflow was essentially already complete. For most photographers, once back home the work would just be getting started, with many hours sitting at a computer.

But, but, but… surely the unedited camera-made JPEGs are not good enough for serious photography, right? You couldn’t do true professional work like this, could you? You can’t print very large and still look stunning, can you? Actually, yes—you can! I know because several successful professional photographers have told me that this is how they now do their paid work. You’d be surprised by just how many are doing some or even all of their pro photo work completely unedited or just lightly edited.

It’s not just photographers who benefit from a simplified workflow, but clients. Because of social media, people often desire to have a quick turnaround on their professional photographs. The newlywed couple doesn’t want to wait two weeks for the wedding pictures to be done, and in fact their parents wished for them that very day! If you can deliver the images quickly, you have a clear advantage over your competition.

*Dave Wyman using RitchieCam* – Montaña de Oro SP, CA – Fujifilm X100V – Superia Premium 400 Recipe – *unedited*

In fact, Fujifilm X-Photographer Nathalie Boucry told me about two recent corporate events where the client wanted the photos as the event was happening! Periodically, every so many minutes throughout the day, she would download the straight-out-of-camera images from her camera to her phone, then upload them to a cloud location that the client had access to. As the event was happening, they were able to share the pictures to their social media accounts. Delivering real-time results to the client is going to be the future of event photography. Nathalie was able to do this thanks to the Film Simulation Recipes that she had programmed into her Fujifilm cameras.

Whether it is professional, hobby, or snap-shooting, photography is slowly and stubbornly moving towards less editing. It is easier and quicker and more fun, the disadvantages of it are disappearing, and the stigmatization is dissipating. More and more, people want great results without fuss. Editing is no longer a requirement, especially if you have gear that will deliver solid out-of-camera pictures, such as Fujifilm cameras or the RitchieCam app.

The next battle will be AI. Technology allows one to simulate a photograph with a string of words, or add to an image what wasn’t there—all with a similar ease to shooting camera-made JPEGs. It will come down to authenticity. I believe that as tech pushes us towards an augmented or even fully artificial reality, society will push back with an equal and opposite force towards the genuine. People will generally prefer authenticity over artificial, but it will be a divide. Camera makers should carefully consider how to move forward through all of this, and how they can improve their straight-out-of-camera experience. Fujifilm has a clear advantage, which materialized in the recent explosion in demand for the X100V. A simplified workflow with less editing or even no editing is the future of photography, and the future is now.

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 5, Part 2

Posted on July 3, 2023 by Ritchie Roesch

*Flowers on the Coastal Bluffs* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Pacific Blues

Day 1 — Day 2 — Day 3 — Day 4, Part 1 — Day 4, Part 2 — Day 5, Part 1

Day 5, Part 2 — June 9, 2023 — San Simeon & Morro Bay

There were twelve photographers on the Central Coast tour: Dave Wyman, Ken Rockwell, myself, and nine others. Seven of those nine had previously been on at least one other of these tours (some had been on several), which I think speaks strongly of the value the excursions. It was mostly an older crowd; there was a young college student, I was second youngest (at 43), and I’m pretty sure everyone else was in their 50’s, 60’s, and 70’s—most above the age of 60. One was shooting Canon. Three had Sony. I, of course, was using Fujifilm. The other seven had Nikon. Ken seems to especially like Nikon, so it shouldn’t be too surprising that so many on this tour had that brand. I believe there were more DSLRs than mirrorless. I saw a lot of long telephoto lenses.

For this part of Day 5, after the abandoned cars, we wound our way back to the Pacific Coast Highway, then up to Elephant Seal Vista Point north of San Simeon. I had already photographed this location on Day 2, so I used the opportunity to try some underutilized lenses in my bag, and take a more laid-back approach. Following that, we went to the San Simeon Pier below Hearst Castle. The last stop of the day was Morro Bay to photograph the famous monolith.

The group was going to assemble one more time the next morning, but I wasn’t going to join them, so this was the end of Ken and Dave’s tour for me. I captured a lot of images—more than I’ve shown in this article series—and it was a highly rewarding experience. I would definitely recommend it, for anyone considering joining one of these tours in the future. It was very insightful, and I had a good time. I said goodbye and called it a night.

*Boats in the Bay* – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues

The camera gear that I used on the second part of Day 5 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 18mm f/2, Meike 35mm f/1.7, Pergear 10mm f/8, and Xuan 30mm f/10, a Ricoh GR III, and the RitchieCam App on my iPhone 11.

For this part of Day 5, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Superia Premium 400, The Rockwell, Pacific Blues, Urban Dreams, Vintage Color, and 1981 Kodak. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model. For the iPhone, I used my Standard Film filter on RitchieCam.

The photographs below are in order of when they were captured. The picture at the top of this article, Flowers on the Coastal Bluffs, was the first image captured during this part of the day. The second photo, Boats in the Bay, fits in-between Lifeguard Tower 1 and Cocktail Cruise. I hope that you enjoy the pictures!

