Specifically, I set out to create a Film Simulation Recipe that could make a good option for “golden hour” or “midday” daylight photography—potentially a solid choice for C1 or C2 in your camera. I wanted it to have a classic Kodak aesthetic—perhaps a bit nostalgic, like from the 1970’s or 1980’s, maybe somewhat similar to Kodacolor—but not modeled after any specific film. Something classic and warm and clearly Kodak-like. I really like what I came up with, and I think many of you will, too!
Saguaro Green – Buckeye, AZ – Fujifilm X-T30 – “Classic Kodak”
This “Classic Kodak” Film Simulation Recipe is compatible with the X-T3 and X-T30 cameras, and, because it doesn’t use Color Chrome Effect, it’s also compatible with X-Trans III models. To use this recipe on newer X-Trans IV (and X-Trans V) cameras, simply set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large).
Classic Chrome Dynamic Range: DR400 Highlight: -2 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Strong Color Chrome Effect: Off White Balance: Shade, -1 Red & +2 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +1
Below are all camera-made JPEGs captured using this “Classic Kodak” Film Simulation Recipe on my Fujifilm X-T30:
Clocktower – Buckeye, AZ – Fujifilm X-T30
Center on Main – Buckeye, AZ – Fujifilm X-T30
5 & 6 – Goodyear, AZ – Fujifilm X-T30
Water Fountain – Buckeye, AZ – Fujifilm X-T30
Circle Around the Roofline – Buckeye, AZ – Fujifilm X-T30
Old Doll Head For Sale – Buckeye, AZ – Fujifilm X-T30
Unlit Bulbs and Rainbow – Buckeye, AZ – Fujifilm X-T30
Rainbow Hidden in the Trees – Buckeye, AZ – Fujifilm X-T30
Small Yellow Leaves – Buckeye, AZ – Fujifilm X-T30
Dressed in Pink – Buckeye, AZ – Fujifilm X-T30
Green Garden Leaves – Buckeye, AZ – Fujifilm X-T30
Palm Branches in the Sky – Buckeye, AZ – Fujifilm X-T30
Sonoran Desert Mountains – Buckeye, AZ – Fujifilm X-T30
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When should you use which Film Simulation Recipes on your Fujifilm X-T3 or X-T30 camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is important to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.
What makes Part 2 more challenging than the first article is that the X-T3 and X-T30 cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipe at the same time, which is the one downside to doing this. What I set out to do with this article is recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type, or, if they do, share the same shift. It turned out to be a somewhat impossible task, but I think I came up with a good set for you.
Also, if you have a newer X-Trans IV camera (or X-Trans V), you can use these recipes, too, by simply setting Color Chrome FX Blue to Off, Clarity to 0, and choosing a Grain size (either Small or Large). While Part III will cover X-Trans III, some of these recipes are compatible with X-Trans III cameras; the key is to look for whether they call for Color Chrome Effect or not—if not, it’s compatible with X-Trans III. Also, X-Trans III recipes are fully compatible with the X-T3 and X-T30 (just set Color Chrome Effect to Off), but I avoided those recipes for this article because I wanted to save them for Part 3.
Fujichrome Sensia 100 is one of my favorite recipes for sunrise and sunset colors. It does pretty well throughout the entirety of “golden hour” but when the sky is pink and purple and red it does especially well. This recipe is an excellent option for shade, and does pretty well in many situations, including natural light portraits, so it has some good versatility. It uses the Fluorescent 2 (sometimes called Neon 2) white balance type; if I wasn’t concerned about white balance type, I would strongly consider Kodak Portra 400 v2 instead of this one, but I do think Fujichrome Sensia 100 is a solid choice for “golden hour” photography.
This was actually a really touch decision because there are so many great options for “midday”—which simply is daylight outside of “golden hour”—and I had to choose one, so I went with Kodak Vision3 250D. This is such a good (and underutilized) recipe, and does well in a number of situations, including “golden hour” and shade and portraits and (of course) midday. It uses the Fluorescent 1 (sometimes called Neon 1) white balance type; if I wasn’t concerned about white balance type, I could go with Kodachrome 64 or Kodak Portra 160 or Kodak Gold 200 or (of course) Kodak Vision3 250D and be very happy with any of them, they’re all good.
Winter Reeds – Farmington, UT – Fujifilm X-T30 – “Classic Slide”
The Classic Slide recipe is one of my top choices for heavy overcast, rainy, dreary days. It’s also good for shade or midday or even “golden hour” photography—it’s another recipe with some good versatility. It uses the Daylight white balance type; if I wasn’t concerned about white balance type, I’d still choose this one, but Negative Print is a good runner up.
Cinematic Negative is a very versatile recipe, and I like it for all of the situations we’ve talked about above, but I also like it for indoor photography, both natural light and (to an extent) artificial light (although I would consider a “Nighttime” recipe below as a first choice for artificial light). It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, Analog Color would be my top choice for indoor natural light photography, but Cinematic Negative is a close second, so I’d be happy to have it in C4, where it could also be used for a number of other situations.
Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – “Jeff Davenport Night”
If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use. Period. It uses a Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this recipe, no questions asked.
Bloom Purple – South Weber, UT – Fujifilm X-T30 – “Expired Eterna”
The “Alternative Process” category is a fun one. These are recipes you probably wouldn’t use all of the time, only occasionally just for the joy of it. I chose “Expired Eterna” because of the white balance type—Auto—but if I wasn’t concerned about white balance type, I would choose Redscale, Cross Process Film, or Kodak Elite Chrome 200 Color Fade—any of them, they’re all fun. Vintage Color Fade also uses Auto white balance, but I didn’t choose it because it requires double-exposures, which can be tricky, but if you’re up for the challenge, go with that one instead.
Alternatives for “alternative process” photography:
The Obscurity of Light – Farmington, UT – Fujifilm X-T30 – “Dramatic Monochrome”
Last but not least is B&W, and for that I chose Dramatic Monochrome, which is a good recipe that I really like. It uses Auto white balance without a shift; however, the other Auto white balance recipe (Expired Eterna above) does use a shift. How I would handle this is I wouldn’t worry about the shift for this recipe, just use the shift of Expired Eterna, because, while white balance shift does affect black-and-white pictures, it’s not as big of an impact as color images, and it won’t significantly change the aesthetic of Dramatic Monochrome—only subtly—and you’re not likely to notice, so I just wouldn’t worry about it. If I wasn’t concerned about white balance type, I would choose Kodak Tri-X 400 (read the article for that recipe to see how to make it compatible with the X-T3 and X-T30), because it is my favorite Film Simulation Recipe.
Airstream – Pismo Beach, CA – Fujifilm X-E4 – “Chrome Slide”
This Film Simulation Recipe is a bit of a mystery to me. I recently found it in my C1-C7 custom presets on my Fujifilm X-E4, simply named Exp. After shooting with it, I quickly remembered that I had created it back in July, and then for some unknown reason stopped using it. In the weeks and months that passed, I somehow completely forgot all about it. Here’s what I do know: while I was traveling over the summer, someone had asked me to create a certain look, which I believe was of a particular photographer and not a specific film stock (although I am not fully certain of that), and so I did, but now I have no idea who asked (because I get many requests) or who the photographer was that I was attempting to mimic. I’m not sure if I was close to successful or not, as I don’t really remember a whole lot of anything about it. I did find on an SD card the pictures that I had captured with the recipe over the summer. I began using it again just recently, and I really appreciate the results—I think many of you might, too. In fact, it could be a new favorite recipe for some of you!
