Bee on a Blossom – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”
I’ve wanted a Fujifilm X70 ever since I learned of its existence. For those who don’t know, the X70 was essentially a smaller, more wide-angle, and less expensive X100T. Introduced in January 2016 and discontinued in December of that same year, you might think that the camera was a flop, but it wasn’t. Unfortunately, to Fujifilm’s surprise, shortly after the camera launched, Sony suddenly discontinued the 16-megapixel APS-C sensor that the X70 used, and Fujifilm had no choice but to fully move on to X-Trans III as quickly as possible. The X70 was a casualty of that situation. No successor was ever made, supposedly because heat dispersion was an issue with higher resolution sensors that couldn’t be remedied. Even though the camera is six years old now, people love their X70’s—you don’t see very many for sale, and when you do it’s usually for a similar price to, or even higher than, the original MSRP. I was fortunate to find one in excellent condition for “only” $600.
I’ve had this camera for just a few days. After unboxing the X70, I quickly programmed into it the latest recipe that I had been working on with my X-T1 (which is in need of a sensor cleaning), and busily shot with it. Already I love this little camera—not only is it very practical to carry around everywhere, it is so much fun to use! Fujifilm really needs to work hard an its successor, the X80—this should be a top priority, in my opinion.
For this “Kodak Color Negative” Film Simulation Recipe, I wanted to use the Incandescent White Balance. Why? Because you cannot program a White Balance Shift into the C1-C7 Custom Presets (only on X-Pro3 and newer models); however, the camera will remember one shift per white balance type. If each of your presets uses a different white balance type, then you don’t have to remember to adjust the shift when switching presets. Incandescent is a white balance option that I’d not yet used on X-Trans II, so it seemed like a logical place to start.
The aesthetic that I was hoping to achieve with this recipe was Kodak Portra 400. I don’t believe that I succeeded in faithfully mimicking that (sometimes there’s a similarity); however, it does seem to produce a Kodak-like color negative film look, perhaps more like Ultramax, but not exactly that, either. Whatever it does or doesn’t resemble, I personally really like the aesthetic produced by this recipe, and I hope that you do, too.
Johanna in Evening Light – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”
This “Kodak Color Negative” recipe is compatible with all X-Trans II cameras that have Classic Chrome, including the X100T, X-E2, X-E2S, X-T10, X-T1, X30, X70, and XQ2. Unfortunately, the X100S, X20, and XQ1 don’t have Classic Chrome, despite being X-Trans II. Those with Bayer models that have Classic Chrome can also use this recipe, although it will render a little different on your camera.
Classic Chrome Dynamic Range: DR200 Highlight: -2 (Soft) Shadow: -1 (Medium-Soft) Color: +2 (High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Incandescent, +6 Red & -7 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 “Kodak Color Negative” Film Simulation Recipe:
Sunlight Through The Grapevine – Surprise, AZ – Fujifilm X70
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Hold onto your hats, because, for this Film Simulation Recipe, we’re going to dive deep into the obscure and practically forgotten history of a unique film called GAF 500. We’re going to explore the intriguing history of GAF, discover what made this film unique, and discuss how this new GAF 500 Film Simulation Recipe came to be. You are in for a treat today!
GAF actually began in 1886 as the Standard Paint Company of New Jersey. After acquiring a holding company in 1928 that had (among other things) majority ownership of AGFA, the company changed its name to General Aniline & Film—GAF for short. Also in 1928, AGFA merged with Ansco, so in addition to acquiring AGFA, GAF also got ownership of Ansco, which was founded in 1842. Originally named E. Anthony & Co., after merging with Scovill Manufacturing in 1901 it was renamed Ansco (“An” from Anthony and “sco” from Scovill). Ansco was headquartered in New York, and was Kodak’s biggest competitor for many decades. The merger with AGFA was intended to bring Ansco’s photography products to a global market, which would allow them to better compete against Kodak.
Then World War II happened, and in 1941 the U.S. government seized and took ownership of GAF and Ansco (separating it from AGFA, which was a German-owned business), and officially merged Ansco into GAF. The U.S. government retained ownership of GAF until 1965, when it sold all of its shares.
Morning Sunlight on a Curtain – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”
In 1967 GAF introduced a revolutionary new film: GAF 500. It was a high-ISO 35mm color transparency (slide) film—the highest ISO color film during its time; the second-highest color ISO film (another GAF emulsion) was rated at ISO 200, so it was more than twice as “fast” (as they called it back then) as the second fastest. 30 years prior to the introduction of GAF 500, the highest ISO color film was rated at ISO 8, so having an ISO 500 option was unthinkable back then, and a lot of people wondered why anyone would need such a high-ISO film. While it was mostly sold under the brand name GAF, it was sometimes sold as Anscochrome 500. Was GAF/Anscochrome 500 any good?
From all accounts, you either loved GAF 500 or hated it. The grain was extremely pronounced. Colors were “good” yet muted (a.k.a. “neutral” or “natural”) and generally considered to be not as “nice” as Kodak’s. It didn’t push-process nearly as well as, it wasn’t quite as sharp as, and it didn’t pair with color correction filters as well as Kodachrome or Ektachrome. It was inferior to all other color emulsions except for one fact: it was fast! You could use it when other films wouldn’t work due to low light. If it was dark and you wanted to shoot color, GAF 500 was your best bet.
GAF 500 had a warm color cast—some described it as orange, some said red-orange, and others stated that it was red—not as warm as some Kodak emulsions, but warm nonetheless. The shadows tended to lean blue. If you pushed the film, it had a purple cast across the frame. Some people liked how it looked when shooting under fluorescent lights or stage lights, and was a popular choice for concert photography.
What people seemed to like most about GAF 500 is that it was gritty yet soft. It was grainy, like a high-ISO black-and-white film, and it was contrasty with a very narrow exposure latitude—it was easy to blow out the whites or block up the blacks; however, it also had low color saturation (or was “more neutral” as some put it) , and the gradations were gentle. It was like a biker ballerina, if you will. Some people loved the aesthetic of GAF 500, and would use it even in bright-light situations just for the look that it produced. Many photographers steered clear of it just because there were “better” options, such as push-processing lower ISO films.
There was a time in the 1970’s that GAF was everywhere. It was the official film of Disneyland, and, for a time, was the only brand of film that you could purchase inside the park. Sears sold GAF cameras and film. Henry Fonda was the spokesman. Despite that, GAF struggled to be profitable competing against Kodak, Fujifilm, and other brands.
GAF made a few minor “improvements” to their ISO 500 film over the years, and (from what I read) it seemed to get “better” towards the mid-1970’s. In 1977, due to sluggish sales, GAF decided to get out of the photography business altogether. GAF/Anscochrome 500 was discontinued, along with all of the other GAF films. The Ansco brand name was licensed out to other companies for years to come, although it was largely used for rebranded films and not original emulsions. GAF 500 was gone forever.
Perhaps thanks to Alien Skin Exposure software, there’s been a renewed interest in GAF 500. Alien Skin has a GAF 500 preset that is supposed to allow you to mimic the aesthetic of the film with your digital images. I’ve used it before, and that’s the closest I’ve come to shooting GAF 500. It’s been awhile since I’ve used Exposure software, so I don’t recall too much about the preset (other than it was grainy). So, for this Film Simulation Recipe, I spent significant time studying whatever I could find on the film. There’s a lot of written information out there, but photographs were hard to come by. Still, I found some, and did my best to emulate the look with my Fujifilm X-E4.