*Yellow Flowers, Grey Coast* – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64

*Green Bushes, Grey Coast* – San Simeon, CA – Fujifilm X-E4 & Pergear 10mm – Kodachrome 64

*Elephant Seal Beach* – San Simeon, CA – Fujifilm X-E4 & Xuan 30mm – Vintage Color

*Gloomy Coast 1* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*Gloomy Coast 2* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*Gloomy Coast 3* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*It Was all Yellow* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*Lazy Seals* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell

*Flowery Bluffs* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodachrome 64

*Right* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*Gull* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – Vintage Color

*Flight* – San Simeon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell

*White & Yellow* – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*They May Bite* – San Simeon, CA – Fujifilm X100V – Urban Dreams

*Hearst Ranch Schoolhouse* – San Simeon, CA – Fujifilm X100V – Urban Dreams

*Biting Horses* – San Simeon, CA – Fujifilm X100V – 1981 Kodak

*School Horse* – San Simeon, CA – Fujifilm X100V – Superia Premium 400

*Tractor on Display* – San Simeon, CA – Fujifilm X100V – Superia Premium 400

*Green Chevy Wagon* – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Green Car* – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Driver* – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Pier Railing* – San Simeon, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Pier Corner* – San Simeon, CA – Ricoh GR III – Monochrome Film

*San Simeon Pier* – San Simeon, CA – Ricoh GR III – Monochrome Film

*Morro Beach –* Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Morro Rock behind Ice Plant* – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Rock & Ice* – Morro Bay, CA – Fujifilm X100V – Urban Dreams

*Rock View* – Morro Bay, CA – iPhone 11 – RitchieCam App – Standard Film

*Morro Shores* – Morro Bay, CA – Ricoh GR III – Monochrome Film

*Lifeguard Tower 1* – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Cocktail Cruise* – Morro Bay, CA – Ricoh GR III – Monochrome Film

*Rosana’s Ride* – Morro Bay, CA – Fujifilm X-E4 & Meike 35mm – Pacific Blues

Day 6

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

Fujifilm X100V — Amazon B&H  Moment
Fujifilm X-E4 — Amazon B&H  Moment
Ricoh GR III — Amazon  B&H  Moment
Fujinon 18mm f/2 — Amazon   B&H   Moment
Meike 35mm f/1.7 — Amazon B&H
Pergear 10mm f/8 Fisheye — Amazon
Xuan Focus Free 30mm F/10 — Amazon

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 5, Part 1

Posted on June 27, 2023 by Ritchie Roesch

*Abandoned Classics* – Cambria, CA – Fujifilm X100V – Fujicolor 100 Gold

Day 1 — Day 2 — Day 3 — Day 4, Part 1 — Day 4, Part 2

Day 5, Part 1 — June 9, 2023 — Morro Bay, Cayucos, Harmony & Cambria

I’ve been asked by several of you, “What’s Ken Rockwell like?”

He’s been quite popular for a very long time, as Ken Rockwell’s website is one of the longest running in all of photography. He’s a controversial character, and people seem to either love or hate him. On this day, because we were assigned to the same car, I had the opportunity to spend a significant amount of time with him, and we talked about a lot of things. To a limited extent, I got to know the real Ken Rockwell.

Ken was born and raised in New York City. Like a stereotypical New Yorker, he has an opinion that he’s not afraid to share. He tells it like it is; don’t expect anything to be sugarcoated. He’s honest. He’s very knowledgeable—when he’s interested in something, he dives deeply into it and becomes an expert. He asks a lot of questions, and you can tell he’s a logical person. Ken’s also very funny, with a dry humor that often utilizes sarcasm.

Those who hate Ken Rockwell (yes, hate is a strong word, but it’s often used in this context) seem to either be put off by his strong opinions, dislike something controversial he said, don’t believe he’s a good photographer, or are jealous of his success. To the first, I’ll say this: Ken is upfront about where he stands. Sometimes two people can look at the same thing and come to opposite conclusions; it’s always ok to agree to disagree. To the second, I’ll say this: without nonverbal cues, deciphering when someone on a website is stating opinion vs. making a sarcastic joke can be difficult, so if something sounds offensive, perhaps it wasn’t said in seriousness, and the benefit of the doubt should be given. I would caution against running with assumptions. If you want to know for sure, just ask! Ken is a nice guy who I’m sure would answer your questions. To the third, I’ll say this: every artist has strengths and weaknesses. I actually had a conversation with Dave Wyman about this. Ken’s photographic strengths are capturing striking colors, making the ordinary appear interesting, and in-studio product pictures. To the fourth, I’ll say this: haters are going to hate, I suppose. Just because someone else is successful and you are not doesn’t mean that you’ll never be, or that they don’t deserve to be.

*Ice Flower & Chain Link* – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

I enjoyed interacting with Ken on this trip, and learned several things from him about the photography industry. The conversations were very insightful, and Ken was kind to share his knowledge and experiences with me. Anyone who thinks he is a bad person has not met him in-person.

With all of that out of the way, let’s get to the first part of Day 5 of the Central Coast of California tour!

We met up once again at a hotel in San Luis Obispo. Because it was forecasted to be overcast, we began a little later than the day before. We loaded up into a few cars, and caravanned up the Pacific Coast Highway. The first stop was at a beach on the north end of Morro Bay, followed by Cayucos, which is a cool little coastal community. Then we visited Harmony, a tiny tourist town that would be easy to overlook, but is actually quite interesting, photogenic, and tasty (if, like me, you enjoy ice cream). Afterwards, we turned down an unassuming road near Cambria and drove way back into the hills, where we found some abandoned antique cars.