While I don’t believe that this recipe was modeled after any specific film stock, it does remind me a little of Ektachrome. Over the years there have been around 40 different emulsions that Kodak has given the brand name Ektachrome to, not to mention that one film may have had numerous updates and revisions (Ektachorme E100, for example), so it can be tough to know exactly which “Ektachrome” this might most closely resemble. Maybe E100 or E200 or even Elite Chrome? I’m certain that it’s not an exact match to any, but to me it has a general Ektachrome “memory color” (as Fujifilm puts it). Since I’m not sure what it most closely resembles, I’m simply calling it Chrome Slide.
This Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. I believe that it is also compatible with X-Trans V models, such as X-H2, X-H2S, and the upcoming X-T5. Those with newer GFX cameras should be able to use it, too, although it will render slightly differently. Unfortunately, it is not compatible with the X-T3 or X-T30.
Classic Negative Dynamic Range: DR400 Highlight: +1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -3 Red & +1 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Chrome Slide” Film Simulation Recipe on a Fujifilm X-E4:
Patriotic Boat – Morro Bay, CA – Fujifilm X-E4
Surf Rider – Pismo Beach, CA – Fujifilm X-E4
Elephant Seal Along Rocky Shore – San Simeon, CA – Fujifilm X-E4
Sport Bird – Avila Beach, CA – Fujifilm X-E4
Sunset Storm – Buckeye, AZ – Fujifilm X-E4
Layers & Repeated Shapes – Morro Bay, CA – Fujifilm X-E4
Public Guitarist – Pismo Beach, CA – Fujifilm X-E4
Billiards – Redlands, CA – Fujifilm X-E4
Ice House – Avila Beach, CA – Fujifilm X-E4
Urban Bikes – Pasadena, CA – Fujifilm X-E4
Pine Layers – Pine, AZ – Fujifilm X-E4
Small Flowers Near Tree – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Hexagon Waterdrops – Pine, AZ – Fujifilm X-E4
October Oak – Pine, AZ – Fujifilm X-E4
Wet Pine – Pine, AZ – Fujifilm X-E4
Singular Rose Bloom – Buckeye, AZ – Fujifilm X-E4
Water Falling Under The Bridge – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Small Waterfall – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
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I get asked all of the time when to use which Film Simulation Recipe. With over 250 on the Fuji X Weekly App to choose from, it can be difficult to know when each recipe should be chosen. Besides, you only have C1-C7 Custom Presets on your Fujifilm camera (most of you, anyway). Which seven recipes should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular recipe will work for you or not. Only you can answer that for yourself, and you have to try a recipe to know. With that said, I attempt to give good advice. In each SOOC broadcast I recommend a few recipes for various situations. Still, I’ve really struggled with how to be helpful to those asking for direction—that is until I watched a video by Grainydays, a YouTube channel about film photography, in which photographer Jason Kummerfeldt tries to give advice on when to use which film stocks. You can view it below:
Jason has a similar dilemma. Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution is simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too; I’m going to do the same thing for recipes. I’ll tell you what my preferences are, and invite you to try them too if you want. If you don’t want, that’s cool. There’s not any one way—and especially no right or wrong way—to do this. Instead, figure out what works for you, and do that. If you’re not sure, perhaps this article will be helpful to you.
I’m going to suggest seven recipes for you to program into your Fujifilm camera, and state when to use each. Since recipes are (for the most part) generationally specific, I’m going to make this a series of articles to cover most Fujifilm models. In this first one we’ll cover “newer” X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. This should also apply to X-Trans V cameras (from the reports I’ve received, X-Trans IV recipes are fully compatible with X-Trans V, although I have not tested this myself to know for certain) and newer GFX models (although the rendering will be slightly different).
Kodak Portra 400 v2 is a recipe that does well at anytime during daylight hours, and as the name suggests it is a good option for portrait photography, but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. This really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, make sure that this is the one you’re shooting with. I personally use this recipe frequently.
Denny’s Days – Beaver, UT – Fujifilm X-E4 – “Kodachrome 64”
Kodachrome 64 is another one that could be your go-to everyday-use recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, but I think it is one of the best options for when the sun is not low—from mid-morning to mid-afternoon. This is one of the few recipes that you’ll almost always find programmed into my camera.
Evening Clouds Over Wasatch Mountains – Farmington, UT – Fujifilm X-E4 – “Kodak High Definition Plus 200”
If it’s thick overcast and rainy, the Kodak High Definition Plus 200 recipe is an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour”), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.
For natural light indoor photography, my top choice is the Kodak Ultramax 400 recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural light indoor pictures. For artificial-light indoor images, use the recipes for nighttime photography below.
11th Street – Astoria, OR – Fujifilm X100V – “Serr’s 500T”
If it’s after dark, my top choice for nighttime or artificial light photography is Serr’s 500T. This is a very blue recipe, so it isn’t a good option for many daytime situations, but from just past sunset to just prior to sunrise, this is the one that I would most recommend, especially if there are warm artificial lights.
For an alternative process recipe—a fun option for unusual results—my top recommendation is Xpro ’62. Use it anytime of the day or night, as it is surprisingly versatile. The results will be different, and perhaps unexpected, yet the experience will be a lot of fun, so give it a try!
Alternatives for “alternative process” photography:
Round Window – Pismo Beach, CA – Fujifilm X100V – “Kodak Tri-X 400”
My all-time favorite recipe is Kodak Tri-X 400, so it should come as no surprise that it is my top recommendation for monochrome photography. It’s not the most popular recipe on Fuji X Weekly, but it is the most popular B&W recipe. Definitely give this one a try if you’ve never done so before.
You have plenty to choose from, because I just suggested to you 42 different Film Simulation Recipes! Of course, there are so many other recipes that I could have listed—just because one didn’t make this list doesn’t mean that it’s not good; however, I do feel that this is a good set—not only the seven suggestions, which I believe are a winning C1-C7 combination, but the alternative options, too. With that said, don’t let an exclusion from this list discourage you from trying a particular recipe, because you never know when one just “clicks” for you, and you find a new favorite. The top picture in this article was captured with a recipe that I didn’t recommend, yet I do really like that recipe and do recommend it, and I even use it myself sometimes, including recently. It’s a good reminder that this is all subjective, and you might not prefer any of my recommendations, but instead have seven that I didn’t mention as your C1-C7 custom presets. So, I guess, the conclusion is to try every recipe until you find the ones you love and fulfill your photographic needs—but, if you’re not sure, maybe start with these 42.
Next up will be recipes for “older” X-Trans IV cameras—the X-T3 and X-T30.
SOOC was live yesterday. If you missed it, you can watch it today—I’ve included the full episode at the bottom of this article. This was one of my favorite SOOC broadcasts so far, and much of the thanks for that goes to you! Everyone who tuned in and participated in some way made it exceptional. Definitely, if you couldn’t watch it live, be sure to take some time to view it now. Also, thank you to everyone who submitted pictures using the Kodak Portra 400 Film Simulation Recipe. The Viewer’s Images slideshow video is above, so be sure to take a look!