Recreating GAF 500 on my Fujifilm camera was tricky for several reasons. First, I wouldn’t have considered Eterna as the best base (just because it lacks the necessary contrast to emulate a contrasty slide film), but after trying Classic Chrome, PRO Neg. Low, and Eterna Bleach Bypass, I decided to give Eterna a go. Bingo! This one had the right tonality (those “gentle gradations”); however, I do wish that Shadow could be set to +5 to get deeper blacks, but that’s not an option. Another tricky aspect was achieving the warm, reddish/orangish color cast that could still produce a hint of blue in the shadows. Fujifilm cameras aren’t capable of split-toning, so I did my best to approximate this with the white balance; I do wish the shadows were just a little more blue, but it’s not possible without sacrificing the overall warmth. Another challenge was replicating the grain. Fujifilm’s option of Grain Strong Large wasn’t nearly as pronounced as it needed to be, so I set out to supplement it with digital noise using high-ISO. But how high? ISO 1600 wasn’t nearly enough. ISO 3200 wasn’t enough, either. ISO 6400… much closer, but not quite there, either. Should I dare try ISO 12800? Yes, that’s it! More importantly, it looks good, which I had my doubts about.
With slide film, depending on the emulsion, you had to nail the exposure exactly, as the dynamic range was extraordinarily narrow. You didn’t know what you had until you got the film back from the lab (or developed it yourself at home); some frames would be underexposed, some frames would be overexposed, and some frames (hopefully) would be correctly exposed—I found examples of all three when searching for GAF 500 photographs. You can achieve similar aesthetics with this recipe if you want, by either dropping the exposure a little or increasing it a little—the exact look of this recipe will vary some depending on the exposure. While I couldn’t replicate every potential GAF 500 aesthetic with this one recipe, and no recipe will ever be 100% spot-on accurate (because of the limited tools available on the camera, and because the results of one film can vary significantly depending an a whole host of factors), I do believe that this recipe is pretty close to replicating the look and feel of GAF 500 film—at least from the perspective of someone who was born after the film was discontinued, so I never had a chance to use it myself.
Because this “GAF 500” recipe uses Clarity and Color Chrome FX Blue, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, and is not compatible with the X-T3 or X-T30. Those with X-Trans V cameras can also use it, and it should render identically, although I have no first-hand experience to verify that. Those with newer GFX cameras can use it, too, although it will render differently. Because of the ultra high-ISO that’s required, I recommend using your electronic shutter and a small aperture (like f/8, f/11, or even f/16) when shooting in bright light outdoors.
Eterna Dynamic Range: DR100 Highlight: +2 Shadow: +4 Color: 0 Noise Reduction: -4 Sharpness: -3 Clarity: -2 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome Effect Blue: Strong White Balance: 2900K, +9 Red & -9 Blue ISO: 12800 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “GAF 500” Film Simulation Recipe on my Fujifilm X-E4:
Eat – Phoenix, AZ – Fujifilm X-E4
Bird Scooters – Phoenix, AZ – Fujifilm X-E4
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4
FAO JUG – Phoenix, AZ – Fujifilm X-E4
Why Love? – Phoenix, AZ – Fujifilm X-E4
Twin Dumpsters – Phoenix, AZ – Fujifilm X-E4
Garfield – Phoenix, AZ – Fujifilm X-E4
Overhead Crane – Phoenix, AZ – Fujifilm X-E4
Oversized Load – Phoenix, AZ – Fujifilm X-E4
And So It Begins – Phoenix, AZ – Fujifilm X-E4
Air Garage & Graffiti – Phoenix, AZ – Fujifilm X-E4
Can in the Sage – Phoenix, AZ – Fujifilm X-E4
Suburban Barrel Cacti – Phoenix, AZ – Fujifilm X-E4
Double Peace – Buckeye, AZ – Fujifilm X-E4
Table Roses – Buckeye, AZ – Fujifilm X-E4
Sunlit Curtain – Buckeye, AZ – Fujifilm X-E4
Yellow Trumpets & Sunstar – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch in the Blue – Buckeye, AZ – Fujifilm X-E4
Orange Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X-E4
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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 that 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!
This new “Vintage Eterna” Early-Access Recipe is a bit unusual in that there are actually two recipes: one for the X-H1, X-T3, and X-T30, and another for newer models (X-Pro3 and newer). The premise was simple: what would the Vintage Kodachrome recipe look like if I used Eterna instead of Classic Chrome? As it turns out, it looks alright; however, after I made more modifications, it looks much better! I initially created this on my Fujifilm X-E4, but then I wanted a version for my X-H1, so I made a recipe compatible with that camera, and even used it on my X-T30. If you have an X-H1 or any X-Trans IV camera, you can use the “Vintage Eterna” recipe—just find the one that’s compatible with your model. For those with the X-H2s (or soon-to-be X-H2), you can use the version of this recipe that’s for the newer X-Trans IV cameras, and it should render pretty much identically on X-Trans V, but I haven’t tried it myself to know for certain. If you have a GFX camera, one of these two recipes will work on the model you have, but it will render slightly differently (try it anyway, though).
If you are a Fuji X Weekly Patron, it’s available to you right now on the App!
Fujifilm X-H1, X-T3, & X-T30 — “Vintage Eterna”
Cloud Above Roof – Buckeye, AZ – Fujifilm X-H1
Summer Blossoms – Buckeye, AZ – Fujifilm X-H1
Sky Vines – Buckeye, AZ – Fujifilm X-H1
Backlit Leaves of Summer – Fujifilm X-H1
Hummingbird Feeder – Buckeye, AZ – Fujifilm X-H1
Golden Trumpets – Buckeye, AZ – Fujifilm X-H1
Yellow Trumpet Flower – Buckeye, AZ – Fujifilm X-H1
Large Stone & Tall Grass – Farmington, UT – Fujifilm X-H1 – “Vintage Kodacolor”
This Film Simulation Recipe is called “Vintage Kodacolor” because I was inspired by some old Kodak Kodacolor puzzles that I stumbled across (did you know that Kodak made jigsaw puzzles?). I’m not completely certain which Kodacolor film was used for these puzzles—possibly Kodacolor II—or how much the printing process affected the aesthetic, or even how much the colors have faded and shifted over time. Whatever the case, this recipe does a pretty good job emulating it, and produces a warm vintage-like aesthetic that’s easy to appreciate. There’s some similarities between this and my Kodacolor II 126 recipe.
This recipe has been available on the Fuji X Weekly App as a Patron Early-Access Recipe since December; however, a different Early-Access Recipe has replaced it, so now this one is available to everyone! This isn’t a Film Simulation Recipe that is for every person or every situation, but some of you in the right situations will absolutely love it. I think it is especially good for achieving a vintage look on sunny days and during golden hour.
This “Vintage Kodacolor” recipe is fully compatible with all X-Trans III cameras, plus the Fujifilm X-T3 and X-T30. Those with newer X-Trans IV (and X-Trans V) cameras can use it, too, but you’ll have to decide on Clarity (I suggest 0, or maybe -2), Color Chrome FX Blue (I suggest Off), and Grain size (I would try Large).
Classic Chrome Dynamic Range: DR200 Highlight: +2 Shadow: 0 Color: -4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Strong Color Chrome Effect: Off/NA White Balance: 9100K, -4 Red & +4 Blue ISO: Auto up to ISO 12800 Exposure Compensation: -1/3 to +1/3
Example photographs, all camera-made JPEGs captured using this “Vintage Kodacolor” Film Simulation Recipe on my Fujifilm X-H1 & X-T30:
Tree Behind – Buckeye, AZ – Fujifilm X-T30
Vintage Phragmites – Farmington, UT – Fujifilm X-H1
Evening Reeds and Sky – Farmington, UT – Fujifilm X-H1
Three Brown Leaves – Farmington, UT – Fujifilm X-H1
Don’t Approach the Great Blue Heron – Farmington, UT – Fujifilm X-H1
Safe Zone – Farmington, UT – Fujifilm X-H1
Sunset Through The Grass – Farmington, UT – Fujifilm X-H1
Evening Light on the Wood – Farmington, UT – Fujifilm X-H1
Flowers No More – Farmington, UT – Fujifilm X-H1
Metal Door – Farmington, UT – Fujifilm X-H1
Cool Dog – Buckeye, AZ – Fujifilm X-T30
Cardboard Architect – Farmington, UT – Fujifilm X-H1
Holiday Horse Rider – Farmington, UT – Fujifilm X-H1
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When the Nikon Zfc was announced in 2021, I preordered it, and waited a long time for it to come. When it finally arrived, I pulled the Zfc out of the box and began to use it, and I was quickly disappointed. I said that it was most similar to the Fujifilm X-T200, yet significantly bigger, heavier, and more expensive. Still, I put the camera through its paces, and even created 11 Nikon Z Film Simulation Recipes using the Zfc. Then the camera went back into its box, and I strongly considered selling it.
