Film Simulation

Copenhagen Negative — A Fujifilm Recipe for Fifth-Generation Cameras

Posted on by Ritchie Roesch

Baltic View – Greve, Denmark – Fujifilm X-E5 – Copenhagen Negative

A few months back, Fujifilm invited me to Fujikina Copenhagen. They wanted me to lead a couple of photowalks, give a brief presentation on Film Simulations and Fujifilm Recipes, and to display six of my photos on a wall at the event. They also asked if I could create a brand-new Recipe made for Copenhagen, which would be revealed at Fujikina. Of course I said yes! It was an incredible honor to be at Fujikina. It was a great experience, and I loved meeting a number of you in-person. I just got back home, and I wanted to get this Recipe published right away.

After some research and experiments, I narrowed it down to three options: one that was especially vibrant, one that matched some film scans someone made in Denmark, and one that was a variant of the middle option. I tested and refined each of them, and tested and refined some more. Then I put all three to a larger test. After reviewing the results, I knew right away the winner, which is this Recipe (the third option). I named it Copenhagen Negative in honor of the city that it is intended for. This Recipe has become one of my favorites, and I know that many of you will love it, too.

Docked Boats – Avalon, CA – Fujifilm GFX100RF – Copenhagen Negative

The two Fujifilm Recipes that Copenhagen Negative beat out have already been published. The vibrant one is called Vivid Chrome, and the middle option is called Avalon Ace. I really like those Recipes, too, and used both of them in Copenhagen. They would have been good choices for this project, but Copenhagen Negative edged them out, so it has the honor of being the only Recipe to ever be unveiled at a Fujikina event. Those who attended Fujikina Copenhagen have already had access to this Recipe for over a week.

Copenhagen Negative is great for sunny daylight, cloudy days, fog, natural light indoors, and golden hour. It’s not a good option for artificial light, though, so I would avoid it for nighttime photography. It works well for landscapes, urban scenes, street photography, still-life, portraits, and I’m sure many other genres. I have enjoyed using this Recipe over the last couple of months—in fact, even though I included a ton of sample pictures in this article, I left a whole bunch out that I would have liked to include, just because there were way too many pictures.

Graffiti Wall – Copenhagen, Denmark – Fujifilm X-E5 – Copenhagen Negative

This Copenhagen Negative Recipe is compatible with all fifth-generation X-series cameras, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It works well on the latest GFX cameras, like the GFX100 II, GFX100S II, and GFX100RF. You can use it on “newer” fourth-generation cameras like the X-T4, X-S10, X-E4, and X-T30 II; however, it will render slightly different (don’t be afraid to try it, though). This Recipe works great with a little underexposure. Keep an eye out on the highlights, being careful not to blow them out.

Film Simulation: Classic Negative
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: 5700K, +1 Red & +1 Blue
Dynamic Range: DR400
Highlight: +2.5
Shadow: -2
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to -2/3 (typically)

Example photographs, all camera-made JPEGs using this Copenhagen Negative Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:

Red Boat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Tour Boat – Copenhagen, Denmark – Fujifilm GFX100RF
Strolling Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Yellow Tricycle – Avalon, CA – Fujifilm GFX100S II
Houses on a Hill – Avalon, CA – Fujifilm GFX100S II
House on a Foggy Hill – Avalon, CA – Fujifilm GFX100S II
Light Pouring through Lifting Fog – Avalon, CA – Fujifilm X-E5
Fogbow – Avalon, CA – Fujifilm GFX100RF
Shoreboats – Avalon, CA – Fujifilm X-E5
Waterfront – Avalon, CA – Fujifilm GFX100RF
Seaweed – Greve, Copenhagen – Fujifilm X-E5
Pond – Greve, Denmark – Fujifilm X-E5
Path in the Grass – Greve, Denmark – Fujifilm X-E5
Spiral Stairs – Copenhagen, Denmark – Fujifilm X-E5
Light Pouring Over Graffiti – Copenhagen, Denmark – Fujifilm X-E5
Smoker – Copenhagen, Denmark – Fujifilm X-E5
Nicklas – Copenhagen, Denmark – Fujifilm GFX100RF
QuickSnap Panorama – Copenhagen, Denmark – Fujifilm GFX100RF
Serving Chicken – Copenhagen, Denmark – Fujifilm X-E5
Bicycles – Copenhagen, Denmark – Fujifilm X-E5
Vibe – Copenhagen, Denmark – Fujifilm GFX100RF
Fujikina Posters – Copenhagen, Denmark – Fujifilm X-E5
Doorway & Windows – Copenhagen, Denmark – Fujifilm X-E5
Window Seats – Copenhagen, Denmark – Fujifilm X-E5
Window Shopping – Copenhagen, Denmark – Fujifilm X-E5
Studio Space – Copenhagen, Denmark – Fujifilm X-E5
Red Windows Behind Fence – Copenhagen, Denmark – Fujifilm X-E5
Yellow Bike – Copenhagen, Denmark – Fujifilm X-E5
Kiosk – Copenhagen, Denmark – Fujifilm X-E5
Round Tower Replica – Solvang, CA – Fujifilm GFX100S II
Rooflines – Solvang, CA – Fujifilm GFX100S II
Rooftop Sunset – Solvang, CA – Fujifilm GFX100S II
Hamlet Square – Solvang, CA – Fujifilm GFX100RF
Spring Flower Garden – Solvang, CA – Fujifilm GFX100RF
Red Blossoming Flower – Avalon, CA – Fujifilm GFX100RF
Field of Blossomed Flowers – Buellton, CA – Fujifilm GFX100S II
Tree & Golden Light – Copenhagen, Denmark – Fujifilm X-E5
Sunstar Over Urban Tree – Copenhagen, Denmark – Fujifilm X-E5
Sunlight Through the Ceiling – Greve, Denmark – Fujifilm X-E5
White Bicycle – Copenhagen, Denmark – Fujifilm X-E5
Boyz B2 Bike – Copenhagen, Denmark – Fujifilm X-E5
Spray Painted Van – Denmark, Copenhagen – Fujifilm X-E5
Redeye – Copenhagen, Denmark – Fujifilm X-E5
Bike Path – Copenhagen, Denmark – Fujifilm GFX100RF
Gasoline Grill – Copenhagen, Denmark – Fujifilm GFX100RF
Canal at Sunset – Copenhagen, Denmark – Fujifilm GFX100RF

Find this Fujifilm Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Introducing Video Recipes for Fujifilm Cameras!