For those who don’t know, SOOC is a monthly live video series, with each episode focused on a different Film Simulation Recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.
The new recipe-of-the-month is Fujichrome Sensia 100. Be sure to shoot with that and upload your pictures (click here) by November 15th to be included in the next broadcast, which will be on November 17th (mark your calendars now!).
This Creative Collective article is a followup to Comparing 10 Recipes For Indoor Photography and Fujifilm X-T30 & X-T3 Film Simulation Recipe: Cinematic Negative. Specifically, I’m going to discuss light rendering in a practical sense, color casts, and mood; how all of that relates to Film Simulation Recipes and photography, and how you can use it to your advantage to better control your images, and the emotions that they convey to those viewing them.
I went down a pretty deep rabbit hole. I started researching cinematographer Greig Fraser, which led to investigating other great cinematographers, such as Roger Deakins, Rodrigo Prieto, Hoyte van Hoytema, Caleb Deschanel, and several more. I spent quite a bit of time learning about various motion picture techniques. I came to the conclusion that cinematographers often better understand light than many photographers. By “understand light” I mean 1) light qualities, 2) how light is rendered on what it is being captured on, 3) how to use or manipulate light so that it is rendered precisely as intended, and 4) how light affects moods and emotions. Granted, a movie has a whole team of people who’s job it is to control and manipulate the light, but the cinematographer (working with the director) is the one in charge of it.
You might notice when watching a movie that the colors and color cast change from scene-to-scene. The way you respond when viewing a predominately blueish scene is much different than a reddish scene. The colors, among other things, trigger certain responses from the viewers, and cinematographers use this extensively, and often brilliantly. Sometimes it’s quite obvious, and sometimes it’s much more subtle, and you might not even notice unless you’re paying careful attention. If you understand light similarly to a cinematographer, you could do the same thing in your photography.
Another thing that I stumbled across is gear. Obviously film and digital have different aesthetics—digital is much easier to work with, especially when it comes to incorporating special effects and CGI, but it can come across as clean, clinical, and soulless. Film has more character and a different feel, but is much more difficult to work with. There are also digital-film hybrid techniques. Whatever method is used will affect the final aesthetic. Some cinematographers like working with modern lenses, and some—like Greig Fraser—prefer vintage lenses because they have more character. Filters are a big part of the process. Color correction filters (to control the light) and diffusion filters (to give atmosphere) are pretty common. I was surprised to learn that some cinematographers like putting water, silicone, dirt, etc., on the filter to dirty them, and some even like shooting through glass (in-between the camera and the subject).
This is probably more than you ever wanted to know, but I think it’s important to understand for this recipe. First, the light you shoot in will affect how pictures are rendered (definitely not unique to this recipe, but worth noting). Cool light will give a cool color cast, warm light will give a warm color cast. You’ll want to think about the light—how it will render—and the mood or emotions you want to convey in your photographs. Second, inspired by Greig Fraser, I used vintage lenses for these photographs, mostly a Helios 44-2. You don’t have to use vintage glass, but I do think it helps to achieve the desired aesthetic. Third, for most of these images (especially if there was a bright light source) I used a 5% CineBloom diffusion filter. What I appreciate about this filter is that it’s quite subtle. The 5% CineBloom filter is not a requirement for this recipe, but it helps give it a filmic look, especially when there are bright highlights, so I do recommend it if you have one.
This “Cinematic Negative” Film Simulation Recipe isn’t modeled after any specific motion picture film, but is more inspired by a generic daylight-balanced cinema film aesthetic after researching a number of different cinematographers. It is compatible with the Fujifilm X-T30 and X-T3 cameras. To use it on newer X-Trans IV cameras (X-Pro3 and newer) plus X-Trans V, set Color Chrome FX Blue to Off, Clarity to 0 (or -2 in lieu of the 5% CineBloom filter), and decide on either Grain size Small or Large. For the X-H1, you can use this recipe if you ignore Color Chrome Effect; however, it will render slightly differently. I used the 16:9 aspect ratio for some of these photographs, but use whichever aspect ratio you prefer.
Eterna Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Strong White Balance: Incandescent, +8 Red & -9 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3
Below are all camera-made JPEGs captured using this “Cinematic Negative” Film Simulation Recipe on my Fujifilm X-T30:
Horseplay – Buckeye, AZ – Fujifilm X-T30
Scrabble – Buckeye, AZ – Fujifilm X-T30
Palms Trees – Glendale, AZ – Fujifilm X-T30
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T30
Crisscross Contrails – Buckeye, AZ – Fujifilm X-T30
Last Light on Rooftop – Glendale, AZ – Fujifilm X-T30
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Rainfall on the Desert Mountains – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
I’m asked pretty regularly if I can create a Film Simulation Recipe that mimics a certain look—usually a particular film stock, but occasionally the aesthetic of a certain photographer. These recipes began as an attempt to recreate the look of a certain photographer. Unfortunately, despite much effort, I wasn’t successful. When I say “much effort” I mean that I went as far as having conversations with this photographer (which is pretty cool, because he’s well known and respected) to try and find out what he does to get his signature aesthetic. I tried some pretty unconventional tactics to get his look straight out of camera, but in the end I determined that it’s not possible with Fujifilm’s current JPEG options. Still, I really liked one of the recipes that I created while trying (and failing) to mimic the look, so I began using it.
Right around this same time someone asked if I could create a recipe that better mimics the Kodak Ektar 100 aesthetic from a particular photographer (as one film can produce many different looks depending on a host of factors). When I saw the images, my first thought is that it looked a lot like this new recipe, except with the color turned way up. So I turned Color up from -4 to +4, and the results were surprisingly similar to Ektar. An exact match? No, but definitely in the ballpark, and certainly close enough that if one is looking for an alternative Kodak Ektar 100 recipe, this is one to consider.
Red Bench – Tonto Natural Bridge SP, AZ – Fujifilm X100V – “KodaNeg VC”
I stated that I did something unconventional to create this recipe: I used a 1/4 Black Pro Mist diffusion filter, and I did so because it has a slight reddish-brown color cast. Normally I prefer CineBloom filters because they don’t have a color cast, but for this recipe it was necessary. If you have a 10% CineBloom you can use that instead; however, it will be slightly less warm. If Fujifilm allowed .5 adjustments to White Balance Shift, you could move a half-point towards red and achieve basically the same thing, but they don’t. I find that +7 Red is too strong when not using a Black Pro Mist, so I would definitely stick with +6, even though it is less warm. After creating the Black Pro Mist version, I set out to make an alternate version that does not use a diffusion filter, yet produces a similar look (albeit slightly less warm due to the lack of Black Pro Mist filter). So there are four Film Simulation Recipes in total here: two low-saturation options (with a without a Black Pro Mist filter), and two high-saturation options (also with and without a Black Pro Mist filter).
When Kodak introduced Portra, it initially came in two varieties: VC (“vivid color”) and NC (“neutral color”). The VC emulsion was more optimized for landscape photography and the NC emulsion was more optimized for portrait photography. These recipes aren’t intended to mimic Kodak Portra, but I decided to barrow the VC and NC abbreviations anyway—the two VC recipes are optimized for landscapes, while the two NC recipes are optimized for portraits. You can clearly see this in the two sets of images below.