What’s crazy about the cars is that after winding down this barely used backroad for miles, we parked and walked up a side road (if you can even call it a road), then up a barely visible steep trail to the top of a hill. Once your eyes crest the top, you see the cars; otherwise, they’re hidden. I asked Dave, “How did you even find this place?” He answered, “As I was exploring the road, I saw a glint of light. It was just for a moment. So I came up here to find out what it was.” The cars are on private property, but Dave befriended the owner, a legit fifth generation rancher who’s great-great-grandfather settled the land before California was even a state.

*Old Window Blinds* – San Luis Obispo, CA – Fujifilm X100V – Kodak Tri-X 400

The camera gear that I used on the first part of Day 5 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 90mm f/2 lens, and the RitchieCam App on my iPhone 11. Mostly, I chose the X100V.

For this part of Day 5, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Fujicolor 100 Gold, Superia Premium 400, Fujicolor Superia 1600, Pacific Blues, Urban Dreams, Expired Velvia, and 1981 Kodak. For the iPhone, I used my Standard Film filter on RitchieCam.

The photographs below are in order of when they were captured. The picture at the top of this article, Abandoned Classics, fits in-between Classic Oak and Dodge, Didn’t Dodge. The second image, Ice Flower & Chain Link, fits in-between Ken & Dave and Classic Rear Fender. The third image, Old Window Blinds, was the first photograph of the day.

*Morro Rock Behind Sand Dune* – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Ken & Dave* – Morro Bay, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Classic Rear Fender* – Cayucos, CA – Fujifilm X100V – 1981 Kodak

*In the Same Boat* – Cayucos, CA – Fujifilm X100V – Expired Velvia

*Fishing Pole* – Cayucos, CA – Fujifilm X100V – Kodak Tri-X 400

*Rusted Tempest* – Cayucos, CA – Fujifilm X100V – Kodak Tri-X 400

*Ken Rockwell & ’61 Pontiac Tempest* – Cayucos, CA – Fujifilm X100V – 1981 Kodak

*Tempest* – Cayucos, CA – Fujifilm X100V – Fujicolor 100 Gold

*Go Skate* – Cayucos, CA – Fujifilm X100V – Kodak Tri-X 400

*Dog & Skateboard* – Cayucos, CA – Fujifilm X100V – Kodak Tri-X 400

*Old Van* – Cayucos, CA – Fujifilm X100V – 1981 Kodak

*Cornejo Guitars* – Cayucos, CA – Fujifilm X100V – Fujicolor 100 Gold

*Rural Gate* – Harmony, CA – Fujifilm X100V – Kodak Tri-X 400

*Town of Harmony* – Harmony, CA – Fujifilm X100V – Kodak Tri-X 400

*Ice Cream & Wine Tasting* – Harmony, CA – Fujifilm X100V – Fujicolor 100 Gold

*Dodge Truck* – Harmony, CA – Fujifilm X100V – Fujicolor 100 Gold

*Classic Gauges* – Harmony, CA – Fujifilm X100V – Fujicolor 100 Gold

*Rolleiflex Dave* – Harmony, CA – Fujifilm X100V – Kodak Tri-X 400

*Nearly Bloomed* – Harmony, CA – Fujifilm X100V – Superia Premium 400

*Cookies & Cream* – Harmony, CA – iPhone 11 – RitchieCam App – Standard Film

*Bougainvillea Wall* – Harmony, CA – Fujifilm X100V – Fujicolor 100 Gold

*Glass Blowing* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Glass Spinning* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*You Never Know* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Clean Hands* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Hot Cylinder* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Glass Works* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Glass Shaping* – Harmony, CA – Fujifilm X100V – Fujicolor Superia 1600

*Tree Fallen on Abandoned Car* – Cambria, CA – Fujifilm X100V – 1981 Kodak

*Classic Oak* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Dodge, Didn’t Dodge* – Cambria, CA – Fujifilm X100V – Expired Velvia

*Smashed Ford* – Cambria, CA – Fujifilm X100V – Urban Dreams

*Rusty Door* – Cambria, CA – Fujifilm X100V – Urban Dreams

*Abandoned Ford* – Cambria, CA – Fujifilm X100V – Urban Dreams

*Old Ford* – Cambria, CA – Fujifilm X100V – 1981 Kodak

*Shapes of Abandoned Ford* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Classic Grill* – Cambria, CA – Fujifilm X100V – 1981 Kodak

*Cattle Gate* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Grass Hill* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*12 Stars* – Cambria, CA – Fujifilm X100V – Fujicolor 100 Gold

*Rural Rancher* – Cambria, CA – Fujifilm X100V – 1981 Kodak

*Rancher* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Storytelling* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

Day 5, Part 2 — Day 6

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

Fujifilm X100V — Amazon B&H  Moment
Fujifilm X-E4 — Amazon B&H  Moment
Fujinon 90mm f/2 — Amazon   B&H   Moment

California’s Central Coast with ChatGPT Recipes

Posted on June 26, 2023 by Ritchie Roesch

*Protect our Wildlife* – San Simeon, CA – Fujifilm X100V – Urban Dreams

I shot with four AI Film Simulation Recipes made by ChatGPT while at California’s central coast a few weeks ago. Two of these Recipes—Urban Dreams and Kodak Ektachrome E100Vs v1—are official Fuji X Weekly Recipes and can be found on this website and the Fuji X Weekly App. The other two—Soft Blue Classic and Vivid Summer Glow—are not official Recipes, but you can find them here if you want to try them yourself.