Posted on by Ritchie Roesch

I’m thrilled to finally release an exciting project that has been in the works for over a year: Video Recipes for Fujifilm cameras! This has taken tremendous effort to complete. Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. A lot of care went into them. I’m extremely happy to share these new Recipes with you today.

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be 100% exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

I just published eight brand-new video Recipes. All of them are compatible with fifth-generation cameras (Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), while some can also be used with fourth-generation models. Additionally, these Recipes are compatible with newer GFX cameras, like the GFX100 II, GFX100S II, GFX100RF, and Eterna 55. If you are a video content creator who wants to take advantage of Fujifilm’s excellent colors and spend less time—or even eliminate—color grading, these Video Recipes are for you!

All of the footage in the sample videos are straight-out-of-camera, completely unedited other than length (and sometimes cropped and/or stabilized). The clips were not color graded or manipulated. If you were to use these Recipes for your cinematography, you can expect the same type of results. What you see is what you’ll get.

This Video Recipe project was a team effort. I developed the Recipes myself with input and feedback from my lovely wife, Amanda. The footage in the sample videos were made by several creators, who I’ll introduce in just a moment. Amanda edited all of clips into YouTube videos. The Fuji X Weekly App had to be modified, made possible by the talents of my app developer, Sahand Nayebaziz.

Now, let’s take a look at the six Video Recipes!

Chrome Color

The Chrome Color Video Recipe is warm and subtly colorful, with a strong Kodak-like aesthetic. It’s great for a summertime vibe. While it’s especially good for sunny daylight situations, it’s also quite versatile, and can be used anytime of the day or night.

Reala Color

The Reala Color Video Recipe is warm, light, and vibrant—yet somehow true-to-life—with an analog feel. It’s quite versatile, and can be used anytime of the day or night.

Nostalgic Color

The Nostalgic Color Video Recipe is soft, warm, and slightly muted—an aesthetic that feels like a memory. This Recipe evokes nostalgia, and is quite versatile.

Natural Negative

The Natural Negative Video Recipe is soft, light, and warm, yet true-to-life. It has a strong cinematic feel. This Recipe is extremely versatile, great for day or night or any other light situation.

Retro Fujicolor

The Retro Fujicolor Video Recipe is muted and contrasty, with a vintage Fujicolor look reminiscent of the ’80’s and ’90’s. The Recipe is highly versatile, and can be used anytime of the day or night.

Vivid Fujichrome

The Vivid Fujichrome Video Recipe is vibrant and leans warm; slightly contrasty with deep blacks. This is a bold Recipe for colorful subjects, and has a distinctive Velvia quality. It’s specifically intended for sunny daylight, but it can sometimes produce good results in other light situations. It’s especially great for sunset and blue hour.

Retro Cinematic

The Retro Cinematic Video Recipe emphasizes both warm and cool tones. In the right light, it almost has a split-tone effect. Depending on the situation, it can appear to have a warm cast or a cool cast. While this Recipe is intended for use in sunny daylight, it’s great for showcasing the blues of twilight and for emphasizing the warmth of artificial light.

Vision Daylight

The Vision Daylight Video Recipe is warm, somewhat contrasty (yet with great tonality), and subtly colorful—very summer-like—with a cinematic feel. It has a strong Kodak-esque motion picture aesthetic. This Recipe is specifically intended for sunny daylight situations, but can be interesting in other light, too.

Now let’s meet the cinematographers! I want to give a big shoutout and thank you to them, as they each played an important role in this project. Also, I want to give a special acknowledgement to my wife, Amanda, who produced the sample videos above, and was instrumental in this whole project—without her, none of this would have happened.

Kyler Steele

A New York City-based travel photographer and videographer, Kyler’s content evokes a feeling of nostalgia through his use of color and composition. He has collaborated with Hasselblad, Leica, and Fujifilm. His reviews, guides, newsletter, and educational content are popular on Instagram and YouTube.

AV

Austin, also known as AV and AVdidit, is a New York City-based landscape and travel photographer and videographer who aims to capture the emotion or atmosphere of a scene rather than strict realism. He has worked with B&H, Fujifilm, OM Systems, Cruise America, and more. You can find him on Instagram and YouTube.

Dave Geffin

A New York City-based photographer and cinematographer, Dave has worked with Fujifilm, Adidas, Amazon, Phase One, Elle, Harpers Bazaar, Cosmopolitan, and many, many more. Dave has extensive experience with fashion, commercial, and editorial clients around the world.

B.Monét

B.Monét is an award-winning writer and director, who’s various short films have screened in dozens of film festivals and streamed on BET, Hulu, and Max. She has worked with Levi’s, Estée Lauder, Disney, Uber, and more.

Sahand Nayebaziz

Sahand is a Los Angeles-based portrait photographer and filmmaker since 2011. He’s also an app developer, and a vital part of the Fuji X Weekly team for over six years.