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
I named these recipes “KodaNeg” because they have warm Kodak-like colors… maybe like Kodak color negative film paired with an 81A or 81B warming filter—color correction filters were fairly commonly used back in the film days, and 81A was probably the most popular among landscape photographers. Which Kodak color negative film? I didn’t model these after any specific film, so they don’t closely resemble any; however, the NC recipes are slightly Portra-like, and the VC recipes are slightly Ektar-like, but are not exact match to either.
If you have a 1/4 Black Pro Mist diffusion filter, I invite you to try the two KodaNeg recipes below that are intended for use with a diffusion filter. If you don’t have a Black Pro Mist—no worries—use the two recipes that are intended to be used without a diffusion filter. Unfortunately, because these require Clarity and Color Chrome Effect, they’re not compatible with the X-T30 and X-T3. Those with X-Trans V cameras should be able to use these recipes, but I do not have any personal experience to know for certain.
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X100V:
Dead Tree & Four Peaks – Fort McDowell, AZ – Fujifilm X100V
Red Rock – Tonto Natural Bridge SP, AZ – Fujifilm X100V
Sunlight Sky & Golden Trees – Pine, AZ – Fujifilm X100V
Barely Autumn – Pine, AZ – Fujifilm X100V
Handcrafted – Pine, AZ – Fujifilm X100V
Back of Sign – Pine, AZ – Fujifilm X100V
I is for Ice – Pine, AZ – Fujifilm X100V
Window Wash Bucket – Payson, AZ – Fujifilm X100V
KodaNeg NC (with Diffusion Filter)
X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II
Fujifilm X70 on a Bed – Pine, AZ – Fujifilm X100V – “KodaNeg NC”
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X100V:
Power Pole – Pine, AZ – Fujifilm X100V
Lamp Sky – Pine, AZ – Fujifilm X100V
Pines & Oaks – Pine, AZ – Fujifilm X100V
Water Dripping Over Cliff – Tonto Natural Bridge SP, AZ – Fujifilm X100V
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X-E4:
Saguaro & Four Peaks – Fort McDowell, AZ – Fujifilm X-E4
Pine Creek Trail – Tonto Natural BridgeSP, AZ – Fujifilm X-E4
Cactus Rock – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Red Hills – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Blooms in the Forest – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Oak Autumn – Pine, AZ – Fujifilm X-E4
Yellow Tree in the Forest – Pine, AZ – Fujifilm X-E4
Touch of Autumn – Pine, AZ – Fujifilm X-E4
Forestscape – Pine, AZ – Fujifilm X-E4
KodaNeg NC (without filter)
X-T4, X-S10, X-E4, & X-T30 II)
Desert Storm – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X-E4:
Clouds Over Trees – Pine, AZ – Fujifilm X-E4
Rural Elk – Pine, AZ – Fujifilm X-E4
Hidden Elk – Pine, AZ – Fujifilm X-E4
Electric Forest Rain – Pine, AZ – Fujifilm X-E4
Eave Drops – Pine, AZ – Fujiifilm X-E4
White Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Storm Behind Trees – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Red Berries & Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Smoke Stack – Pine, AZ – Fujifilm X-E4
Mountain Trees – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
The Fuji X Weekly App now has Widgets! This can transform how you use the Fuji X Weekly App, turning your home screen into a Film Simulation Recipe launchpad!
If you have an iOS device, you now have this new feature—if your iPhone or iPad didn’t update automatically, be sure to manually do it now. Those with Android devices don’t fret, as Widgets are in the works for Android, too.
What are Widgets? Larger than app icons, Widgets give you quick access to information or provide a different way to interact with the app. Specifically to Fuji X Weekly, you now have six Widgets to choose from: Newest Recipes (one recipe), Newest Recipes (two recipes), Recipe of the Day, Selected Recipe, Recipe Detail, and The Big X.
For Newest Recipe Widget, you have two options: small and medium. The small Widget is a shortcut to the newest recipe, and displays the lead photo of the recipe, which, when tapped, will take you right to it in the Fuji X Weekly App. The medium Widget is a shortcut to the two newest recipes, displaying the lead photo of each, and will take you to whichever of the two recipes that you tap. These Widgets are excellent for those who don’t always visit the Fuji X Weekly Blog, yet want to know when a new recipe is released.
The Recipe of the Day Widget is for when you’re not sure which recipe to use. Each day a new Film Simulation Recipe is provided, and the exact recipe will be different for each user. Between this and the Random Recipe selector, you should be able to find a recipe to use whenever you find yourself stuck for one. This Widget could be incorporated into an interesting project, such as using a different recipe each day for 30 days, or something like that. Today, on my iPhone, Kodak Portra 400 v2 is my Recipe of the Day.
Next is Selected Recipe, which is my personal favorite Widget. You can have quick access to any of the over 250 recipes right on your home screen! In order to use this, you have to tap-and-hold on the Widget, then select Edit Widget, then choose the recipe you want. Tap the Widget to open the recipe in the Fuji X Weekly App.
Recipe Detail displays the parameters of a recipe in a medium-sized Widget. To set it up, you have to tap-and-hold on the Widget, then select Edit Widget, then choose the recipe you want to display. Tap the Widget to see the recipe in the App.
Finally, there’s the Big X, which is just a four-times-size Fuji X Weekly App icon, should you find the regular-sized one to be too small.
The wonderful thing about these Widgets is that you can have as many as you’d like. If you want just one, or seven, or 20—there’s no limit! My iPhone has literally been taken over by Fuji X Weekly Widgets, and it’s transformed how I interact with the App, turning my home screen into a Film Simulation Recipe launchpad.
How do you add Widgets to your iPhone? Tap-and-hold anywhere on your home screen (except directly over an app icon), which will make all of your icons wiggle. Tap the plus in the top-left corner, which opens the Widget menu. You can either scroll down to find the Fuji X Weekly App in the app list and tap on it, or simply search for Fuji X Weekly in the search bar at the top. Find the Fuji X Weekly App Widget that you want to add to your home screen, and tap Add Widget. You can move the Widget to wherever you want on your home screen. I have several pages that are nothing but Fuji X Weekly Widgets! You can also add Fuji X Weekly Widgets to the Today View screen.
Don’t have the Fuji X Weekly App? Download it for free today (Apple here, Android here)! Consider becoming a Patron to unlock the best App experience and to help support this website.
Sunlit Table Corner – Avondale, AZ – Fujifilm X100V – “Kodak Royal Gold 400”
You might have a favorite Film Simulation Recipe, but when the light changes you’re disappointed with the results. This is a pretty common problem, and not unique to Fujifilm or even a new issue to photography. This happens because many of my recipes are modeled after or are inspired by analog film, and this is a long-time film problem.
With a few rare exceptions, film is either daylight balanced (usually around 5500K) or tungsten balanced (typically 3200K)—one for use in daylight, and the other for use in artificial light. If you encountered light outside of the temperature that the film was intended to be shot in, you would either accept the results or use a color correction filter (described in this article) to fix the imbalance. Many Film Simulation Recipes have this same issue: they’re intended to be used in a specific light condition, and outside of that they might not produce the best results.
When shooting film, your best option is to use the correct film for the situation; with recipes, I think this is also the best solution. Sometimes this isn’t practical, and so you could use color correction filters (both with film and film simulations), although carrying around a bag full of filters isn’t an especially convenient option. With digital, you have an added solution: adjust the white balance, which is essentially the digital equivalent of using color correction filters. For the sake of this article, we’ll focus on the first option, which is selecting a Film Simulation Recipe that does well in the light situation that you find yourself shooting in.