Right now I’m working on my full-review of the TTArtisan 35mm f/1.4 lens (coming very soon!), and that means using it. In the process, I made four more recipes—I guess I couldn’t help myself! Three of these are black-and-white and one is color. If you add these four to the 14 others, I now have 18 Film Simulation Recipes for Nikon Z cameras!
Obviously, I made these JPEG recipes on the Zfc, so it will render differently on the full-frame models, but I’m not sure exactly how differently, as I’ve never used a full-frame Z camera. The reports have been positive, though, so I assume that they work well, including on the more expensive bodies—I just have no first-hand experience myself.
For those who might not know what “Film Simulation Recipes” are, they’re JPEG camera settings that allow you to achieve various looks (mostly analog-inspired) straight-out-of-camera, no editing needed. It can save you a lot of time by simplifying your workflow, and it can make the process of creating photographs more enjoyable.
These will be the last Nikon Z recipes that I create, as I decided not to keep the Zfc. If you are interested in buying it (bundled with the 28mm pancake and TTArtisan 25mm lenses), let me know. It’s gently used, and has spent more time in its box than out of it. Just send me a message if you are interested. Why am I selling the Zfc? Partly because I have never been fully satisfied with it, and partly because I’ve yet to figure out where it makes sense in my photographic process—it seems out of place in my bag. If sometime in the future Nikon makes a better effort on a similar camera, I’ll certainly consider buying it; however, the Zfc was just not the one for me.
Dramatic Monochromatic
Nikon Zfc — Dramatic Monochromatic
Similarities to using a red filter with B&W film.
Picture Control: Monochrome Quick Sharp: 0.00 Sharpening: +3.00 Mid-Range Sharpening: +2.00 Clarity: +1.00 Contrast: +1.00 Brightness: +1.00 Filter Effects: Red Toning: B&W Active D-Lighting: High High ISO NR: Low White Balance: Cloudy WB Adjust: B6.0 G6.0 ISO: up to 6400
Nikon Zfc — Dramatic Monochromatic
Nikon Zfc — Dramatic Monochromatic
Nikon Zfc — Dramatic Monochromatic
Nikon Zfc — Dramatic Monochromatic
B&W Push-Processed
Nikon Zfc — B&W Push-Process
Resembles the contrast of B&W film that has been push-processed.
Picture Control: Graphite Effect Level: 100 Quick Sharp: 0.00 Sharpening: +2.00 Mid-Range Sharpening: +2.00 Clarity: -2.00 Contrast: +2.00 Filter Effects: Yellow Toning: B&W Active D-Lighting: Extra High High ISO NR: Low White Balance: Direct Sunlight WB Adjust: A0.0 G0.0 ISO: up to 6400
Nikon Zfc — B&W Push-Process
Nikon Zfc — B&W Push-Process
Nikon Zfc — B&W Push-Process
Nikon Zfc — B&W Push-Process
B&W Film
Nikon Zfc — B&W Film
Reminiscent of black-and-white negative film.
Picture Control: Carbon Effect Level: 100 Quick Sharp: 0.00 Sharpening: +1.00 Mid-Range Sharpening: +1.00 Clarity: -2.00 Contrast: +1.00 Filter Effects: Orange Toning: B&W Active D-Lighting: Extra High High ISO NR: Low White Balance: Natural Light Auto WB Adjust: A0.0 G0.0 ISO: up to 6400
Nikon Zfc — B&W Film
Nikon Zfc — B&W Film
Nikon Zfc — B&W Film
Nikon Zfc — B&W Film
Vintage Agfacolor Fade
Nikon Zfc — Vintage Agfacolor Fade
Reminds me of Agfacolor slides from the 1930’s
Picture Control: Graphite Effect Level: 50 Quick Sharp: 0.00 Sharpening: 0.00 Mid-Range Sharpening: +1.00 Clarity: -2.00 Contrast: +1.00 Filter Effects: Red Toning: Blue Green 0.00 Active D-Lighting: High High ISO NR: Low White Balance: Incandescent WB Adjust: A6.0 M1.0 ISO: up to 3200
Nikon Zfc — Vintage Agfacolor Fade
Nikon Zfc — Vintage Agfacolor Fade
Nikon Zfc — Vintage Agfacolor Fade
Nikon Zfc — Vintage Agfacolor Fade
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Ice Cold Pepsi – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”
This Film Simulation Recipe is modeled after some prints I found in a box that I thought looked interesting. I didn’t initially know what film had been used, but after locating the negatives I discovered it was something called Kodak GT 800-3, and I had no idea what that was. After much sleuthing, I found out it was Kodak Max Zoom 800, also known as Max 800. The film was shot in 2006 (I believe by my wife), and it was the third and final iteration of the emulsion (this version was introduced in 2000). Max Zoom 800 was replaced in 2006 by the similar Max Versatility Plus 800 (which was around for five or six years before its discontinuation).
Kodak made Max 800 film for point-and-shoot and disposable cameras—specifically, they marketed it for point-and-shot cameras with a zoom lens, which exaggerated camera shake. It was a cheap high-ISO consumer color negative film intended for the novice. It had a large latitude for underexposure and (especially) overexposure, but color reproduction was a little different (some have said “bland” or “weird”) when compared to other Kodak films. Kodak intended the film to be printed on Ektacolor Edge paper, but my samples were printed on Fujicolor Crystal Archive paper (which certainly affects the aesthetic)—this recipe is modeled after my samples.
Winter Greenhouse – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”
This Kodak Max 800 recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Because it uses the Classic Negative film simulation and Clarity, it is not compatible with the X-T3 and X-T30, unfortunately. For those with the X-H2s, it’s my understanding that this recipe is completely compatible and renders near identically, but I have not tested it to know for certain. Those with newer GFX cameras can use it, too, although it will render a little differently.
Classic Negative Dynamic Range: DR400 Highlight: -2 Shadow: +1 Color: -1 Noise Reduction: -4 Sharpness: -2 Clarity: -4 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: 7300K, -5 Red & -2 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Kodak Max 800” Film Simulation Recipe on my Fujifilm X-E4:
Frozen Ponds at a Bird Refuge – Farmington, UT – Fujifilm X-E4
Winter Gate – Farmington, UT – Fujifilm X-E4
Open Gate – Farmington, UT – Fujifilm X-E4
Icy Marshland – Farmington, UT – Fujifilm X-E4
What Remains of Summer – Farmington, UT – Fujifilm X-E4
Winter Water – Farmington, UT – Fujifilm X-E4
Frozen Marsh Pond – Farmington, UT – Fujifilm X-E4
Nature Trail – Farmington, UT – Fujifilm X-E4
Green Truck – Farmington, UT – Fujifilm X-E4
Santa’s Sled – Farmington, UT – Fujifilm X-E4
Neighborhood Path in Winter – Farmington, UT – Fujifilm X-E4
Trail Closed – Farmington, UT – Fujifilm X-E4
No Shooting Past the Fence – Farmington, UT – Fujifilm X-E4
Pallets – Farmington, UT – Fujifilm X-E4
Inside Abandoned Shed – Farmington, UT – Fujifilm X-E4
Walking Tunnel – Farmington, UT – Fujifilm X-E4
Farm in the City – Farmington, UT – Fujifilm X-E4
Barnes & Noble Window – Farmington, UT – Fujifilm X-E4
Building Top in Last Light – Farmington, UT – Fujifilm X-E4
Buildings & Palms – Buckeye, AZ – Fujifilm X-E4
Backyard Garden Trumpets – Buckeye, AZ – Fujifilm X-E4
Illuminated Desert Shrub – 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!