Jeffrey Sun

Jeffrey is an up-and-coming New York City-based photographer, content creator, and YouTuber who specializes in street and travel images. He has worked with various musicians, events, and brands, including Fujifilm.

Chrome Color — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Chrome Color Recipe looks like. I would describe it as warm and subtly colorful, with a strong Kodak-like aesthetic. It’s great for a summertime vibe. While it’s especially good for sunny daylight situations, it’s also quite versatile, and can be used anytime of the day or night.

Chrome Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Chrome Color Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

***Update: The Chrome Color Recipe was initially published on this website with incorrect parameters (however, it was correct in the Fuji X Weekly App). It has now been fixed below. I apologize for this mistake.***

Film Simulation: Classic Chrome
White Balance: Auto, +2 Red & -4 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1.5
Color: +3
Sharpness: 0
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Sahand Nayebaziz, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Reala Color — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Reala Color Recipe looks like. I would describe it as warm, light, and vibrant—yet somehow true-to-life—with an analog feel. It’s quite versatile, and can be used anytime of the day or night.

Reala Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Reala Color Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

***Update: The Chrome Color Recipe was initially published on this website with incorrect parameters (however, it was correct in the Fuji X Weekly App). It has now been fixed below. I apologize for this mistake.***

Film Simulation: Reala Ace
White Balance: Auto, 0 Red & -3 Blue
Dynamic Range: DR400
Highlight: +1
Shadow: -1
Color: +3
Sharpness: -1
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, Sahand Nayebaziz, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Nostalgic Color — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

This is the Recipe that began the whole Video Recipe project. Early last year, my family and I participated in a 72-hour short film challenge. We had three days to write, record, edit, and submit a five minute short film. The overall theme (heroic), some dialog that must be included (“This better be useful”), and a prop that must be used (a sticky note) were not given until the very start of the 72 hours, so we couldn’t preplan much. The short film was a team effort—probably my biggest contribution was the Video Recipe. Prior to this, we primary used Reggie’s Portra for videography (ignoring the settings unavailable in Move Mode), but we wanted a softer, warmer, more muted aesthetic for this movie (something that seemed more like a memory), to better convey the intended feelings. There were nine contest entries, all of which were played in a local movie theater. To our surprise, we won Best Film (and several other trophies). If you are interested, it’s called Will You Play With Me? (click here to watch). Amanda recorded most of the clips, and all of it was filmed on an X-T5 using this Nostalgic Color Recipe.

From there, I was inspired to create even more Video Recipes for Fujifilm cameras. Nostalgic Color was the first, so it has a special place in my heart. It’s quite versatile. The aesthetic of this Recipe evokes nostalgia. I can imagine a full-length documentary filmed with this someday—in fact, the inspiration for this Recipe came from some shots in the documentary American Symphony. The YouTube video that I’ve embedded below is a good sampling of what the Nostalgic Color Recipe looks like.

Nostalgic Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Nostalgic Color Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Nostalgic Neg.
White Balance: Auto Ambiance Priority, +3 Red & -3 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: -2
Sharpness: 0
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Natural Negative — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Natural Negative Recipe looks like. I would describe it as soft, light, and warm, yet true-to-life. It has a strong cinematic feel. This Recipe is extremely versatile, great for day or night or any other light situation.

Natural Negative is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Natural Negative Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II, as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Eterna
White Balance: Auto White Priority, +2 Red & -4 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: +1
Color: +2
Sharpness: -1
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 12800

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Retro Fujicolor — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

The Retro Fujicolor Video Recipe is my personal favorite for videography. My wife, Amanda, used this Recipe for two Fuji X Weekly YouTube videos last year: Fujifilm X-E5 + 11 Recipes — Roadtrip to the Oldest Building in Arizona and California Coast in Infrared — Fujifilm X-T4 ES & Aerochrome v2 Recipe. It was inspired by old television shows and commercials filmed on Fujifilm’s AX, A, and F motion picture films in the ’80’s and ’90’s. It has a muted and contrasty vintage Fujicolor look. I especially love how greens and blues are rendered. The YouTube video that I’ve embedded below is a good sampling of what the Retro Fujicolor Recipe looks like.

Retro Fujicolor is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Retro Fujicolor Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II, as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Classic Negative
White Balance: Auto White Priority, -1 Red & -3 Blue
Dynamic Range: DR400
Highlight: -1.5
Shadow: -1.5
Color: -1
Sharpness: -2
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Sahand Nayebaziz, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Vision Daylight — A FXW App Patron Early-Access Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vision Daylight Recipe looks like. I would describe it as warm (with a hint of green), somewhat contrasty (yet with great tonality), and subtly colorful—very summer-like—with a cinematic feel. It has a strong Kodak-esque motion picture aesthetic. This Recipe is specifically intended for sunny daylight situations, but can be interesting in other light, too.

The Vision Daylight Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. This is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vision Daylight Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips.Footage by AV, Dave Geffin, Sahand Nayebaziz, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Retro Cinematic — A FXW App Patron Early-Access Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

What I love about the Retro Cinematic Video Recipe is that it emphasizes both warm and cool tones. In the right light, it almost has a split-tone effect. Depending on the situation, it can appear to have a warm cast or a cool cast. While this Recipe is intended for use in sunny daylight, it can also be great for showcasing the blues of twilight and for emphasizing the warmth of artificial light. The Retro Cinematic Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. The YouTube video that I’ve embedded below is a good sampling of what the Retro Cinematic Recipe looks like.