My personal favorite of these four is Urban Dreams, which has a Kodachrome 200 vibe. Especially during overcast conditions and blue-hour, this is a Recipe that I really enjoy using—I shot a lot with it on my coastal trip. Kodak Ektachrome E100VS v1 is my second favorite, which is good for sunny days when you want colors to pop. My third favorite is Vivid Summer Glow, which has some similarities to the Kodachrome II Recipe, but I like Kodachrome II better. Last and least, Soft Blue Classic does alright when the sun is high and the light is warm, but overall I didn’t like it very much.

The next SOOC Live broadcast will be this coming Thursday, June 29th, at 10:00 AM Pacific Time, 1:00 PM Eastern. We’ll finish our discussion of these four AI-made Film Simulation Recipes, and much more. I hope that you can join us, because it’s an interactive program, and your participation makes it better!

During the last SOOC Live show, we challenged you to shoot with these four ChatGPT Film Simulation Recipes. I hope that you’ve had fun trying them! As a reminder, you have until tomorrow (June 27th) to upload your pictures captured with these Recipes (click here) for the next show, so you’ll want to do so quickly if you haven’t already. Be sure to include the name of the Recipe used in the file name, so that we can keep track of which is which.

I hope to see you on Thursday!

*Pacific Cove* – Montaña de Oro SP, CA – Fujifilm X100V – Kodak Ektachrome E100VS v1

*Lower Sea Cliff* – Pismo Beach, CA – Fujifilm X100V – “Soft Blue Classic”

*Wave Crashing on Rock* – San Simeon, CA – Fujifilm X100V – “Vivid Summer Glow”

*House on the Seaside Cliffs* – Pismo Beach, CA – Fujifilm X100V – Urban Dreams

1981 Kodak — FXW App Patron Early-Access Film Simulation Recipe for X-Trans IV

Posted on June 25, 2023 by Ritchie Roesch

*Vintage Barn* – Prefumo Canyon, CA – Fujifilm X100V – 1981 Kodak Recipe

My wife, Amanda, recently ran across some old family pictures in her mom’s photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were. The set was mostly personal family pictures, and many of them were scratched and damaged, but I did scan two of the prints, which you’ll find below.

I thought that the aesthetic was interesting, so I began to develop a Film Simulation Recipe inspired by these photographs. It took a couple of days, and a few compromises, but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper—the reason why I call this Recipe 1981 Kodak.

This 1981 Kodak Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V, because some film sims render blue more deeply, it will look slightly different. For the Fujifilm X-T3 and X-T30, ignore Grain size and Color Chrome FX Blue, and use a diffusion filter (such as a 10% or 20% CineBloom) in lieu of Clarity.

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. In fact, many Early-Access Recipes have already been publicly published on this Blog and the App, so now everyone can use them. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!

Find 1981 Kodak in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.

Example photographs, all camera-made JPEGs captured using this 1981 Kodak Film Simulation Recipe on my Fujifilm X100V:

*Coastal Hills* – Prefumo Canyon, CA – Fujifilm X100V

*Dilapidated Barn* – Prefumo Canyon, CA – Fujifilm X100V

*Rural Rancher* – Cambria, CA – Fujifilm X100V

*Tree Fallen on Abandoned Car* – Cambria, CA – Fujifilm X100V

*Old Ford* – Cambria, CA – Fujifilm X100V

*Classic Grill* – Cambria, CA – Fujifilm X100V

*Tree-Covered Road* – Prefumo Canyon, CA – Fujifilm X100V

*Light over Fallen Tree* – Prefumo Canyon, CA – Fujifilm X100V

*Sawed Log* – Prefumo Canyon, CA – Fujifilm X100V

*Cliffs of Pismo* – Pismo Beach, CA – Fujifilm X100V

*Ken Rockwell & ’61 Pontiac Tempest* – Cayucos, CA – Fujifilm X100V

*Old Van* – Cayucos, CA – Fujifilm X100V

*Classic Rear Fender* – Cayucos, CA – Fujifilm X100V

*Beach Boys* – Cambria, CA – Fujifilm X100V

*Mrs. Peacock* – Buckeye, AZ – Fujifilm X100V

*Guitar Neck* – Buckeye, AZ – Fujifilm X100V

*Drummer* – Buckeye, AZ – Fujifilm X100V

*Corner* – Surprise, AZ – Fujifilm X100V

*Suburban Bougainvillea* – Buckeye, AZ – Fujifilm X100V

*Orange Car* – Laveen, AZ – Fujifilm X100V

*Biting Horses* – San Simeon, CA – Fujifilm X100V

Expired Velvia — Fujifilm X-Trans IV (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II) Film Simulation Recipe

Posted on June 25, 2023 by Ritchie Roesch

*Red Blossom* – Farmington, UT – Fujifilm X-E4 – Expired Velvia Recipe

Film has an expiration date. Typically two years after it was manufactured, unused film starts to degrade, and the results will be different. Freezing film prolongs the degenerative process, making it possible to get good results years after expiring. Film should be developed within a day or two of use, but you’re ok to wait a few weeks or even months if stored in a refrigerator. Most photographers take care to use their film before the expiration date, and to thoughtfully store their film in a dark, cool place, but some don’t. There are even some photographers who purposefully seek out film that is well-expired and/or stored incorrectly, just for the unpredictable and unusual results that one might get—there is a bit of serendipity to the style, which can be desirable.