Bell Tower – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Print”
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 that 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!
This recipe began when my wife suggested that I should try to emulate a certain look that she found. I wasn’t successful, but in my efforts I discovered these settings, which I thought looked interesting nonetheless. They remind me of vintage color prints—not from any specific film or process, but just my “memory color” (as Fujifilm puts it) of some old prints that I’ve seen in the past. It has almost a classic magazine quality to it, or even a bit of a post-card resemblance. Whatever it may or may not look like, it definitely has a vintage-like look that some of you might really appreciate.
All of these pictures were captured using manual vintage lenses, including—actually, mostly—a Helios 44-2. I also used a 5% CineBloom or 10% CineBloom filter with around half of them. I did this to help achieve an analog aesthetic. The use of vintage glass and diffusion filters aren’t required for this recipe, but you are certainly welcome to do so if you want—I think they help a little to take the digital edge off of the pictures.
This “Vintage Print” Early-Access Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Those with the X-H2s and newer GFX cameras can use it, too (results may vary, though). If you are a Fuji X Weekly App 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.
Example photographs, all camera-made JPEGs captured using this “Vintage Print” Film Simulation Recipe on my Fujifilm X-E4:
Big Storm Looming in the Background – Buckeye, AZ – Fujifilm X-E4
Lake, House – Litchfield Park, AZ – Fujifilm X-E4
Jon Is Happy – Litchfield Park, AZ – Fujifilm X-E4
Labyrinth Church – Litchfield Park, AZ – Fujifilm X-E4
Saguaro & Dust – Buckeye, AZ – Fujifilm X-E4
Twin Saguaros – Buckeye, AZ – Fujifilm X-E4
Saguaro as Seen Through a Saguaro – Buckeye, AZ – Fujifilm X-E4
Teddy Bear Cholla – Buckeye, AZ – Fujifilm X-E4
Desert Spikes – Buckeye, AZ – Fujifilm X-E4
Desert Barrel – Buckeye, AZ – Fujifilm X-E4
Trumpets Down – Buckeye, AZ – Fujifilm X-E4
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Cotton On – Farmington, UT – Fujifilm X100V – “Fujicolor Analog”
I was asked to recreate the look of a certain photographer, and I noticed that a lot of their photographs had a Classic Negative aesthetic, so I thought it would be easy to mimic. It turns out that this person shoots a lot of film, including (but not limited to) Fujicolor C200 and various Superia emulsions, as well as digital (but not Fujifilm, as far as I can tell), using RNI and perhaps some other filters or presets. Nothing said what each picture had been captured with, so it became difficult to recreate. After a little frustration, I decided to select only pictures with a certain aesthetic to attempt to emulate—I believe they might have been captured on a Superia emulsion, but they might not have been—they might not even be film! I think I was able to create a pretty close facsimile to this person’s aesthetic… at least one of the many various (but still somewhat similar) looks that this photographer has.
One film can have many different looks, depending on how it was shot, developed, and printed or scanned. I do believe this “Fujicolor Analog” recipe mimics the aesthetic of a Fujifilm color negative film, but which exact film, and how handled, is uncertain. What is certain is that this is a very nice recipe that some of you will love! This Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe; however, a different recipe has replaced it, and so now it’s available to everyone!
Noble Fir – Kaysville, UT – Fujifilm X100V
Because this recipe uses Classic Negative, Color Chrome FX Blue, and Clarity, it is only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras (and likely the X-H2s, too, although I have not tested it). I believe those with newer GFX cameras can also use it, although it will likely render slightly different. Unfortunately, it is not compatible with the X-T3 and X-T30 or older cameras.
Classic Negative Dynamic Range: DR400 Highlight: -1 Shadow: 0 Color: -3 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: 6900K, -5 Red & +5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Fujicolor Analog” Film Simulation Recipe on my Fujifilm X100V & Fujifilm X-E4 cameras:
Main St Market – Buckeye, AZ – Fujifilm X-E4
Backlit Bougainvillea Flower – Buckeye, AZ – Fujifilm X-E4
Cloud Behind Trees – Buckeye, AZ – Fujifilm X-E4
Pine Trunk – Kaysville, UT – Fujifilm X100V
Burly Ladder – Kaysville, UT – Fujifilm X100V
Red Lights – Kaysville, UT – Fujifilm X100V
Utah Reeds – Farmington, UT – Fujifilm X100V
Pine in the Sky – Farmington, UT – Fujifilm X100V
Withering Blooms – Orem, UT – Fujifilm X100V
Peaks Above The Gap – Orem, UT – Fujifilm X100V
Arts – Draper, UT – Fujifilm X100V
Stop Spreading Germs – Draper, 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!
Evening on Main – Buckeye, AZ – Fujifilm X-E4 – “Eterna Bleach Bypass”
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!
I was challenged by Thomas Schwab to create a Film Simulation Recipe that mimics the aesthetic of the picture in the background of Dan Bailey’s YouTube video discussing the Eterna Bleach Bypass film simulation. There were some challenges, including limited samples (which were viewed on a YouTube video), and the fact that I now live in Arizona and not Utah (no access to majestic snow-capped mountain scenes), but I do believe that I got in the ballpark. This is essentially a “black-and-white” recipe for color photography—capable of producing dramatic near-monochrome images.
Pacific Photographer – Pismo Beach, CA – Fujifilm X-E4
Because this “Eterna Bleach Bypass” recipe uses the Eterna Bleach Bypass film simulation, it is only compatible with those cameras that have it, which are the Fujifilm X-T4, X-S10, X-E4, and X-T30 II. I do believe that this recipe is fully compatible with X-Trans V (currently the X-H2s), but I have not tested it yet to know for certain. Those with newer GFX cameras can also use it, although it will likely render slightly different.
If you are a Fuji X Weekly Patron, this recipe is available to you right now on the App!
Example photographs, all camera-made JPEGs captured using this “Eterna Bleach Bypass” on my Fujifilm X-E4:
Suburban Roof Abstract – Buckeye, AZ – Fujifilm X-E4
CVS – Buckeye, AZ – Fujifilm X-E4
Climbing a Wall – Buckeye, AZ – Fujifilm X-E4
Wall Details – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Building Storm – Buckeye, AZ – Fujifilm X-E4
Clouds Above Mesa – St. George, UT – Fujifilm X-E4
Crashing Wave Along Coast – San Simeon, CA – Fujifilm X-E4
Backyard Garden Sunbeams – Buckeye, AZ – Fujifilm X-E4
This video is the viewer submitted photographs from SOOC Season 02 Episode 06. Yes, your wonderful pictures! The recipe-of-the-month was Fujicolor Pro 400H. I hope that you enjoyed shooting with it! Thank you to everyone who shared their images, to everyone who participated, and to everyone who tuned in!
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.
If you missed Episode 06 when it was live, you can watch it now (below):
The current recipe-of-the-month is Vintage Agfacolor. My recommendation with this recipe is to go dark by decreasing the exposure a little. Embrace the deep shadows! Vintage Agfacolor is compatible with X-Trans III cameras. If you have an X-T3 or X-T30, simply set Color Chrome Effect to Off. If you are using an X-Pro3 or newer camera, you’ll have to additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose either Grain size Small or Large (your choice). Remember to upload your images (click here) captured with the Vintage Agfacolor recipe by September 6th to be shown in the next broadcast, which will be on September 8th (mark your calendars now).
This is a complete aside, but my daughter, Joy, is really into animation. She’s still learning. She hopes to be an animator someday. She animated a little clip for Fuji X Weekly (below). She also made a short animation using the FlipaClip App as part of a remix challenge (FlipaRemix), which I’ve also included below. If you’re familiar with Studio Ghibli’s Howl’s Moving Castle, it should be instantly recognizable (yes, that’s Billy Crystal’s voice…).