Retro Cinematic is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Retro Cinematic Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Vivid Fujichrome — A Video Recipe for Fujifilm Cameras

Posted on by Ritchie Roesch

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vivid Fujichrome Recipe looks like. I would describe it as vibrant and leaning warm; slightly contrasty with deep blacks. This is a bold Recipe for colorful subjects, and has a distinctive Velvia quality. It’s specifically intended for sunny daylight, but it can sometimes produce good results in other light situations. It’s especially great for sunset and blue hour.

Vivid Fujichrome is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vivid Fujichrome Recipe is compatible with most fourth-generation Fujifilm cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with many GFX cameras, too.

Film Simulation: Velvia
White Balance: 5000K, +2 Red & 0 Blue
Dynamic Range: DR200
Highlight: -1
Shadow: -2
Color: +2
Sharpness: 0
High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Summer of ’59 — A Fujifilm Recipe for Fifth-Generation Cameras

Posted on by Ritchie Roesch

Stop Time – Buckeye, AZ – Fujifilm X-T5 – Summer of ’59

This Fujifilm Recipe began as an attempt to recreate the aesthetic of some of Saul Leiter’s color photographs from the 1950’s and early-1960’s, particularly images like Paris 1959, Foot on El 1954, Bus 1954, San Carlo Restaurant 1952, Taxi 1957, Near the Tanager 1954, Phone Call 1957, and Pipes 1960—among others—with the greatest emphasis on Paris 1959. While I don’t think it’s possible to faithfully reproduce that look exactly on Fujifilm cameras, this Summer of ’59 Recipe is definitely at times pretty darn close. Also, some of Saul’s other photographs from that same era had a divergent aesthetic, and this Recipe isn’t good for replicating those.

During this time, Saul Leiter was using the first era of Kodachrome film. Something interesting that I learned while researching this is that Saul preferred shooting Kodachrome that was past the expiration date. He liked the way the film looked when expired, and especially the serendipity of not knowing what the precise aesthetic was going to be. An alternative name for this Fujifilm Recipe could be Expired Vintage Kodachrome.

Fountain at Dusk – Buckeye, AZ – Fujifilm X100VI – Summer of ’59

Saul Leiter liked reflections, shooting through glass, and using layers. He kept his eyes out for catchy colors. He wasn’t afraid of shadows. His favorite lenses were telephoto, particularly 90mm and 150mm. If you are really trying to replicate his look, those are things you’ll want to consider. Vintage lenses will likely help, too (although I didn’t use vintage glass for these images).

This Summer of ’59 Recipe isn’t new—it was an App Patron Early-Access Recipe, and Patrons have had access to it for the last two years. Now that it has been replaced by a different Early-Access Recipe, it’s freely available to everyone. I really like this one, personally, and use it from time-to-time. My wife, Amanda, used it recently, too, and she seemed to really like it. I never intended for Summer of ’59 to be unavailable to everyone for so long, and I’m working to improve that going forward. In the meantime, I hope that you enjoy this Recipe.

Mint Chocolate Shake – Avondale, AZ – Fujifilm X-T5 – Summer of ’59

This Recipe is fully compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It can also be used on the latest GFX models: GFX100 II, GFX100S II, and GFX100RF. You can also use this on “newer” fourth-generation cameras (X-T4, X-S10, X-E4, and X-T30 II), but it will render very slightly different (try it anyway!). One consideration is White Balance Shift: I wen’t back-and-forth on both Red and Blue, and I think +5 Red could alternatively be used, and/or -7 Blue could be alternatively used. All of the sample pictures in this article are with the WB Shift as published, and not the divergent options mentioned above.

Film Simulation: Eterna
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: Auto, +4 Red & -8 Blue
Dynamic Range: DR400
Highlight: +3
Shadow: +0.5
Color: 0
Sharpness: -1
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: -2/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this Summer of ’59 Film Simulation Recipe on a Fujifilm X-T5 and X100VI:

All Way Stop – Phoenix, AZ – Fujifilm X100VI
Hanging Glass – Buckeye, AZ – Fujifilm X-T5
Falling Water in a Fountain – Buckeye, AZ – Fujifilm X-T5
Lion Water – Buckeye, AZ – Fujifilm X-T5
Pet Waste Station – Buckeye, AZ – Fujifilm X-T5
Red & White Blooms – Buckeye, AZ – Fujifilm X-T5
Bougainville & Palm Tree Trunk – Buckeye, AZ – Fujifilm X-T5
Summertime Feelings – Buckeye, AZ – Fujifilm X-T5
Founder’s Day Weekend – Buckeye, AZ – Fujifilm X-T5
Blue Flags – Buckeye, AZ – Fujifilm X-T5
Power Lines – Avondale, AZ – Fujifilm X-T5
An Arizona Home – Buckeye, AZ – Fujifilm X-T5
Corner – Buckeye, AZ – Fujifilm X-T5
Yellow Car – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along a Sidewalk – Buckeye, AZ – Fujifilm X-T5
Santa Coffee – Buckeye, AZ – Fujifilm X100VI
Jogger – Buckeye, AZ – Fujifilm X-T5
CVS Pharmacy Sign – Buckeye, AZ – Fujifilm X-T5
Next Time – Avondale, AZ – Fujifilm X-T5
Sunlit Lamp – Buckeye, AZ – Fujifilm X-T5
Fake House Plant – Buckeye, AZ – Fujifilm X-T5
Bedroom Plant – Buckeye, AZ – Fujifilm X-T5
1000 Record Covers – Buckeye, AZ – Fujifilm X-T5
Fountain Pot – Buckeye, AZ – Fujifilm X-T5
Jo in the Backyard – Buckeye, AZ – Fujifilm X-T5
Bench End – Goodyear, AZ – Fujifilm X-T5
Twin Seats – Goodyear, AZ – Fujifilm X-T5
Fashion – Buckeye, AZ – Fujifilm X-T5
Outdoor Potted Plant – Buckeye, AZ – Fujifilm X-T5
Desert Cactus Landscape – Buckeye, AZ – Fujifilm X-T5
The Boys – Buckeye, AZ – Fujifilm X-T5
Red Hots – Avondale, AZ – Fujifilm X-T5
Protection – Avondale, AZ – Fujifilm X-T5
Pick Up – Avondale, AZ – Fujifilm X-T5

Find this Fujifilm Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

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

Fujifilm X100VI in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-T5 in silver:
Amazon, B&H, Moment, Nuzira

Kodak Emulsion — A Fujifilm Recipe for X-Trans IV Cameras

Posted on by Ritchie Roesch

Blooms by the Pavilion – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe

I love this Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great! Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.