This Film Simulation Recipe, called Expired Velvia, came about after a Fuji X Weekly reader shared with me some photographs that he had captured on long-expired Velvia 50 color reversal film. He didn’t have the lab adjust the development time for the expired film, so they were all underexposed (at least a little); however, they turned out really interesting, with an aesthetic that leaned more towards Superia than Velvia. This Recipe does a great job of mimicking that look!

*Morning Mill* – Prefumo Canyon, CA – Fujifilm X100V – Expired Velvia Recipe

If you are searching for a Film Simulation Recipe that’s a little different, this is one to try! It’s definitely not for everyone, but some of you will love it. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For X-Trans V models, you can use this Recipe, but because blue is rendered more deeply on some film simulations, the results will be slightly different. This Recipe was an App Patron Early-Access Recipe, but it has been replaced by a new one, so if you are a Fuji X Weekly App Patron, be sure to look for that new Early-Access Recipe in the App!

Film Simulation: Classic Negative
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: 6400K, -1 Red & +8 Blue
Dynamic Range: DR400
Highlight: +2
Shadow: -2
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -1/3 (typically)

Example photographs, all camera-made JPEGs captured using this Expired Velvia Film Simulation Recipe on my Fujifilm X-E4 and Fujifilm X100V cameras:

*Dodge, Didn’t Dodge* – Cambria, CA – Fujifilm X100V

*Dena Boat* – Morro Bay, California – Fujifilm X100V

*In the Same Boat* – Cayucos, CA – Fujifilm X100V

*Help Protect* – San Simeon, CA – Fujifilm X100V

*Light Post* – Hot Springs, AR – Fujifilm X-E4

*Hotel Door* – Flagstaff, AZ – Fujifilm X-E4

*Restaurant* – Flagstaff, AZ – Fujifilm X-E4

*Webs We Weave* – Hot Springs, AR – Fujifilm X-E4

*Outdoor Chair Cushion* – Hot Springs, AR – Fujifilm X-E4

*Jo Playing with Roly Polies* – Hot Springs, AR – Fujifilm X-E4

*A Boy & His Fishing Pole* – Hot Springs, AR – Fujifilm X-E4

*Covered Boat Dock* – Hot Springs, AR – Fujifilm X-E4

*Lake Houses* – Hot Springs, AR – Fujifilm X-E4

*‘Bout to Blossom* – Farmington, UT – Fujifilm X-E4

*Wet Rose* – Ridgedale, MO – Fujifilm X-E4

*Triangles* – Hot Springs, AR – Fujifilm X-E4

*Fenced Sun* – Amarillo, TX – Fujifilm X-E4

*A Whale of a Sunset* – Branson, MO – Fujifilm X-E4

Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Acting Like a Wes Anderson film in Sedona — Fujifilm X-T5 + Vibrant Arizona Recipe

Posted on June 21, 2023 by Ritchie Roesch

*Arizona Barn* – Sedona, Arizona – Fujifilm X-T5 & TTArtisan 35mm f/0.95 – Vibrant Arizona

Ever since the first trailer for Wes Anderson’s Asteroid City debuted back in March, the movie’s generated a lot of buzz. There’s also been a ton of interest in recreating Wes Anderson’s aesthetic and style. Now that Asteroid City is about to hit theaters across America (and presumably the world), there’s been a renewed interest in the Wes Anderson look.

Unfortunately, it’s not possible to faithfully mimic an Asteroid City aesthetic straight-out-of-camera on Fujifilm models; however, you can get somewhat close, if you ok with compromises. My Vibrant Arizona Film Simulation Recipe is the closest you’re likely to get to an Asteroid City look without editing (in the article, I give some tips for getting even closer with a couple of quick edits). While it’s just not possible to achieve an orange/teal/pastel palette in-camera on Fujifilm models, the Vibrant Arizona Recipe does produce an unmistakable Wes Anderson vibe, which is definitely in-style right now.

Last month I visited Sedona, Arizona—the perfect location to use Vibrant Arizona! If there’s any place that just cries for this Film Simulation Recipe, it’s Red Rock Country. I loaded the Recipe into my Fujifilm X-T5, attached a TTArtisan 35mm f/0.95 lens, and walked around the iconic tourist town. My wife, Amanda, came along with her Fujifilm X-T4 (with a Fujinon 18-55mm f/2.8-4 lens), and recorded some clips.

You can use Film Simulation Recipes for video in Fujifilm cameras to an extent, and avoid color grading. Some settings aren’t available, such as Grain, Color Chrome Effects, D-Range Priority, and Clarity, which means that Vibrant Arizona can’t really be used for video. Instead, in order to get the video clips to be similar to the photographs, we used these settings in Amanda’s X-T4:

Classic Chrome
White Balance: 4350K, +6 Red & -8 Blue
Dynamic Range: DR400
Color +4
Highlight: -2
Shadow: -2
Sharpness: -2
High ISO NR: -4

Of course, being influenced by Wes Anderson, Amanda shot and edited the video in a style inspired by his movies. I hope that you find it entertaining, and that it will inspire you to give the Vibrant Arizona Film Simulation Recipe a try on your Fujifilm camera. Also, be sure to follow my YouTube channel if you don’t already, and give the video a thumbs-up if you liked it.