When the Nikon Zfc was announced in 2021, I preordered it, and waited a long time for it to come. When it finally arrived, I pulled the Zfc out of the box and began to use it, and I was quickly disappointed. I said that it was most similar to the Fujifilm X-T200, yet significantly bigger, heavier, and more expensive. Still, I put the camera through its paces, and even created 11 Nikon Z Film Simulation Recipes using the Zfc. Then the camera went back into its box, and I strongly considered selling it.
After months and months of none-use, and after moving to a different state, I decided to give the Zfc one more try, but with a significant modification: I ditched the lousy Nikkor 28mm lens in favor of the TTArtisan 35mm f/1.4. Why? Because the TTArtisan lens has an aperture ring, and the Nikkor doesn’t. The TTArtisan lens is better optically than the Nikkor, too—I’m much happier with this setup.
Right now I’m working on my full-review of the TTArtisan 35mm f/1.4 lens, and that means using it. Initially on my Zfc I was using the recipes that I had already created, but then I decided to make a few new ones—I guess I couldn’t help myself. If you add these three to the 11 others, I now have 14 Film Simulation Recipes for Nikon Z cameras!
Obviously, I made these JPEG recipes on the Zfc, so it will render differently on the full-frame models, but I’m not sure exactly how differently, as I’ve never used a full-frame Z camera. The reports have been positive, though, so I assume that they work well, including on the more expensive bodies—I just have no first-hand experience.
For those who might not know what “Film Simulation Recipes” are, they’re JPEG camera settings that allow you to achieve various looks (mostly analog-inspired) straight-out-of-camera, no editing needed. It can save you a lot of time by simplifying your workflow, and it can make the process of creating photographs more enjoyable.
Vintage Teal
Nikon Zfc — Vintage Teal
Vintage mood with a deep-teal cast.
Picture Control: Sepia Effect Level: 40 Quick Sharp: 0.00 Sharpening: +1.00 Mid-Range Sharpening: +2.00 Clarity: -2.00 Contrast: +1.00 Filter Effects: Red Toning: 7.00 Active D-Lighting: High High ISO NR: Low White Balance: Cloudy WB Adjust: A1.0 G4.0 ISO: up to 3200
Nikon Zfc — Vintage Teal
Nikon Zfc — Vintage Teal
Nikon Zfc — Vintage Teal
Nikon Zfc — Vintage Teal
Redscale
Nikon Zfc — “Redscale”
Similar to Kodak Gold with the film spooled backwards (redscale).
Picture Control: Red Effect Level: 50 Quick Sharp: 0.00 Sharpening: -1.00 Mid-Range Sharpening: 0.00 Clarity: -1.00 Contrast: +2.00 Filter Effects: Green Toning: 6.00 Active D-Lighting: Normal High ISO NR: Low White Balance: Day White Fluorescent WB Adjust: B2.0 G4.0 ISO: up to 3200
Nikon Zfc — “Redscale”
Nikon Zfc — “Redscale”
Nikon Zfc — “Redscale”
Nikon Zfc — “Redscale”
Bright Negative
Nikon Zfc —“Bright Negative”
Reminiscent of brightly exposed color negative film.
Picture Control: Melancholic Effect Level: 100 Quick Sharp: 0.00 Sharpening: 0.00 Mid-Range Sharpening: +1.00 Clarity: -1.00 Contrast: +3.00 Saturation: +3.00 Active D-Lighting: High High ISO NR: Low White Balance: Daylight Fluorescent WB Adjust: A6.0 G6.0 ISO: up to 3200
Nikon Zfc —“Bright Negative”
Nikon Zfc —“Bright Negative”
Nikon Zfc —“Bright Negative”
Nikon Zfc —“Bright Negative”
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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!
I wanted to follow-up my interview with Troy Paiva (click here to read it), which wasn’t directly related to Fujifilm cameras and Film Simulation Recipes (although it was highly relatable), with something directly connected to the topics that are typically found on the Fuji X Weekly blog. Just as I was contemplating who I was going to interview and what the exact subject might be, I received a message from Matt Giesow of VAST Media, a photo and video production company in Tulsa, Oklahoma. “I have been running my production company for nearly five years now,” Matt told me, “and picking up a Fuji has been a breath of fresh air.” He stated that using Film Simulation Recipes on his camera allowed him to deliver some images immediately to the client, and that his JPEG workflow is “so nice.”
His words echoed in my head for the rest of that day. I felt similarly when I first started in Fujifilm: it was like a breath of fresh air—cool, crisp, mountain air. That was before I had even discovered the great JPEG output of the cameras, and before I had begun to make recipes. It must be even more refreshing nowadays, with so many resources available—such as Fuji X Weekly. It’s an honor to help others also experience that “fresh air” that Fujifilm cameras can provide. I knew that I wanted the next interview to be with Matt, so the following morning I asked if he’d be willing. Thankfully, he was very enthusiastic, and we were able to accomplish it rather quickly. So, without any further delay, here’s my interview with Matt Giesow!
Photo by Matt Giesow
FXW: Hi, Matt! Thank you so much for taking time out of your day today to do this interview! Let’s begin at the beginning. Tell me how you got started in photography?
Matt Giesow: Hey, Ritchie! I’m a self-taught photographer, dating back to 2017 from “YouTube University”—that, and being on staff at a pretty creative church in Tulsa, Oklahoma, created a great launching pad into the world of photography and videography.
FXW: What was your first camera?
Matt Giesow: An iPhone 4 and the VSCO app. My first camera purchased to learn photography on was the Canon 80D.
Photo by Matt Giesow
FXW: What were your early photographic interests?
Matt Giesow: I remember when instagram first came out, I tried to make my shots look like film using Insta’s built-in filters [laughter]. Today and I’m still interested in photographing people, places, and things with a nostalgic vintage look.
FXW: What are your current photographic interests? What do you shoot just for fun?
Matt Giesow: I enjoy street photography. Exploring cities—both ones I know and ones that I’ve not yet been to—and finding hidden gems to capture. I also enjoy photographing my family (I’m a proud dad), documenting all of our memories.
Photo by Matt Giesow
FXW: Tell me about your production company. How did you get started with that?
Matt Giesow: VAST Media started about four years ago with a desire for me to create what could exist. We primarily focus within architecture and the real estate market. I have grown the business from a solo entrepreneur to a full team and a full service company now. It’s been amazing to be a part of it from day one—with the vision of the company—to now continuing to work within the company and have several people alongside me helping to move it forward.
Photo by Matt Giesow
FXW: What services do you provide?
Matt Giesow: VAST provides real estate listing marketing, brand advertising, and full-scale video production for anyone—from a business owner to a real estate agent to major organizations—that need to share their brand and story.
FXW: What else would you like people to know about VAST Media?
Matt Giesow: What I want people to know is that VAST Media is more than a single person with a camera. From the moment it launched, my goal was to make it not about me but about we. Often people get stuck relying on one solo creative. I wanted to create a brand that, no matter who showed up from my team, was consistent, and the brand was apparent—it’s all under one umbrella, and the product was not contingent upon a single person.
Photo by Matt Giesow
FXW: What made you pick up a Fujifilm camera?
Matt Giesow: Shooting with Sony cameras throughout most of my professional career, I always wondered about owning a Fuji. This last year I began to experiment with 35mm film photography. I realized very quickly that I love the process of shooting film, but I always want my images right away [laughter]. I found the solution to my problem on the Fuji X Weekly website, where I discovered Film Simulation Recipes. I began to see what shooters like me were doing to scratch that itch. I headed to eBay and quickly found an overpriced Fujifilm X100V and went for it. The X100V is my first and only Fujifilm camera at the moment.
Photo by Matt Giesow
FXW: What do you like most about it?