This was a Fuji X Weekly App Patron Early-Access Recipe, but now it’s freely available because a new Early-Access Recipe has replaced it. So this isn’t a new Recipe, only newly available to everyone. 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!

Fallen Giant – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe

This Kodak Emulsion Recipe is compatible with all “newer” fourth-generation Fujifilm cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; however, not the X-T3 or X-T30). Technically it is compatible with fifth-generation models, but, because X-Trans V renders blue more deeply on some film simulations, it will look very slightly different (probably not a big enough difference that you’ll notice or care, so give it a try!). This Recipe is best for sunny daylight conditions, but it can be good in other natural light situations, too.

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

Example photographs, all camera-made JPEGs using this Kodak Emulsion Recipe on my Fujifilm X100V:

Autumn Sun – Buckeye, AZ – Fujifilm X100V
Autumn Tree Leaves on a Shrub – Buckeye, AZ – Fujifilm X100V
Minolta SLR – Buckeye, AZ – Fujifilm X100V
Homework – Buckeye, AZ – Fujifilm X100V – Flash On
Vines Along a Shaded Wall – Buckeye, AZ – Fujifilm X100V
Sunlit Table & Chairs – Buckeye, AZ – Fujifilm X100V
Potted Flowers & Pavilion – Buckeye, AZ – Fujifilm X100V
Flowers at a Neighborhood Park – Buckeye, AZ – Fujifilm X100V
Palm Tree & White Building – Buckeye, AZ – Fujifilm X100V
Hanging Lightbulbs – Buckeye, AZ – Fujifilm X100V
Flag in the Wind – Buckeye, AZ – Fujifilm X100V
Bougainvillea Branch on a Bright Day – Buckeye, AZ – Fujifilm X100V
Yellow Wildflowers in the Desert – Buckeye, AZ – Fujifilm X100V
Yellow Flowers Blooming – Buckeye, AZ – Fujifilm X100V
Tall Saguaro Behind Dead Tree – Buckeye, AZ – Fujifilm X100V
Reaching Saguaro Fingers – Buckeye, AZ – Fujifilm X100V
Damaged Saguaro – Buckeye, AZ – Fujifilm X100V
A Desert Landscape – Buckeye, AZ – Fujifilm X100V
Dirt Road After Rain – Buckeye, AZ – Fujifilm X100V

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

5 B&W Fujifilm Recipes to Try Today

Posted on by Ritchie Roesch

Route 66 in Rural Arizona – Seligman, AZ – Fujifilm X-E5 – Agfa Scala

For much of the last 200 years, photography was largely in black-and-white. Early photographic processes couldn’t capture color, so black-and-white became the foundation upon which the medium was built, shaping how photographers learned to see light, contrast, and form. Once color processes arrived, it was expensive, inconsistent, and slow, making it less practical than B&W. When color film finally matured, the photographic community was slow to accept it. It wasn’t until the 1970’s that color photography really gained a foothold, yet black-and-white persisted for decades as the top choice for many photographers. When I learned photography in college in the late-1990’s, B&W was a much more major part of the program than color. In the age of digital cameras, where the standard profile is color, B&W seems to be significantly less popular than it was just 25 years ago, and much less popular than it was 50 years ago.

Personally, I love B&W photography. By removing one layer of reality (color) to emphasize another (form), it’s inherently abstract. Shapes are more important, light more deliberate, and emotions less tied to the literal. Oftentimes it’s a more intentional way of seeing. Viewers engage differently with B&W images, reading the photographs rather than simply recognizing the subject and location.

Leaning Fence – Buckeye, AZ – Fujifilm X-E5 – Kodak Tri-X 400 (captured this morning in my backyard)

There are 50 B&W Recipes for Fujifilm cameras in the Fuji X Weekly App. Something that I’ve noticed for a long time now is that B&W Recipes tend to be much less popular than color. Anecdotally, when I post B&W photos on social media, they tend to get noticeably less attention than color images. There just seems to be less interest in it than there used to be. Still, if I could only ever use one Recipe for the rest of my life, it would be black-and-white. And I’d love for Fujifilm to make a monochrome-only camera—I’d be first in line to buy it.

For today’s article, I thought I would encourage you to shoot black-and-white. Find a Recipe—such as one of the five below—program it into your camera, and create something interesting. Look for contrast and design rather than colors. If none of the ones below interest you, there are a bunch of others in the Fuji X Weekly App, and you can easily find them by Filtering by Black and White. Also, be sure to let me know in the comments which B&W Recipe is your favorite, whether one of the ones mentioned here or one that’s not in this list.

Kodak Tri-X 400

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. With this Recipe, the higher the ISO the grainer the results. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article. This is by far the most popular B&W Recipe.

Classic B&W

Classic B&W is a newer monochromatic Recipe that I really like. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models. I could see this becoming a lot of people’s favorite.