You can find the Vibrant Arizona Recipe (and nearly 300 more!) in the Fuji X Weekly App. Download for free today (Android here, Apple here); consider becoming a Patron subscriber to unlock the best App experience and to support this website.

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

Fujifilm X-T5: Amazon B&H Moment
TTArtisan 35mm f/0.95: Amazon B&H

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 3

Posted on June 20, 2023 by Ritchie Roesch

Day 1 — Day 2

Day 3 — June 7, 2023 — Pismo Beach & Avila Beach

En plein air is a French expression that means outside or outdoors. Specific to art, it was made popular by Pierre-Henri de Valenciennes in 1800, who encouraged artists to immerse themselves into the landscapes that they were creating by painting the scene while at the scene, and not in a studio (the most common practice at the time). The en plein air philosophy was embraced by impressionist painters, such as Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and others.

Dave Wyman calls the Central Coast of California tour “En Plein Air” because there’s no classroom or lecture portion—everything happens while out in the landscape actively capturing photographs. It’s about learning to see and interpret the scene around you by being immersed in it. Additionally, this part of California has some similarities to some French and Italian regions, so applying the en plein air expression seems appropriate.

While this was Day 3 for me, for everyone else on the tour it was Day 1. This was their travel day. Once settled into their hotel, they spent the evening photographing San Luis Obispo and Pismo Beach; however, I did not join them yet. The prior day was busy, and I knew the next several days would be, too, so I kept this one low-key with my family. We did make it to the ocean a few different times at various locations around Pismo Beach and Avila Beach, but I purposefully did less with my cameras and tried to just be in the moment more often.

*Shell* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

The camera gear that I used on Day 3 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Meike 35mm f/1.7 lens, a Ricoh GR III, and the RitchieCam App on my iPhone 11. I did not use a tripod at any point on this trip, including the night shots below.

For Day 3, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Kodak Portra 400 v2, Superia Premium 400, The Rockwell, Urban Dreams, Xpro ’62, and Serr’s 500T. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model. For the iPhone, I used my Night Negative filter on RitchieCam. As always, these pictures are camera-made JPEG’s that are unedited, aside from cropping and straightening sometimes—my workflow is so quick and easy!

Regarding the order, the top picture, House on the Seaside Cliffs, was the very first photo of the day, while Shell fits in-between Hanging Ice Plant and Camera Fight with Jon. Although I used my cameras less on this day, and despite the drab overcast weather, I still was able to capture a few good shots. I hope that you enjoy these pictures!

*Seaweed on the Seashore* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

*Grey Coast* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

*Hanging Ice Plant* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

*Camera Fight with Jon* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Green Dodge Van* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Dodge* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodachrome 64

*Old Man & the Sea* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2

*Waiting to Rescue* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62

*Sibling at the Seashore* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62

*Incoming Surf* – Avila Beach, CA – Ricoh GR III – Monochrome Film

*Prelaunch* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – Kodak Portra 400 v2

*Preparing to Launch* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell

*Dry Dock* – Avila Beach, CA – Fujifilm X-E4 & Meike 35mm – The Rockwell

*Little Giant* – Avila Beach, CA – Ricoh GR III – Monochrome Film

*Violet Night* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Dee’s Pizzeria* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Lonely Lamp* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Empty Pier* – Pismo Beach, CA – iPhone 11 – RitchieCam App – Night Negative

*Ocean Airstream* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Pier View* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Town, Reflected* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Spirit of the Sea* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

*Pismo Beach at Night* – Pismo Beach, CA – Fujifilm X100V – Serr’s 500T

Day 4, Part 1 — Day 4, Part 2 — Day 5, Part 1 — Day 5, Part 2 — Day 6

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

Fujifilm X100V — Amazon B&H  Moment
Fujifilm X-E4 — Amazon B&H  Moment
Ricoh GR III — Amazon  B&H  Moment
Meike 35mm f/1.7 — Amazon B&H

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 2

Posted on June 17, 2023 by Ritchie Roesch

*Splash* – San Simeon, CA – Fujifilm X100V – Fujicolor 100 Gold

Day 1

Day 2 — June 6, 2023 — Morro Bay, San Simeon & Cambria

This was our first full day at the ocean. My wife and I decided to drive up the Pacific Coast Highway to explore Morro Bay, followed by the elephant seals north of San Simeon, and finally Moonstone Beach in Cambria on the way back down. This area is just incredible, and is one of my favorite sections of coastline in California!

Did you know that there are wild zebras near San Simeon? There are! Actually, they were once part of William Hearst’s private zoo, but they escaped (were released?), and now live wild in the coastal hills below Hearst Castle. Sometimes you can spot them from the highway. We were fortunate to find a few; while they weren’t very close, I was able to photograph a couple of them with my 90mm lens. I would have loved to visit the castle on this trip, but it just didn’t work out this time.

The weather was cool and overcast. It was fairly poor light for photography. A couple of times the sun did briefly try to peek through, but it mostly remained drab all day. Still, this area is stunning, so there were many photographic opportunities—in fact, the potential for great photography always exists no matter the time and location, and it is up to the photographer to find it.