Matt Giesow: It’s been a dream to shoot with! So small—it’s a daily carry. I find myself pulling the car off numerous times throughout the day to get out and snap something that, in the past, I would have used my iPhone to capture. I love shooting straight out of camera with the film simulations baked in. It’s totally changed the way I shoot! Enjoying the process now, something that only 35mm film had given me before.
FXW: Which Film Simulation Recipes do you like best and why?
Matt Giesow:Classic Negative is my go-to recipe in most scenarios for color. It fits the vibe and style that for years I tried to edit my Sony photos to look like. It’s perfect for street photography, travel—the reds are just gorgeous! Reggie’s Portra and Kodak Gold 200 are some other big favorites. For black-and-white, Ilford XP2 Super 400 is my go-to for darker, punchier pictures, and Ilford HP5 Plus 400 is my favorite for slightly softer, less contrasty black and white photos.
Photo by Matt Giesow
FXW: How has using Fujifilm cameras impacted your professional photography and your personal photography?
Matt Giesow: Honestly, picking up a FujiFilm camera has been a breath of fresh air. Over the years I’ve invested a great deal in filling our gear lockers at VAST Media, but I’ve never had a personal connection with a camera quite like I do with my X100V. For me, shooting with a fixed focal length, and working so hard to nail the perfect shot in-camera is causing me to sharpen areas of my craft that I didn’t even realize were dull. This in turn has kindled a new passion for photography that makes me feel like I did back in the beginning. The X100V doesn’t replace my ”professional” arsenal, but it’s a happy addition to every set I am on. The ability to take incredible behind-the-scenes photos on-set straight out of camera and deliver something right to the client’s hands before leaving is something very new—and I love it!
Photo by Matt Giesow
FXW: In wrapping this up, is there anything else you’d like to say?
Matt Giesow: A big “thank you” to you, Ritchie, for Fuji X Weekly! The Fuji community is just a different breed—friendly, helpful, and encouraging. It’s so great.
FXW: Thanks again, Matt, for allowing me to interview you!
Pops of Pink – Buckeye, AZ – Fujifilm X-H1 – “Melancholy Blue”
For this Film Simulation Recipe I wanted to combine the beautiful blues of the new Pacific Blues recipe with the dark moodiness of the Vintage Agfacolor recipe. The result is a slightly melancholic aesthetic that can also produce dramatic results in certain circumstances. It’s great for daylight photography—delivering interesting (yet quite dissimilar) results in both overcast and bright sunlight conditions, including Low Key photography—and it also seems like a good option for some artificial light situations. Despite its versatility, it’s not a recipe that everyone will love; however, I know that a few of you will really appreciate it.
Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change recipes. There aren’t very many recipes that use the Incandescent White Balance, but now you have another recipe option if you are using this method.
This “Melancholy Blue” Film Simulation Recipe is intended for Fujifilm X-Trans III cameras, plus the X-T3 and X-T30. I used it on my Fujifilm X-H1 and X-T30, and it did well on both. For newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to… either Small or Large, you’ll have to decide which you prefer.
Classic Chrome Dynamic Range: DR200 Highlight: +3 Shadow: -1 Color: -2 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: Incandescent, +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 “Melancholy Blue” Film Simulation Recipe on my Fujifilm X-T30 & Fujifilm X-H1 cameras:
Prickly Fruit – Buckeye, AZ – Fujifilm X-H1
Yellow on Top – Buckeye, AZ – Fujifilm X-H1
Dark Saguaro – Buckeye, AZ – Fujifilm X-H1
Buddies – Buckeye, AZ – Fujifilm X-H1
Lights Along A Wall – Buckeye, AZ – Fujifilm X-T30
Backyard Blooms – Buckeye, AZ – Fujifilm X-H1
Backlit Trumpets – Buckeye, AZ – Fujifilm X-H1
Twin Blooms – Buckeye, AZ – Fujifilm X-T30
Climbing Trumpets – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-H1
Block Wall Shadow – Buckeye, AZ – Fujifilm X-H1
Does Not Stop – Buckeye, AZ – Fujifilm X-H1
Roof Lines – Buckeye, AZ – Fujifilm X-T30
Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!
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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!
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – “Pacific Blues”
Sometimes—like “Arizona Analog“—Film Simulation Recipes come together quickly, and sometimes—like this recipe—they don’t. This particular recipe has been in the works for over a year! I’ve made several attempts, and I finally feel satisfied that it is right—or at least as “right” as I’m going to get it. But what is it?
I’ve had a few requests to mimic the aesthetic of Lucy Laucht‘s Spirit of Summer series, particularly the Positano Bluesphotographs. Lucy is most known for shooting with Leica cameras—both film and digital—but she also uses others, and I wasn’t sure what she employed for this project. Recently I discovered that Positano Blues was shot on film, but (as far as I’ve found) she doesn’t discuss which film. I did find a reference (not related to this specific project) that mentioned she has used Kodak Gold and Kodak Portra, and that she digitally edits the film scans to some degree. She mentions using VSCO with her digital images, and I wonder if she also utilizes it with her film, too. When I first saw the pictures in this series, I thought it had a Classic Negative vibe—a film simulation that emulates Fujicolor Superia film. Lucy’s pictures are warmer than Superia typically is, but so much depends on how a film is shot, developed, scanned, etc., on how exactly it looks, and she certainly could have used warming filter. No matter the film and process used by Lucy, there’s a certain “look” to the Positano Blues photographs that is recognizable and beautiful—no wonder why people want to emulate it!
Coast Blue – San Simeon, CA – Fujifilm X-E4 – “Pacific Blues”
While Lucy Laucht’s pictures have a recognizable aesthetic, there are subtle differences between the images. Once you study them closely, you realize that some are warmer and some are cooler. Colors are rendered slightly different in some pictures. In past attempts, I felt like I’d get it “right” for one picture but “wrong” for others; however, with this final attempt, I feel like it’s possible to get close to the “look” of most of the Positano Blues photos. I’m very satisfied with how this one turned out, and I know that many of you will appreciate it, too. Obviously it is intended for a summer day at the beach, but it will do well in many different daylight situations. This “Pacific Blues” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. I assume that it will also work on the X-H2s and newer GFX cameras, but I haven’t tried it to know for sure.
Classic Negative Dynamic Range: DR400 Highlight: -2 Shadow: +3 Color: +4 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome Effect Blue: Strong White Balance: 5800K, +1 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Pacific Blues” Film Simulation Recipe on a Fujifilm X-E4:
Pier Feet – Avila Beach, CA – Fujifilm X-E4
Water Taxi – Avila Beach, CA – Fujifilm X-E4
Harford Pier – Avila Beach, CA – Fujifilm X-E4
Bird & Boats – Avila Beach, CA – Fujifilm X-E4
Bird ‘Bout To Get Wet – San Simeon, CA – Fujifilm X-E4
Ocean Post – San Simeon, CA – Fujifilm X-E4
Pacific Plants – San Simeon, CA – Fujifilm X-E4
Rocks in the Water – San Simeon, CA – Fujifilm X-E4
Central California Coast – San Simeon, CA – Fujifilm X-E4
Grass in the Sand – Pismo Beach, CA – Fujifilm X-E4
Beach Frisbee – Pismo Beach, CA – Fujifilm X-E4
Sax at the Beach – Pismo Beach, CA – Fujifilm X-E4
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Building Storm Over Desert Ridge – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
Inspiration can come suddenly and unexpectedly, and it’s important to be open to it when it comes.
I was at the grocery store the other day, waiting in line to checkout, standing right next to the magazine stand. My wife points out the latest issue of Arizona Highways, which I previously subscribed to, but (with my move from Utah) I let the renewal lapse. She says, “Wanna get it?” I shake my head no, then begin to load the groceries onto the belt. I didn’t want to get it because the subscription price for a year is the same price as four issues at the stand, and because I’m pretty busy right now (still unpacking boxes and such) and I might not read it anyway.