Agfa Scala

Welcome RT 66 – Williams, AZ – Fujifilm X-T5 – Agfa Scala

Agfa Scala is a new adaptation of an old Recipe for use on fourth and fifth-generation X-series cameras, as well as newer GFX models. I’ve loved the Agfa Scala Recipe for a long-time, and it was long-overdue for an update for the latest cameras.

FRGMT B&W

Cheers – Scottsdale, AZ – Fujifilm X-E5 – FRGMT B&W

Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Kodak Plus-X 125

Coastal Cove – Elk, CA – Fujifilm X-T5 & 56mm f/1.2 – Kodak Plus-X 125

The Kodak Plus-X 125 Recipe was made by Dylan Van Matre with some help from Anders Linborg. It’s just a little less contrasty and grainy than some of the other options, which makes it preferable for some subjects and situations.

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

See also:
10 Grainy Fujifilm Recipes
The Best Fujifilm Recipe for Each Film Simulation

Is DJI Copying Fujifilm?

Posted on by Ritchie Roesch

Someone pointed out something interesting to me: the new DJI Osmo Pocket 4 has “Film Tones” that take close inspiration from Fujifilm. Specifically, CC Film and NC Film are “Fuji-inspired” (as DJI puts it), and are obviously similar to Fujifilm’s Classic Chrome and Classic Negative Film Simulations (apparently, CC Film more so than NC Film). These are intended to give a finished look straight-out-of-camera.

First, as Oscar Wilde famously stated (or maybe he didn’t, it’s apparently debatable), “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” That’s not a dig on DJI, but simply noting that 1) Fujifilm’s Film Simulation are both great and popular, and 2) someone’s approximation of it will never be quite the same as the real thing (but maybe it doesn’t need to be). If something is successful, there will be copycats—sometimes close copies and sometimes more of an “inspired by” situation. I’m not sure what type of copyrights and trademarks Fujifilm may have for (say) Classic Chrome, or if DJI infringed on it, but my guess is that legally speaking, it’s all ok (I’m not an attorney, though).

Above left: Classic Chrome Film Simulation (Classic Color Recipe); Above right: Classic Negative Film Simulation (Pacific Blues Recipe)

I personally don’t take issue with DJI copying Fujifilm; however, maybe they should have been more discrete about it. As Albert Einstein famously stated (or maybe he didn’t, it’s apparently debatable—a theme in today’s post), “The secret to creativity is knowing how to hide your sources.” Flaunting it is a little brash. Call it Chrome Color Film and Negative Color Film and don’t mention that it’s trying to emulate Fujifilm’s Film Simulations. Or, the other option is to be upfront and honest about the origins and intentions, giving Fujifilm credit for the inspiration. I like that better, actually. And maybe there’s a point to it.

The problem when you use multiple camera brands to record clips that will be included in the same video is that they look different. With enough grading, you can get them to be similar enough, but that’s a lot of work. Now imagine that you have an X-H2s or X-S20 or some other Fujifilm camera, and you’re using the Classic Chrome Film Simulation to record clips (so as to reduce or eliminate color grading) for a YouTube video; you also have the DJI Osmo Pocket 4 for some clips, and on it you’re using the CC Film Tone. In that situation, you’re going to spend less time in software because all of the clips are going to have a similar aesthetic out of the camera.

So, if you’re a videographer that uses Fujifilm cameras and Film Simulations, you might find the new DJI camera to be an intriguing option for certain situations, as a companion to your larger gear. Perhaps that’s their point: not necessarily to convince people to buy their camera instead of a Fujifilm model, but as a potentially complimentary tool for Fujifilm photographers. At least that’s my take on it. The addition of Fujifilm-like profiles is appealing to me as a Fujifilm photographer; however, at least for the time being, the DJI camera is not available in the US.

Comparing 5 Velvia Recipes

Posted on by Ritchie Roesch

Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome

Among landscape photographers, Fujichrome Velvia is legendary. This line of color slide films was introduced by Fujifilm in 1990, and quickly became the gold standard for vibrant photography. The first iteration was called Velvia RVP, which had an ISO of 50, delivering ultra-fine grain, exceptional sharpness, and intensely saturated hues (especially in greens and reds). Now it’s called Velvia 50, which is nearly identical to the original emulsion (the largest difference is the clear plastic base). There have also been two ISO 100 versions: Velvia 100 and Velvia 100F. Velvia 100, which was initially only sold in Japan before later becoming available internationally, is very similar to Velvia 50, but slightly less vivid, making it better for portraits. Velvia 100F was the most different, with the lowest saturation and leaning less warm, and overall a little more Provia-ish than Velvia 50. Mostly, when people say “Velvia” they mean Velvia 50.

One of the architects of the Velvia Film Simulation also worked on the Velvia 100 and Velvia 100F emulsions. This Film Simulation was intended to closely mimic the aesthetic of the film; however, Fujifilm has stated that technology precluded them from initially achieving what they wanted, and so Velvia has had to evolved a bit over time. While some might prefer the Velvia Film Simulation from one sensor generation over another (which is great, as each has its own charm), the current output from fifth-generation cameras is probably the most refined, the most like how Fujifilm wanted it to be in the first place. Factory-default Velvia looks nice, and seems to aim in-between Velvia 100 and Velvia 100F. With some adjustments, one can tweak it to achieve a lot of various looks, many of them only subtly different.

Factory-default Velvia Film Simulation (no Recipe)
Vivid Chrome Recipe
Vivid Velvia Recipe

I’ve published 30 Recipes that use the Velvia Film Simulation. By utilizing the Filter By Simulation feature in the Fuji X Weekly App (available for both Apple and Android), you can quickly and easily find all of them. For the sake of this article, I wanted to compare some of the most recently published Velvia-based Recipes, specifically: Velvia Film, Vivid Velvia, Vivid Chrome, Velvia Slide, and Velvia 100F. The differences between these five Recipes might not be immediately obvious, so I wanted to compare them, to provide a better idea.