With over 250 Film Simulation Recipes on this website (and the Fuji X Weekly App), it can be hard to know which ones perform best in which light. In this article (and hopefully additional articles in the future), we’re going to compare how 10 recipes perform in various light conditions. It should be enlightening, and hopefully you’ll have a better understanding of when to use which recipes.
Same picture, different recipes
Before we jump into it, I think it’s important to briefly discuss Kelvin. The measurement of the temperature (warm or cold) of light is called Kelvin, and the scale is pretty large, ranging from 0 to 20000—the lower the number, the warmer the light, and the higher the number, the cooler the light. The typical temperature of a candle flame is 1900K. Artificial light (incandescent lights, halogen bulbs, fluorescent tubes, etc.) is usually between 2800K and 4300K, depending on the specific bulbs being used. “Golden Hour” light (sunrise and sunset) is around 3500K. Morning and afternoon sunlight (outside of golden hour) is typically between 4500K and 5000K, while midday sunlight is typically 5600K. Overcast sky often ranges from 6000K to 9000K, and shade can be 8000K to 10000K. Your camera’s white balance is designed to “balance” these temperatures so that white is white—a warm light will need a cool white balance, and a cool light will need a warm white balance.
With that prerequisite understanding, let’s take a look at how 10 different Film Simulation Recipes handle various Kelvin temperature light conditions.
Note: This was a Creative Collective article, but now it’s available to everyone.
I photographed a little scene illuminated by one Phottix Nuada R3 II LED lamp (which has an adjustable temperature), plus one warm incandescent bulb that was both dimmer and further from the scene (its impact was very minimal, but still worth noting). The Phottix light can be set from 3200K to 5600K. I attached my Fujifilm X100V to a tripod, and photographed the scene over and over, adjusting the Kelvin temperature of the lamp in-between shots.
We’re going to look through a whole bunch of pictures, then we’ll analyze the results afterwards, making a few observations and conclusions at the end. We’re going to start with the coolest light and end with the warmest. The Kelvin value above each set is the temperature of the light source.
5600K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
4700K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
4200K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
3700K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
3200K
“Kodak Royal Gold 400”
“Agfa Vista 100”
“AgfaChrome RS 100”
“Melancholy Blue”
“Fujicolor NPL 160T”
“CineStill 800T”
“Serr’s 500T”
“Fujicolor NPS 160 Pulled”
“Reggie’s Portra”
“Everyday Astia”
I’m going to give a quick word about each Film Simulation Recipe, although I’m sure you’ve drawn some of your own conclusions already just from observing the pictures.
The Kodak Royal Gold 400 recipe is warm. It’s intended to produce warm results in daylight (which, remember, is actually a cool light). If you are photographing in cool light and want to combat that (or “balance” it), this recipe is a good choice. Look carefully at the picture at the very top of this article, and you’ll note that this recipe wasn’t quite warm enough to prevent all of the shadows from rendering blue. This recipe isn’t a good match for warm light situations, and is probably best avoided when photographing with artificial lights.
Agfa Vista 100 is another recipe intended for daylight photography. It’s not quite as warm as Kodak Royal Gold 400 (so it does a little better in warmer light), but it’s definitely meant to be used in cool light. If you (for some reason) encountered purple light that you wanted to “balance” (not render purple), this would be a good recipe to use due to its green cast. I wouldn’t choose this recipe for warm light situations.
Because the AgfaChrome RS 100 recipe has a slight cool cast, even though it is meant for daylight photography, it does well in some warm light situations, although it certainly depends on just how warm the light is. This wouldn’t be my first choice for artificial light, but it’s definitely not the worst recipe to use, either.
Melancholy Blue is similar to AgfaChrome RS 100 in that, while it is intended for daylight photography, because it has a cool cast, it does well in artificial light, even more so than the AgfaColor recipe. I wouldn’t purposefully set out to use this recipe in artificial light, but if I were using it in daylight and then the light changed, I wouldn’t likely be too disappointed with the results.
You might be surprised by the red cast in the Fujicolor NPL 160T recipe. After all, isn’t it supposed to be Tungsten balanced? This recipe is intended for and really shines in “blue hour” light, and that’s when I recommend using it.
CineStill 800T is a great option for artificial light (particularly in the 3700K and 4200K examples above). It has a strong blue cast when used in daylight situations.
Serr’s 500T is similar to CineStill 800T: great for artificial light (particularly in the 3200K and 3700K examples above), but it has a very strong blue cast in daylight situations.
I’m going to lump the last three recipes—Fujicolor NPS 160 Pulled, Reggie’s Portra, and Everyday Astia—together in one paragraph. What these three recipes have in common is that they use Auto White Balance, which adjusts to the light, whatever the light is. If you use an Auto White Balance recipe, you can know that the results will be good whatever light you encounter because it has that versatility. If you are a Patron on the Fuji X Weekly App, you can find these recipes quickly and easily using the Filter by White Balance tool.
You can choose a recipe to match the light, such as Kodak Royal Gold 400 in daylight or CineStill 800T in artificial light. You can choose a recipe and just accept the results you get with it, even if they look a little strange. You can use an Auto White Balance recipe and not worry about the light. There’s nothing wrong with any of these approaches—find the one that works best for you, or maybe use each of them at different times and in different scenarios. If you are not sure which recipe to use, I recommend either using it as an opportunity to experiment, or take the less risky route of selecting a recipe that uses Auto White Balance.
Berry Behind the Baseball Diamond – Farmington, UT – Fujifilm X100V – “Fujichrome Provia 100F”
This Film Simulation Recipe is called “Fujichrome Provia 100F” after the film that it is intended to mimic. Fujifilm introduced Provia 100, a color reversal film, in 1994, and replaced it with the much improved Provia 100F in 2001. I’ve only shot a couple of rolls of Provia 100F. I remember that it had a cool color cast (especially when compared to Kodak films), it had a fair amount of contrast, moderate saturation, and tended to render blues strongly. This recipe has been in the works for awhile, with a lot of failed attempts. I think it does pretty well at reproducing the aesthetic of the film, but there are definitely a few compromises—more of the “memory color” that Fujifilm talks about than perhaps a 100% accurate rendition. Still, I believe that it turned out pretty well overall.
You might be surprised that this recipe doesn’t use the Provia film simulation as its base, but instead uses Classic Chrome. The Provia film simulation doesn’t actually resemble very well the film that it was named after—Fujifilm used it more as a marketing name on the X series than anything else. Velvia was the Fuji slide film that I most often shot with, but Provia was probably their most popular because it wasn’t nearly as wild as Velvia, and produced more true-to-life (yet still fairly vibrant) colors.
Actual Fujicolor Provia 100F 35mm film. Chicago, 2005.
This Fujicolor Provia 100F Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App since January, but it has been replaced by a new Early-Access Recipe, so now it’s available to everyone. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should be fully compatible with X-Trans V cameras, but I’ve yet to be able to test it to know if it renders the same or not. Those with newer GFX cameras can use this recipe, too, but it will render slightly different.