“Do you mind getting me an iced coffee?” My wife asked a moment later. Then, pointing at the stuff on the belt, she stated, “I’ve got this.” There’s a Starbucks in the grocery store, and I was happy to jump out of the line and get a couple of coffees. A few minutes later, just as the barista was done with our order, my wife walks up with the basket of bagged groceries. Sitting right on top was the Arizona Highways magazine.
Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
When we got home, after unloading the car and putting everything away, I thumbed through the August issue. On page 10 was a photograph by Scott Baxter of a rancher wrangling cattle, which was in a small article called Sierra Bonita Ranch (the picture can be seen if you click the link—click on the picture to see the whole thing—I find it interesting how different it appears on my screen vs in the magazine). I grabbed my Fujifilm X-E4 and threw in some settings that I thought might be close.
I snapped a few photos in the yard, then showed my wife. “Those look good,” she said. “This is where I got the inspiration,” I stated as I showed her Scott’s picture in the magazine. She viewed the picture, then gave me a puzzled look. “We’ve only been home 10 minutes. You made this recipe from that picture?”
“Yes!” I replied with a smile. “Wow,” she said, “that’s really amazing!”
Suburban Americana – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”
This recipe isn’t a 100% accurate match to Scott’s picture—it’s pretty close, but not perfect. Not surprising, it’s closer to the printed aesthetic than the digital look, as I hadn’t yet seen it online when I created the recipe. I considered attempting to more closely replicate the aesthetic of the picture, but I really like the look of this recipe—accurate or not—so I decided not to change it. I have no idea what Scott used to capture his picture… apparently he shoots a mix of film and digital.
Thanks to Scott Baxter, Arizona Highways, and my wife’s thoughtful gesture, the inspiration for this recipe came quickly. It was one of the fastest recipes that I’ve ever created. Certainly it’s not for every person or every situation, but I’m sure for some of you in the right situations, you’ll appreciate the aesthetic that this “Arizona Analog” Film Simulation Recipe delivers. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras—I assume the new X-H2s, too, but I haven’t yet tested it on X-Trans V.
Eterna Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: -2 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: Daylight, +6 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Arizona Analog” Film Simulation Recipe on a Fujifilm X-E4:
Pavillion – Buckeye, AZ – Fujifilm X-E4
The New West – Buckeye, AZ – Fujifilm X-E4
Curved Trellis – Buckeye, AZ – Fujifilm X-E4
Evening Flowers – Buckeye, AZ – Fujifilm X-E4
Flower Garden Blossoms – Buckeye, AZ – Fujifilm X-E4
Real Bloom over Artificial Turf – Buckeye, AZ – Fujifilm X-E4
Trunk & Flowers – Buckeye, AZ – Fujifilm X-E4
Wall Flowers – Buckeye, AZ – Fujifilm X-E4
Fishhook Barrel Cactus Blossom – Mesa, AZ – Fujifilm X-E4
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Bougainvillea Color – Buckeye, AZ – Fujifilm X-Pro1 – “Faux Classic Chrome”
A little over two years ago I figured out how to replicate default Classic Chrome using the PRO Neg. Std film simulation. I published my findings in a blog post, to hopefully be helpful to those with cameras which don’t have the Classic Chrome film simulations, such as the X-Pro1, X-E1, X100, and X100S. I didn’t make this an official Film Simulation Recipe because it was just emulating Classic Chrome without adjustments (other than Noise Reduction), which I didn’t think was especially exciting; however, I recently found out that this recipe is being used and there’s a desire for it to be included in the Fuji X Weekly App. I’m simply turning those two-year-old settings into an official Fuji X Weekly Film Simulation Recipe.
If you want a recipe that resembles Classic Chrome with DR100, Highlight 0, Shadow 0, Color 0, Sharpness 0, and AWB (without a shift), this recipe is a good facsimile of that. It’s not possible to 100% faithfully mimic Classic Chrome without Classic Chrome, but these settings are pretty close, and as close as you’re likely going to get.
Laughing at a Joke – Goodyear, AZ – Fujifilm X-Pro1 – “Faux Classic Chrome”
I created these settings on an X-Trans II camera, but all of these images were captured on my Fujifilm X-Pro1. If you have an X-Trans I or X-Trans II sensor that doesn’t have Classic Chrome but does have PRO Neg. Std, you can use this recipe to approximate default Classic Chrome. The results are pretty decent; it’s a solid all-around recipe that’s good for a variety of subjects and situations.
PRO Neg. Std Dynamic Range: DR200 Highlight: +1 (Medium-Hard) Shadow: +1 (Medium-Hard) Color: +1 (Medium-High) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Auto, 0 Red & -1 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: 0 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Faux Classic Chrome” Film Simulation Recipe on a Fujifilm X-Pro1:
Midday Palm – Goodyear, AZ – Fujifilm X-Pro1
Building, Clouds – Goodyear, AZ – Fujifilm X-Pro1
Mostly Sunny Bougainvillea – Buckeye, AZ – Fujifilm X-Pro1
Garden Trumpets – Buckeye, AZ – Fujifilm X-Pro1
Reaching Garden – Buckeye, AZ – Fujifilm X-Pro1
Pergola Roof Design – Buckeye, AZ – Fujifilm X-Pro1
Pop of Pink – Buckeye, AZ – Fujifilm X-Pro1
Hiding Blooms – Buckeye, AZ – Fujifilm X-Pro1
Scraggly Bloom – Buckeye, AZ – Fujifilm X-Pro1
Josh Looking at Something – Buckeye, AZ – Fujifilm X-Pro1
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!
I wanted to make another recipe that uses the Fluorescent 2 (or “warm white fluorescent”) white balance. Why? Because this is a very underutilized and under appreciated option. I have only four other recipes that use it—Provia 400, Fujicolor Super HG, Super HG Astia, and Fujichrome Sensia 100—and those are all very good recipes. I didn’t have any specific film in mind when I made this, I was simply attempting something that looked good.
After shooting with it awhile, and looking at the pictures, the results looked familiar, but I couldn’t put a finger on it. I started digging through my old pictures, and wasn’t finding anything. Then I stumbled on a few Kodak Ektachrome E100GX frames, and the results were similar.
Ektachrome E100GX was a color transparency film made by Kodak from 2001-2009, and is what replaced E100SW. It was known for vibrant saturation, a warm color cast, and fine grain. It wasn’t quite as warm, vibrant, or sharp as E100SW, but overall very similar, yet with finer grain. Some people thought it was better than E100SW, some people thought it was worse. I liked E100SW a bit better, but E100GX was still a good film, particularly if you wanted something warm, colorful, and contrasty, but not overly so.
Intelligent Children – Bountiful, UT – Fujifilm X-T30 – “Ektachrome E100GX”
This recipe is compatible with Fujifilm X-Trans III, X-T3 and X-T30 cameras. For those with newer X-Trans IV cameras, to use this recipe simply set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Small.
Classic Chrome Dynamic Range: DR200 Highlight: -2 Shadow: +2 Color: +4 Noise Reduction: -4 Sharpness: -2 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: Fluorescent 2, -1 Red & -6 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +1
Example photographs, all camera-made JPEGs captured using this “Ektachrome E100GX” film simulation recipe on my Fujifilm X-T30 & Fujifilm X-H1 cameras:
Yellow Glow of Iowa – Bountiful, UT – Fujifilm X-T30
Sunlight Reflected on Window – Bountiful, UT – Fujifilm X-T30
Dark Red Tree & Partly Cloudy Sky – Ogden, UT – Fujifilm X-T30
Dead Leaves in a Dry Drinking Fountain – Bountiful, UT – Fujifilm X-T30
Small Waterfall – Ogden, UT – Fujifilm X-T30
Forest Graffiti – Ogden, UT – Fujifilm X-T30
Growing Out of the Side – Ogden, UT – Fujifilm X-T30
Two Boys Going Down a Trail – Ogden, UT – Fujifilm X-T30
Reflection in the River – Ogden, UT – Fujifilm X-T30
Left – Bountiful, UT – Fujifilm X-T30
Warm Pink Blooms – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-H1
Little Orange Flowers – Buckeye, AZ – Fujifilm X-H1
Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!