Velvia Film is a part of the Film Dial Recipe set. It’s unintentionally similar to Velvia 50 with a warming filter. Because it uses the Auto White Priority White Balance, it’s an extremely versatile Recipe, and is great for night photography. Vivid Velvia is intended to be similar to The Rockwell Recipe, just slightly less extreme. It’s also very versatile, and is also along the lines of Velvia 50 with a warming filter. Those two are the most similar among these five Recipes. Vivid Chrome is the newest Velvia Recipe. It was intended specifically for colorful travel photography, and is by chance in the general ballpark of Velvia 100. Velvia Slide was an attempt to replicate Velvia 100, and it seems to do so pretty well in some circumstances and less so in others. This is currently a Patron-only Early-Access Recipe available only to Fuji X Weekly App subscribers. Last but not least is Velvia 100F, which is a part of the Universal Negative Recipe set. It’s unintentionally in the general ballpark of Velvia 100F, although not a perfect match.

Beach Chairs – Folly Beach, SC – Fujifilm X-E4 – Velvia Film
Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia
Prickly Cactus – Apache Junction, AZ – Fujifilm X-E5 – Vivid Chrome
Mountain Grass & Flowers – Boulder, CO – Fujifilm GFX100S II – Velvia Slide
Small Flowing Creek – Queen Creek, AZ – Fujifilm X100VI – Velvia 100F

These five Recipes have their strengths and weaknesses. They’re good for various subjects and scenarios, and less good for others. Velvia Film and Vivid Velvia are the most colorful and warm; Velvia Film leaning slightly warmer and Vivid Velvia leaning slightly more vibrant, but overall very similar. Both are quite versatile. Vivid Velvia is the sharpest. You might find these two Recipes to be just a bit too wild sometimes, but perfect for landscapes where you want the colors to pop. Vivid Chrome is just slightly more subdued, producing bold images without being over-the-top. In a lot of ways, this is a Goldilocks option. Velvia Slide and especially Velvia 100F are less warm, with cooler cast; the Velvia 100F Recipe leans a little green. These two also are less vibrant than the others, especially Velvia 100F, which is the least saturated of these five. In situations where the others are too warm and colorful, you might like these last two.

Below are each of these five Recipes in three different scenes (the third scene was captured by my wife, Amanda). When you compare the Recipes side-by-side, the differences stand out more. Maybe you’re drawn more to one, and maybe there’s one that you especially dislike. We all have our own tastes and styles. I do think that each of these five can be excellent for the right subject and lighting. Let’s take a look!

Scene 1

Velvia Film Recipe
Vivid Velvia Recipe
Vivid Chrome Recipe
Velvia Slide Recipe
Velvia 100F Recipe

Scene 2

Velvia Film Recipe
Vivid Velvia Recipe
Vivid Chrome Recipe
Velvia Slide Recipe
Velvia 100F Recipe

Scene 3

Velvia Film Recipe
Vivid Velvia Recipe
Vivid Chrome Recipe
Velvia Slide Recipe
Velvia 100F Recipe

It’s your turn! Which of these five Fujifilm Recipes was your favorite in each scene above? Which was your least favorite? Which Velvia-based Recipe do you like that I didn’t include in this exercise? Let me know in the comments!

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

See also: The Best Fujifilm Recipe for Each Film Simulation

Nostalgic Air — A Fujifilm Recipe for X-Trans V Cameras

Posted on by Ritchie Roesch

Windmill – Solvang, CA – Fujifilm X-E5 – Nostalgic Air

I first met Hayden Goldsworthy on a photowalk nearly two years ago. He is extraordinarily knowledgable about Fujifilm cameras (that’s a massive understatement), and is extremely well acquainted with Film Simulations, the various JPEG options, and Fujifilm Recipes. He has lead some Fujifilm events and workshops, and been to many others. Some of you may have met him. When I saw that he had created a Recipe, I knew it would be a good one. I immediately asked if I could share it with you all on Fuji X Weekly, and he happily agreed. Thank you, Hayden!

“Ever since Nostalgic Negative was introduced in 2022,” Hayden told me, “I’ve been drawn to it. It really lives up to Fujifilm’s description—warm, amber, and nostalgic—but what stood out to me the most was how flexible it felt as a base for creating something unique. One of the first NN Recipes that really clicked for me was 1976 Kodak. I used it extensively, including on multiple paid wedding shoots, and I never felt the need to adjust it. That Recipe has a consistent everyday look that works in a wide range of situations, and it’s a big part of why I developed a soft spot for Nostalgic Negative in the first place.”

Sunset Saguaro – Apache Junction, AZ – Fujifilm X-E5 – Nostalgic Air

“Since then,” he continued, “I’ve spent a lot of time experimenting and gradually refining my own take on it. Nostalgic Air is the result of that process—something that’s been slowly shaped over time rather than built all at once. It really came together during a trip to Destin, Florida. The bright blue skies, warm sand, and sunlit buildings made the strengths of the Recipe stand out. The colors felt light and pastel without losing their vibrancy, and the overall rendering had a soft, open quality that matched the environment perfectly. That was the moment it clicked as something worth keeping.”