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: +4 Noise Reduction: -4 Sharpening: -1 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: Daylight, -2 Red & +5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs captured using this “Fujichrome Provia 100F” film simulation recipe on my Fujifilm X100V and Fujifilm X-E4 cameras:
Mushos for 5$ – Buckeye, AZ – Fujifilm X-E4
Truck Dodging the Sunlight – Buckeye, AZ – Fujifilm X-E4
Sunlight Pouring on Leaves in Early Autumn – Buckeye, AZ – Fujifilm X-E4
Wasatch Front – Farmington, UT – Fujifilm X100V
Blue Sky Reeds – Farmington, UT – Fujifilm X100V
Branch Berries – Farmington, UT – Fujifilm X100V
Baseball Sky – Farmington, UT – Fujifilm X100V
Windsock – Farmington, UT – Fujifilm X100V
Field 3 – Farmington, UT – Fujifilm X100V
Skateboard & Runner – Farmington, UT – Fujifilm X100V
Creek Under Branches – Farmington, UT – Fujifilm X100V
Trail Through the Trees – Farmington, UT – Fujifilm X100V
Fence Along Path – Farmington, UT – Fujifilm X100V
Josh at the Court – Farmington, UT – Fujifilm X100V
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
This Old House is now a Business – Avondale, AZ – Fujifilm X100V – “Kodak Royal Gold 400”
This Film Simulation Recipe began as an attempt to achieve a “memory color” aesthetic of photographic prints from the 1990’s and early 2000’s; when creating this recipe I wasn’t concerned about the specific films or processes. After shooting with this recipe and reviewing the results, I was reminded of Kodak Royal Gold 400 film… sometimes. Of course, one film can produce many different aesthetics, depending on (among other things) how it was shot, developed, scanned and/or printed. Royal Gold 400 didn’t always or even usually look like this, but sometimes it did, and I found some examples in a photo-box and online that were quite similar—I’m not sure why, but my suspicion is that the film was mishandled, either from being stored improperly (possibly exposed to too much heat) or waiting too long to develop after exposing. Film can be finicky, but that serendipity is something that makes it special.
Royal Gold 400 was introduced by Kodak in 1994 as a replacement to the original Kodak Ektar 400 film. The Royal Gold line, which also came in ISO 100 and 200 versions, was marketed as a “step up” from Kodak Gold, with finer grain and more vibrant colors. It was more-or-less an updated Ektar emulsion that was renamed for marketing reasons (Gold sold a lot more than Ektar). In the early 2000’s Royal Gold was replaced by the High Definition/Royal Supra line. This Kodak Royal Gold 400 Film Simulation Recipe is a “happy accident” facsimile of one (of many) possible aesthetics from the film.
Bougainvillea Among Trumpets – Buckeye, AZ – Fujifilm X100V – “Kodak Royal Gold 400”
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. 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!
This Kodak Royal Gold 400 Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. It should also be compatible with X-Trans V models, but I’ve not tested it myself to know for certain. Those with newer GFX models can use it, too, although it will render slightly different. If you are a Fuji X Weekly App Patron, this recipe is available to you right now on the App!
Example photographs captured using this “Kodak Royal Gold 400” Film Simulation Recipe on my Fujifilm X100V:
Mending Blue – Avondale, AZ – Fujifilm X100V
Quality Auto Service – Avondale, AZ – Fujifilm X100V
A-Town Garage – Avondale, AZ – Fujifilm X100V
Clubhouse – Avondale, AZ – Fujifilm X100V
A Little Red – Avondale, AZ – Fujifilm X100V
4 Sale – Avondale, AZ – Fujifilm X100V
Shapes – Avondale, AZ – Fujifilm X100V
Cactus Liquor – Avondale, AZ – Fujifilm X100V
Sideways Saguaro Stop – Avondale, AZ – Fujifilm X100V
Library – Avondale, AZ – Fujifilm X100V
Lock & Safe – Avondale, AZ – Fujifilm X100V
Going to the Dentist – Avondale, AZ – Fujifilm X100V
Sidewalk Bicyclist – Avondale, AZ – Fujifilm X100V
Red Car & Wine Bar – Buckeye, AZ – Fujifilm X100V
Americana Icon – Buckeye, AZ – Fujifilm X100V
Avon – Avondale, AZ – Fujifilm X100V
N Recep – Avondale, AZ – Fujifilm X100V
Park Hoop – Buckeye, AZ – Fujifilm X100V
Outfield – Buckeye, AZ – Fujifilm X100V
Bougainvillea Among Trumpets 2 – Buckeye, AZ – Fujifilm X100V
Butterfly Cage – Buckeye, AZ – Fujifilm X100V
Pink Bloom in the Garden – Buckeye, AZ – Fujifilm X100V
Sunlit Table Corner – Avondale, AZ – Fujifilm X100V
Every Sunday from October through April, the Maricopa Live Steamers model railroad club offers free 7 1/2″ gauge train rides through the desert in north Glendale, Arizona. My kids love trains (what kids don’t?), and so my wife and I took them out on an excursion. The club has an extensive setup in the desert—over 18 miles of track—and members from across several states come to operate their scale equipment there. One day each week, except during the heat of summer, the club is open to the public, giving free train rides to anyone who wishes to traverse through the creosote and sand.
I brought along my Fujifilm X100V to capture the experience, with the Fujichrome Sensia 100 Film Simulation Recipe programmed into the camera. To make this recipe compatible with the X100V, I set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0. The X100V is such a great camera for adventures like this, being compact and quiet, yet completely capable of fantastic image quality. My Fujifilm X70 would have worked just as well, but one advantage of the X100V is the viewfinder, which came in handy in the harsh midday light.
Fujichrome Sensia 100 was an inexpensive general-purpose daylight-balanced slide film made by Fujifilm from 1994 through 2011. There were three different iterations of the emulsion during that time. It was a popular film for cross-processing (developing in C41 chemistry); otherwise, it was primarily used for documenting family vacations, and was marketed to amateurs and hobbyists. My Film Simulation Recipe mimics the film only as a happy accident, as I wasn’t trying to create a facsimile of Sensia, but it is surprisingly similar nonetheless.
Below are camera-made JPEGs captured with the Fujichrome Sensia 100 Film Simulation Recipe on my Fujifilm X100V while at the Maricopa Live Steamers model railroad club:
RR Crossing – Glendale, AZ – Fujifilm X100V
54 – Glendale, AZ – Fujifilm X100V
Old Switch Stand – Glendale, AZ – Fujifilm X100V
Signal Tower – Glendale, AZ – Fujifilm X100V
View Through Signal Stand – Glendale, AZ – Fujifilm X100V
Outdoor Television – Glendale, AZ – Fujifilm X100V
Junk on the Platform – Glendale, AZ – Fujifilm X100V
Train Bridge – Glendale, AZ – Fujifilm X100V
Tiny Town on the Prairie – Glendale, AZ – Fujifilm X100V
Rails Through the Desert – Glendale, AZ – Fujifilm X100V
Rusty Train Wheel & Signal – Glendale, AZ – Fujifilm X100V
Southern Pacific 8183 – Glendale, AZ – Fujifilm X100V
Ghost Train – Glendale, AZ – Fujifilm X100V
Yellow Water Tower – Glendale, AZ – Fujifilm X100V
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
On October 20, Nathalie and I will be introducing the Fujichrome Sensia 100 Film Simulation Recipe on SOOC as the next recipe-of-the-month. Mark your calendars now, and I hope to see you then!