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Suburban Abstract – Buckeye, AZ – Fujifilm X-H1 – “Xpro”
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!
This “Xpro” Film Simulation Recipe came about after some experiments with white balance and shifts. It went through several iterations before I settled on these settings. The results remind me of cross-processed Fujichrome Sensia or perhaps Elite Chrome. Cross processing film (also called Xpro) is developing it in chemistry that it wasn’t intended to be developed in, most commonly color slide film (E6) in color negative film (C41) chemistry. Different films can give different results. I have several other cross-process inspired Film Simulation Recipes (here, here, here, and here); this one is simply a little different aesthetic.
Storm – Buckeye, AZ – Fujifilm X-H1 – “Xpro”
If you are a Fuji X Weekly App Patron, this “Xpro” Film Simulation Recipe is available to you right now on the App! Don’t have the App? Download it for free today! Become a Patron to unlock the best App experience and gain early access to this and other recipes.
Example photographs, all camera-made JPEGs captured using this “Xpro” Film Simulation Recipe on my Fujifilm X-H1:
Cactus Hotels – Buckeye, AZ – Fujifilm X-H1
Barrel Cactus – Buckeye, AZ – Fujifilm X-H1
Secret Garden Gate – Buckeye, AZ – Fujifilm X-H1
Don’t, This Way – Buckeye, AZ – Fujifilm X-H1
Light Bulb – Buckeye, AZ – Fujifilm X-H1
Closed Window – Buckeye, AZ – Fujifilm X-H1
Pigeon Pipe – Buckeye, AZ – Fujifilm X-H1
Pergola in the Rain – Buckeye, AZ – Fujifilm X-H1
Arizona Architecture – Buckeye, AZ – Fujifilm X-H1
Hanging Blossoms – Buckeye, AZ – Fujifilm X-H1
Dark Flowers – Buckeye, AZ – Fujifilm X-H1
Light Pink with Green – Buckeye, AZ – Fujifilm X-H1
Great American Fish – Morro Bay, CA – Fujifilm X-E4 – “Kodak Portra 400 v2”
I thought it would be interesting to compare Kodak-inspired Film Simulation Recipes on my Fujifilm X-E4. So I pulled out my phone, opened the Fuji X Weekly App, and selected Filter by Sensor (choosing both X-Trans III & X-Trans IV) and Filter by Color. Then I used the Search feature to find all of the recipes with “Koda” in the name—I didn’t search for “Kodak” because Kodachrome would have been excluded. The App displayed 36 recipes. Some recipes, like Reggie’s Portra, Old Ektachrome, and Elite Chrome 200, didn’t show up because “Koda” isn’t found anywhere in the recipe title, despite the Kodak-inspired aesthetic, so I had to search those out separately. Then I reprocessed an exposure (captured in Morro Bay, California) on my X-E4 with all of these recipes.
Let’s take a look at how these 41 Kodak-inspired Film Simulation Recipes compare to each other!
Note: This article was a part of the Creative Collective, but now it’s available to everyone.
A little note about the methodology before we dive in. Not all of the recipes are 100% compatible with the X-E4. Those recipes intended for X-Trans III and the X-T3 & X-T30 cameras need some modifications in order to be used on newer X-Trans IV cameras. For those recipes that don’t call for Color Chrome Effect and/or Color Chrome FX Blue, I set those to Off. For those recipes that don’t call for Clarity, I set that to 0. For those recipes that don’t call for a certain Grain size (Small or Large), I did this: if the recipe required Weak Grain I set the size to Small, and if it required Strong, I set the size to Large—the only exception that I made was Stephen Shore Kodacolor because it’s supposed to be based on medium-format film, so I set Grain to Strong Small (and not Strong Large). This might not have been the best way to deal with Grain size, but it’s what I did. For those recipes that call for DR-Auto, I chose DR200 because I believe that’s what the camera would have chose in this instance.
There are two recipes that I didn’t use for this project. The original Kodak Portra 400 recipe requires a difficult Custom White Balance, which I don’t have set in my X-E4, so I didn’t use it. The Portra-Style recipe uses D-Range Priority, and I couldn’t reprocess the file to that recipe because I didn’t capture it using D-Range Priority—the option is greyed out. So those two recipes weren’t used in this article. Including the Bright Summer recipe was maybe a stretch, as it wasn’t based on a Kodak stock, but instead based off of a look that’s loosely based on a Kodak stock.
Because there are so many recipes to compare, I have divided them into different six groups. There’s Kodachrome, Portra, Kodacolor, Other Kodak Negative, Other Kodak Slide, and Other Kodak. Let’s dive in!
I hope that there are a few recipes in this article that jumped out at you as ones you want to try. Perhaps the way a certain recipe rendered this scene is particularly interesting to you. If so, let me know in the comments! It’s really fascinating that so many different looks—some only very subtly different and some quite drastically divergent—can be produced straight-out-of-camera, mostly using the Classic Chrome film simulation.
Which of these recipes is a current favorite of yours? Kodachrome 64? Kodak Portra 400? I’d love to know that, too!
Thomas told me that this “Pure Negative” recipe is basically a modification of his X-Trans I Kodachrome II recipe for use on X-Trans IV cameras. Because X-Trans I doesn’t have Classic Chrome, Thomas used the PRO Neg. Std film simulation to emulate a Kodachrome aesthetic as best as possible, and his recipe does a good job of that for the X-Pro1 and X-E1 cameras. There are already several excellent Kodachrome options for X-Trans IV; this recipe isn’t intended to replicate Kodachrome, but instead produce good natural-looking results—perhaps there is a little unintentional Kodachrome 25 resemblance, too. Thank you, Thomas, for creating this recipe and allowing me to share it on Fuji X Weekly!
This Film Simulation Recipe is a great general-purpose option. It’s very versatile, delivering excellent results in a variety of situations. The only modification that I made to Thomas’ recipe is Dynamic Range: he prefers DR-Auto, but I set it to DR200. That’s not a big change, as DR-Auto chooses DR200 whenever there is bright highlights in the frame. Select whichever you prefer—either DR-Auto or DR200 is fine. For the Fujifilm X-T3 and X-T30 cameras, ignore Grain size and use a 5% CineBloom in lieu of Clarity (or just ignore Clarity)—the results will be similar. For X-Trans III, you’ll additionally have to ignore Color Chrome Effect, since your camera doesn’t have it. This recipe should be fully compatible with the new X-H2s, although I have not tested it to know for certain.
PRO Neg. Std Dynamic Range: DR200 Highlight: +1 Shadow: +2 Color: -4 Noise Reduction: -4 Sharpness: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Off White Balance: Auto, +1 Red & -2 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Pure Negative” Film Simulation Recipe on a Fujifilm X-E4:
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-E4
One Blossom Remains – Buckeye, AZ – Fujifilm X-E4
Prickly Pear – Goodyear, AZ – Fujifilm X-E4
Arching Palms – Goodyear, AZ – Fujifilm X-E4
Veiled Wasatch – Layton, UT – Fujifilm X-E4
Teenage Mutant Ninja Turtle – Layton, UT – Fujifilm X-E4
Pismo – Pismo Beach, CA – Fujifilm X-E4
Brad’s – Pismo Beach, CA – Fujifilm X-E4
Turbulent Waters – Pismo Beach, CA – Fujifilm X-E4
Wave Rider – Pismo Beach, CA – Fujifilm X-E4
Surfer – Pismo Beach, CA – Fujifilm X-E4
Standing on Water – Pismo Beach, CA – Fujifilm X-E4
Golden Ocean – Pismo Beach, CA – Fujifilm X-E4
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