The camera gear that I used on Day 2 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 90mm f/2 lens, a Ricoh GR III, and a Samsung ST76 digicam. The X100V was utilized the most and the X-E4 + 90mm was second most. The GR III and Samsung digicam were barely used, while everything else remained in the camera bag on this day.

For Day 2, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Kodak Ektachrome E100VS v2, The Rockwell, Urban Dreams, Fujicolor 100 Gold, Superia Premium 400, Pacific Blues, Expired Velvia, and Xpro ’62. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model. On the Samsung ST76 I used the Retro filter.

The photographs below are in order of when they were captured. The picture at the top of this article, Splash, fits in-between Wave Crash on Rock and Picture-in-Picture. The second image, Playing with Waves, fits in-between Beach Play and Self Portrait. Despite the drab weather, I was able to get a few good shots (interspersed between some so-so images)—with four more days still to go (including with Ken and Dave), there would be many, many more photographic opportunities to come.

*X Leaves* – Pismo Beach, CA – Fujifilm X100V – Urban Dreams

*Two Stacks* – Morro Bay, CA – Fujifilm X100V – Urban Dreams

*Bay Boats* – Morro Bay, CA – Fujifilm X100V – Urban Dreams

*Sea Weed* – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Dena’s Boat* – Morro Bay, CA – Fujifilm X100V – Expired Velvia

*Fender* – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Rock Veiled by Poles* – Morro Bay, CA – Fujifilm X100V – Kodak Tri-X 400

*Sub Sea* – Morro Bay, CA – Ricoh GR III – Monochrome Film

*Happy Boat* – Morro Bay, CA – Fujifilm X100V – Urban Dreams

*Notice* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Penal Code* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Better View* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*How Thou Cow?* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Cows & Zebra* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Zebra Below Castle* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Ektachrome E100VS v2

*Yellow Coast* – San Simeon, CA – Samsung ST76 – Retro filter

*Blossom Cliff* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Yellow, Green & Sea* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Blooms Above Waves* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Yellow Cliff* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Resting* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Yawning* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Fighting* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Watching* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Biting* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Elephant Seal Beach* – San Simeon, CA – Samsung ST76 – Retro filter

*Seals* – San Simeon, CA – Ricoh GR III – Monochrome Film

*Coastal Flowers Reaching* – San Simeon, CA – Fujifilm X100V – Kodak Tri-X 400

*Two Rocks* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Patch of Yellow* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Seaside Cliffs* – San Simeon, CA – Fujifilm X100V – Superia Premium 400

*Colorful Cliffs* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Green Shrub* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Wave Crash on Rock* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Picture-in-Picture* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Rocky Coast* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62

*Rocks in the Water* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62

*Cloudy Coast* – San Simeon, CA – Fujifilm X-E4 & Fujinon 90mm – Xpro ’62

*Purple Beach Blooms* – Cambria, CA – Fujifilm X100V – Superia Premium 400

*Hillside Blossoms* – Cambria, CA – Fujifilm X100V – Superia Premium 400

*Shark & Stick* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Beach Play* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Self Portrait* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

*Alligator Log* – Cambria, CA – Fujifilm X100V – Kodak Tri-X 400

Day 3 — Day 4, Part 1 — Day 4, Part 2 — Day 5, Part 1 — Day 5, Part 2 — Day 6

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

Fujifilm X100V — Amazon B&H  Moment
Fujifilm X-E4 — Amazon B&H  Moment
Ricoh GR III — Amazon  B&H  Moment
Fujinon 90mm f/2 — Amazon   B&H   Moment

Shooting with ChatGPT AI Fujifilm Film Simulation Recipes

Posted on June 15, 2023 by Ritchie Roesch

*Light in the Woods* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Ektachrome E100VS v1

Open AI’s ChatGPT can make Film Simulation Recipes for Fujifilm cameras. But are they any good? Should you use them? Should you ask ChatGPT to make you a custom Recipe for your camera? What can you expect from these Recipes?

Back on June 2nd, Fujifilm X-Photographer Nathalie Boucry and myself chatted about using ChatGPT to make Film Simulation Recipes for Fujifilm cameras. We even asked the AI to create one for us live during our SOOC Live broadcast. If you’ve ever been even remotely curious about this topic, it’s worth watching—I’ve included it below.

There’s so much that could and should be said, and we covered much of that in the broadcast. If you haven’t yet watched the video, be sure to do so!

One issue about using AI to create Film Simulation Recipes is that ChatGPT only examines descriptions. For example, how does it “know” what Kodachrome film looks like? It has been trained on people’s descriptions of the emulsion. Whether or not those descriptions are accurate (or if Open AI received permission to use those descriptions) is anyone’s guess. How does it “know” what the Astia film simulation looks like? It has been trained on someone’s description of the setting. When you ask it to make a Film Simulation Recipe, it simply searches its database for descriptions that seem to match, and then spits out some settings that may or may not make sense.

How does ChatGPT even know what a Film Simulation Recipe is? It’s been trained on Fuji X Weekly and other websites (without permission or citation). There are some significant ethical considerations, and probably some legal ones, too, that will hopefully get hashed out in time.