Fujifilm X100V – “Kodak Portra 400” (X-Trans III version)
Six months ago I turned my Fujifilm X100V into a monochrome-only camera, and just shot black-and-white Film Simulation Recipes with it, which was a lot of fun! I hope that someday Fujifilm makes a B&W-only model. Recently I started shooting color pictures on my X100V again, and the first three color recipes I programmed into the camera were Kodak Portra 400—three different versions of it!
My very first Kodak Portra 400 recipe is for Fujifilm X-Trans III cameras, which I published in May of 2018. It requires a hard-to-explain-and-get-right custom white balance measurement. I have had some luck in the past getting it “right” and at times not-so-much luck. I think this time I was able to get it pretty close but not exactly correct. I made three different attempts (using the three custom white balance slots), and went with the best of the three; however, I think the white balance should be slightly warmer than it is. It’s a tricky thing, and I wish it was more easily repeatable. To use this recipe on my X100V I set Grain size to Small, Color Chrome Effect to Off, Color Chrome FX Blue to Off, and Clarity to 0.
The next Kodak Portra 400 recipe is for the Fiujifilm X-T3 and X-T30, which I published in May of 2020. This one is easier to program (and probably more accurate to the film) than the X-Trans III version. To use it on my X100V I set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
The third Kodak Portra 400 recipe is for the “newer” X-Trans IV cameras, including the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, which I published in June of 2020. Of the three versions, this one is probably the most “accurate” to actual Portra 400 film, but it is extremely similar to the X-T3/X-T30 recipe—only very subtly different.
One film can produce a variety of looks depending on a whole host of factors, including (among other things) how it was shot, developed, and scanned—even the pH balance and temperature of the water can affect it. It’s not possible for one recipe replicate all possible aesthetics. Also, different Fujifilm cameras have different JPEG options, and different sensor generations have slight variances in rendering; even though one recipe might be more “accurate” to the film, it’s certainly not always so—the variables are pretty significant. What’s more important than accuracy is finding the recipe that works best for you and your photography.
I hope that seeing these three Kodak Portra 400 Film Simulation Recipes together helps you decide which to try. Maybe one stands out more to you than the others. Perhaps the camera you own is more of a determining factor than the recipe itself. I personally like all three of them, and have enjoyed shooting with them on my (no-longer-B&W-only) X100V.
Also, as a reminder, these three Kodak Portra 400 recipes are the current SOOC recipes-of-the-month. Fujifilm X-Photographer Nathalie Boucry and I will conclude our discussion of these recipes in the next broadcast (be sure to watch the last episode if you missed it!), which will be live on October 20th. Upload your images (click here) captured with one (or more) of these Kodak Portra 400 recipes by October 18th to be included in the next show. I hope to see you then!
Abandoned Farm House – McKinney, TX – Fujifilm X-E4 – “Fujicolor Natura 1600”
The Fuji X Weekly App has reached a significant milestone: 250 Film Simulation Recipes! That’s incredible! When the App launched in December 2020, it had “over 100” (123 to be exact), and now it has more than double that. Wow!
I published my first two recipe, simply called Classic Chrome and Acros, on August 27, 2017. Now, five years later, there are 250. Actually, there are more than that, because 1) none of the more complicated double-exposure recipes (here, here, here, here, here, here, and here) are in the App, and 2) it doesn’t include any of my Ricoh GR recipes or Nikon Z recipes (here, here, and here), nor any of the RitchieCam iPhone camera app filters.
I thought a fun way to celebrate the 250-recipes-in-the-App milestone would be to pick my favorite one from each block of 25. For some groups, I knew right away which recipe would represent it. For other groups, there were six or seven recipes that I strongly considered before making a decision—of course, that’s the trouble: there are way more than 10 Film Simulation Recipes that are my favorites! Half of these use Classic Chrome, three use Classic Negative, one uses Eterna, and one uses Acros.
Road Work Ahead – Glendale, AZ – Fujifilm X70 – “Classic Kodak Chrome”
Earlier this year I started a new Film Simulation Recipe series with the intention of customizing each film simulation to be optimized for the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. The first recipe in this series is Standard Provia, the second is Improved Velvia, and the third is Everyday Astia. Now it’s time for Classic Chrome!
The problem with creating a Classic Chrome recipe for this series is there is already one that optimizes the aesthetic that Fujifilm intended. It already exists! So the challenge, of course, is to create something similar yet different, and hopefully every bit as good as the “old” recipe. Also, I thought to do it for X-Trans II cameras, which have thus far been left out of this series. I call this recipe “Classic Kodak Chrome” because the Classic Chrome film simulation is supposed to resemble a Kodak aesthetic, and this recipe definitely does. Fujifilm would never call the film simulation Kodak Chrome (even if they had the rights to use the brand name), but that doesn’t prevent me from including the Kodak name in my recipe.
Please, Dad—No More Pictures! – Buckeye, AZ – Fujifilm X70 – “Classic Kodak Chrome”
Most X-Trans II cameras have the Classic Chrome film simulation, but not all; this “Classic Kodak Chrome” Film Simulation Recipe is only compatible with those X-Trans II cameras with Classic Chrome, such as the X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, and XQ2 . Unfortunately, this recipe is not compatible with the X100S, X20, and XQ1, even though they are X-Trans II. Those with Bayer models with Classic Chrome can also use this recipe, although it will render slightly different on those cameras.
Classic Chrome Dynamic Range: DR200 Highlight: -1 (Medium-Soft) Shadow: 0 (Standard) Color: +1 (Medium-High) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Auto, +2 Red & -2 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Classic Kodak Chrome” Film Simulation Recipe:
R2-D2 Junkyard – Buckeye, AZ – Fujifilm X70
Old School Diner – Glendale, AZ – Fujifilm X70
Three Scary Pumpkins – Buckeye, AZ – Fujifilm X70
Big Intersection – Glendale, AZ – Fujifilm X70
In Step – Glendale, AZ – Fujifilm X70
Old Garage – Glendale, AZ – Fujifilm X70
Yellow Building Behind White Fence – Glendale, AZ – Fujifilm X70
Small Neighborhood Flowers – Glendale, AZ – Fujifilm X70
Autumn Window – Glendale, AZ – Fujifilm X70
Doll & Toy Museum – Glendale, AZ – Fujifilm X70
Brick, Tree, Sun – Glendale, AZ – Fujifilm X70
Trees & Glass – Glandale, AZ – Fujifilm X70
Tree Tops & Cyan Sky – Buckeye, AZ – Fujifilm X70
Singular Garden Blossom – Buckeye, AZ – Fujifilm X70
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
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 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!
Eastman Color Negative II 100T, which was also known as ECN-2 Type 5247/7247, was a 100 ASA Tungsten-balanced motion picture film made by Kodak between 1974 and 1983 (although, apparently, it could still be found and was used into the early 1990’s). A lot of iconic movies used this film for at least some shots, including Star Wars, Back to the Future, Raiders of the Lost Ark, and many more. This Film Simulation Recipe is intended to mimic the aesthetic of this film stock that’s expired and developed in C41 chemistry after having the Remjet layer removed. This recipe isn’t intended to look like the film as it’s seen in the movies, but expired film that’s been developed in C41 chemistry instead of the ECN-2 process.
This “Expired ECN-2 100T” Patron Early-Access Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras. I believe it will also work on the X-H2 and X-H2s cameras, although I have not tried it myself to know for certain. If you are a Fuji X Weekly Patron, it’s available to you right now on the Fuji X Weekly App! If you don’t have the App, download it for free today. A side-note: this is the 250th Film Simulation Recipe in the App!
Example photographs, all camera-made JPEGs captured using this “Expired ECN-2 100T” film simulation recipe on my Fujifilm X-E4:
Saguaro Green – Buckeye, AZ – Fujifilm X-E4
Stop, All Ways – Buckeye, AZ – Fujifilm X-E4
Truck Mirror – Buckeye, AZ – Fujifilm X-E4
Lightning McQueen’s Home – Buckeye, AZ – Fujifilm X-E4
Truck – Buckeye, AZ – Fujifilm X-E4
Texting & Walking – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Over Wall – Buckeye, AZ – Fujifilm X-E4
This Film Simulation Recipe is called Analog Gold because it has a vintage film-like aesthetic with a golden color cast. It produces a warm, somewhat-muted look, and does well in both sunny and overcast conditions. While it’s not modeled after any specific film or process, it does convey an analog quality that’s easy to appreciate. I know that some of you will love this one!
I don’t recall much of the backstory of this recipe. I published it in January as a Patron Early-Access Recipe on the Fuji X Weekly App (which means a new Early-Access Recipe has replaced it, so if you are a Fuji X Weekly App Patron, be sure to look out for that), but I didn’t give a lot of details, and nine months later I just don’t remember. I think it was just some experimentations that I was doing at the time. If you like vintage-analog aesthetics, be sure to give this one a try!
Kaysville Pond in January – Kaysville, UT – Fujifilm X-E4 – “Analog Gold”
This “Analog Gold” Film Simulation Recipe is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3, X-T30, X-Pro3, or X100V cameras. It’s likely also compatible with the X-H2 and X-H2s, but I haven’t tried to know for sure. Those with newer GFX cameras can use it, too, although it will render slightly different.
Eterna Bleach Bypass Dynamic Range: DR400 Highlight: -2 Shadow: +1.5 Color: +3 Noise Reduction: -4 Sharpening: -2 Clarity: -4 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Daylight, +4 Red & -9 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Analog Gold” film simulation recipe on my Fujifilm X-E4:
Sunny Day Suburb – Buckeye, AZ – Fujifilm X-E4
Small Sunlit Tree Leaves – Buckeye, AZ – Fujifilm X-E4
Weather Radar – Farmington, UT – Fujifilm X-E4
Dry Leaves & Red Berries – Kaysville, UT – Fujifilm X-E4
Rusty Fence Post – Farmington, UT – Fujifilm X-E4
Flowing Creek in Grass – Kaysville, UT – Fujifilm X-E4
Frozen Pond – Kaysville, UT – Fujifilm X-E4
Grass & Frozen Pond Water – Kaysville, UT – Fujifilm X-E4
Grass in the Ice – Kaysville, UT – Fujifilm X-E4
Dry Shrub – Kaysville, UT – Fujifilm X-E4
Helicopters Waiting to Fly – Kaysville, UT – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Peak of Sunlight – Buckeye, AZ – Fujifilm X-E4 – “September Summer”
I get asked frequently to create Film Simulation Recipes that mimic various films, and occasionally the aesthetic of specific photographers. In the case of this recipe, someone wanted me to recreate the look of photographer Brian Chorski. While Brian’s images seem to have a cohesive style at first glance, upon closer inspection one can spot several subtle variations. After much research, I discovered that he primarily shoots film—both 35mm and medium-format—and he prefers Kodak emulsions, especially Portra 160, Portra 400, Portra 800, and Ektar 100. I believe that he uses a warming filter at least some of the time, perhaps most of the time. I think he tends to overexpose (a common color negative film technique), and (obviously) his scanning and post-editing play a role in the final outcome. Also, he shoots primarily in the warm summer months.
I believe that several already existing Film Simulation Recipes at times come close to Brian’s look (some more than others), including Kodak Portra 160, Kodak Portra 400 v2 (this one, too), Kodak Portra 400 Warm, Kodak Portra 800 v2, Kodak Ultramax 400, Kodak Max 800, Kodak Ektar 100, Vintage Vibes, Pacific Blues, Bright Summer, and Bright Kodak. I’m sure there are others, too. Still, some of Brian’s pictures don’t seem to match any of those recipes, so I came up with a new one. This recipe, which I’m calling September Summer, is intended to replicate the aesthetic of some of Brian Chorski’s photographs. It seems best suited for sunny conditions, producing warm images that will remind you of seemingly endless summer days (which are now waning).
This “September Summer” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3 and X-T30, unfortunately. I believe it is also fully compatible with the X-H2 and X-H2s, but I have not tried it to know for sure. Those with newer GFX cameras can use it, too, but it will render slightly different. I don’t think this is a recipe that most will use regularly, but I believe some of you will really appreciate it in the right conditions.
Classic Negative Dynamic Range: DR400 Highlight: -1 Shadow: -1 Color: +1 Noise Reduction: -4 Sharpness: 0 Clarity: -4 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome Effect Blue: Weak White Balance: 5500K, +3 Red & -7 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs using this “September Summer” Film Simulation Recipe on a Fujifilm X-E4:
First Day of Fall – Buckeye, AZ – Fujifilm X-E4
Saguaro Among Trees – Buckeye, AZ – Fujifilm X-E4
Dead Agave – Buckeye, AZ – Fujifilm X-E4
Bougainvillea in the Light & Shadow – Buckeye, AZ – Fujifilm X-E4
Trumpets & Wall – Buckeye, AZ – Fujifilm X-E4
Empty Pot – Buckeye, AZ – Fujifilm X-E4
Summer Frog – Buckeye, AZ – Fujifilm X-E4
Intersection – Buckeye, AZ – Fujifilm X-E4
Little Leaves, Little Blooms – Buckeye, AZ – Fujifilm X-E4
Cluster of Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Road Through the Autumn Trees – Bountiful, UT – Fujifilm X100F – Velvia
Autumn officially arrived yesterday. I didn’t notice because I moved to the Phoenix metropolitan area, and in this part of Arizona it is still summer, as far as the weather and trees are concerned. Besides, this area isn’t known for its fall colors, anyway. But I used to live in Utah, and loved watching the autumn colors descend on the Wasatch, beginning at the mountain peaks in late-summer and working their way to the valley by October. I will miss that this year, for sure.
A common question I’m asked around the Autumn Equinox is which Film Simulation Recipes are best for photographing fall colors. There are many that could work well, much more than merely 10. I think, generally speaking, any recipe that uses Velvia or Astia could be solid options. Classic Chrome and Classic Negative recipes can be good, too. I don’t believe any film simulation is inherently “bad” for fall colors, but obviously some are better than others. I think oftentimes the recipes that are more vibrant will do better, so perhaps look for those. Download the Fuji X Weekly App (if you haven’t already), browse through the sample pictures, and see which recipe stands out he most to you. Or, if you’re brave, use the new Random Recipe selector to choose one for you!
If you are not sure which Film Simulation Recipe to use on your Fujifilm camera and are looking for some ideas, I have suggested 10 below, which I believe will do well for photographing fall colors. Best of luck this autumn season!