Another issue is that it rarely ever gives a complete Recipe. You have to know which parameters are required, spot the missing ones, and ask ChatGPT to provide them to you. Occasionally it will give you some setting that doesn’t actually exist. You have to be well versed in Fujifilm camera settings to know if you’ve actually got a complete Recipe; otherwise, you’re likely to have a few that are missing.

*Glass Maker* – Harmony, CA – Fujifilm X100V – “Vivid Summer Glow”

Aside from that, if you ask ChatGPT to make a particular Film Simulation Recipe more than once, each time you’ll get a different answer. Even with identical prompts, the answer will be different, sometimes wildly so. It all seems very random. If a particular ChatGPT Recipe is any good is more by chance than anything else. You’re just as likely to get a good Recipe from rolling dice.

This is the case because Open AI’s ChatGPT is a bit of a card trick. It’s very impressive until you spot the slight-of-hand. It will always give you a response; if you are a novice on the topic, the answer will likely be better than you could have come up with on your own, but if you are an expert, it will always be worse, perhaps much worse. Despite “learning” from human input, there’s no humanity in the answer—if you want authenticity and creativity, you need a person’s experience to be at the core. The software can do its best to take from others and spit out a Recipe, but it will always be untested, based on descriptions, without any personal experience behind it.

That doesn’t mean it’s not fun to try. I’ve used ChatGPT a bunch of times just to see what it comes up with and to understand what exactly it’s doing. The Kodak Ektachrome E100VS v1 and Urban Dreams Recipes are from ChatGPT. For every AI Recipe that’s good there’s probably five or more that aren’t any good. Actually, the majority are mediocre—neither terrible nor great—because ChatGPT doesn’t stray very far from the default settings, rarely ever going beyond +/- 2 on anything.

I made a video about the Kodak Ektachrome E100VS Recipe, which you’ll find below. I asked AI to make a Film Simulation Recipe that mimics Kodachrome X. What it came up with by chance looked pretty good, but didn’t much resemble the second era of Kodachrome. Take a look, if you haven’t yet seen it.

What about the Vivid Summer Glow and Soft Blue Classic Film Simulation Recipes I referenced in two of the pictures above? Those were also made by ChatGPT. Vivid Summer Glow was created live during the last SOOC Live broadcast. Soft Blue Classic was created for Nathalie during preparations for the show. In the broadcast we challenged you to shoot with Kodak Ektachrome E100VS v1, Urban Dreams, Soft Blue Classic, and/or Vivid Summer Glow, and upload your results (click here) by June 27th to be potentially featured in the next episode, and to be included in the Viewer’s Images slideshow.

Kodak Ektachrome E100VS v1 and Urban Dreams can both be found in the Fuji X Weekly App. Soft Blue Classic and Vivid Summer Glow are not “official” Recipes, so I’ve included them at the bottom of this article should you want to try them yourself.

Also on June 2nd, Nathalie and I finally finished the much-delayed conclusion to our Storytelling theme. If you missed it when it was live, I’ve included it below. Also, right below that, is the most recent Viewer’s Images slideshow video. If you don’t yet subscribe to the new SOOC Live YouTube channel, be sure to do so now!

Now, to the two new AI-made Film Simulation Recipes: Soft Blue Classic and Vivid Summer Glow!

Soft Blue Classic

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: -1
Color: -2
Noise Reduction: -2
Sharpness: +1
Clarity: 0
Grain Effect: Weak, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, -1 Red & -1 Blue

This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V, just know that blue will render more deeply. For the Fujifilm X-T3 and X-T30, ignore Grain size, Color Chrome FX Blue, and Clarity (the results should be the same); for X-Trans III models, additionally ignore Color Chrome Effect.

Vivid Summer Glow

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +2
Color: +1
Noise Reduction: -1
Sharpness: +1
Clarity: +1
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Auto, +2 Red & -1 Blue

This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V models, set Color Chrome FX Blue to Weak (instead of Strong).

As you can see, I used all four of these ChatGPT Film Simulation Recipes while on a roadtrip to California’s Central Coast. I liked Urban Dreams—which has some similarities to Kodachrome 200 film—the most, but Kodak Ektachrome E100VS v1 did pretty well for a few shots, too. Vivid Summer Glow (which isn’t a good name for the Recipe in my opinion) is not bad at all, and isn’t all that much divergent from my Kodachrome II Recipe (did AI copy it, just making a few changes?). Soft Blue Classic was my least favorite, but it can produce good results in harsh overly-warm light.

I Disappeared for a Week, but Now I’m Back!

Posted on June 11, 2023 by Ritchie Roesch

*Pacific Poppies* – Montaña de Oro SP, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues Recipe

I packed my bags and disappeared for a week. It might have seemed as though I dropped off the face of the planet, but I assure you I was on Earth the entire time. I returned home late last night. I’m sure it will take some time to catch up on everything, such as comments, emails, etc., but I promise that I will. Thanks for being patient!

Where did I go? I took a roadtrip to the central California coast, which is one of my absolute favorite places. I had a great time and captured tons of pictures—expect a lot of articles about the journey in the coming weeks! I had planned to do a little work while out of town, but each day was so busy that it just didn’t happen.

The pictures in this article are a little teaser of what I did and what you can expect to see more of soon. I have some great content ideas that I plan to publish in the coming days and weeks. You won’t want to miss any of it, so stay tuned. In the meantime, I hope that you enjoy these photographs that I captured last week while at the California coast!