“From there,” Hayden stated, “I made a few final adjustments to improve its consistency across different lighting conditions. While it naturally shines in sunny environments, I’ve found it to be just as reliable outside of golden and blue hour, which made it feel like a strong everyday option. My goal was to create something soft, airy, and natural—leaning into peachy highlights and calm blues—while still maintaining flexibility. Despite looking great straight out of camera, I intentionally built this Recipe to leave room for subtle curve adjustments when needed. At times I like to gently crush the shadows, and more often I’ll shape the highlights to add a bit more pop. That flexibility is a big part of why I named it Nostalgic Air. “

Small Boat Dock – Avalon, CA – Fujifilm X-E5 – Nostalgic Air

“Nostalgic Negative can sometimes introduce greens and yellows that feel a bit off to me,” he said, “so the White Balance Shift helps push warmer peach-like tones while keeping a subtle teal balance. I tend to slightly overexpose when using this Recipe, using +2/3 to +1 exposure compensation; in higher-contrast scenes, like golden hour or harsh light, I’ll expose for the highlights to keep things under control. I also love pairing this with a Tiffen Glimmerglass 1 diffusion filter.” Nostalgic Air is compatible with all fifth-generation Fujifilm cameras: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Thanks again, Hayden! It’s an honor to use your Recipe, and host it on Fuji X Weekly.

Film Simulation: Nostalgic Neg.
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome FX Blue: Off
White Balance: Auto, +5 Red & -1 Blue
Dynamic Range: DR-Auto
Highlight: -1
Shadow: 0
Color: +4
Sharpness: -2
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all unedited camera-made JPEGs using this Nostalgic Air Film Simulation Recipe on my Fujifilm X-E5:

Fog in Avalon Bay – Avalon, CA – Fujifilm X-E5
Welcome to Avalon – Avalon, CA – Fujifilm X-E5
Onboard Docked Boat – Avalon, CA – Fujifilm X-E5
Empty Cafe Table – Avalon, CA – Fujifilm X-E5
Suzuki – Avalon, CA – Fujifilm X-E5
In-N-Out – Rialto, CA – Fujifilm X-E5
Thank You – Rialto, CA – Fujifilm X-E5
Rural Flowers – Buellton, CA – Fujifilm X-E5
Western Wear – Weatherford, TX – Fujifilm X-E5
Rocks Framed by Cactus – Apache Junction, AZ – Fujifilm X-E5
Flash Flood Area – Apache Junction, AZ – Fujifilm X-E5
Golden Light on Hidden Saguaro – Apache Junction, AZ – Fujifilm X-E5
Tall Cholla – Apache Junction, AZ – Fujifilm X-E5
Sunset Cholla – Apache Junction, AZ – Fujifilm X-E5
Aquila – Apache Junction, AZ – Fujifilm X-E5
Aquila Place Hotel – Apache Junction, AZ – Fujifilm X-E5
Nighttime Windmill – Solvang, CA – Fujifilm X-E5

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Fujifilm X-E5 in black:
Amazon, B&H, Moment, Nuzira
Fujifilm X-E5 in silver:
Amazon, B&H, Moment, Nuzira

What Should the Next Film Simulation Be? 5 Ideas for Fujifilm to Consider

Posted on by Ritchie Roesch

Empty Diner – Reno, NV – Fujifilm X100V – Xpro ’62 Recipe

Assuming that Fujifilm’s sixth-generation cameras are right around the corner—probably five or six months out—what should be different about it? I don’t want to answer that question in this article, but it is what made me think of today’s topic: which Film Simulation should come next? Looking back, Classic Chrome was introduced with X-Trans II, Eterna with X-Trans III (sort of), Classic Negative and Eterna Bleach Bypass with X-Trans IV, and Nostalgic Neg. and Reala Ace with X-Trans V. There’s a significant chance that a new Film Simulation or two will arrive during the next generation. What should they be?

I don’t think that Fujifilm should concentrate solely on introducing new Film Simulations. There are plenty of opportunities for improvements and advancements throughout the cameras, and I’m sure they are working on all of that. Within the Recipe realm, there are a number of potential options, including split-toning (for both color and B&W), faded blacks, vignetting, halation, and light-leaks. Since there is a good likelihood that a new Film Sim is coming, let’s briefly discuss some options that Fujifilm could possibly choose from.

PRO Neg 400H

Neighborhood – Farmington, UT – Fujifilm X-T30 – Fujicolor Pro 400H Overexposed Recipe

I know that there’s already PRO Neg. Hi and PRO Neg. Std, both of which are reminiscent of the Fujicolor PRO line of films. While Fujifilm has claimed that Reala Ace is modeled after the film of the same name, it really isn’t; it’s much more similar to Fujicolor PRO 160C and not Reala Ace, which is in the Superia line. Classic Negative is a much closer match to actual Reala Ace film. The Reala Ace Film Simulation is essentially a third PRO Neg., and it probably should have been called PRO Neg. C (although Reala Ace is a much better name for marketing purposes). Since there’s already three PRO Neg. Film Simulations, why do we need another? The answer is simple: none of them are quite like Fujicolor PRO 400H. That film stock is legendary, especially among wedding photographers. It famously turns pastel with overexposure. If Fujifilm can make a Film Simulation that closely resembles PRO 400H film and behaves similarly with overexposure, that would be an instant hit. Of course making a Film Simulation that can withstand a stop or two of overexposure without blowing out the highlights would be a challenge, but I have faith that Fujifilm could pull it off.

Fortia

Rose in Frame 7 – Buckeye, AZ – Fujifilm X100V – Pop Color Advanced Filter

Urban legend says that Fortia was an accident, a botched batch of Velvia 50 that was wildly vivid. Instead of trashing it, they sold it as a special run in Japan during the cherry blossoms. It was such a hit that they recreated it and sold it (only in Japan and now under the name Fortia SP) from 2005 to 2007 around the time of the cherry blossoms. Interestingly, Pop Color in Advanced Filters is surprisingly similar to Fortia. I think it’s time for it to graduate from an Advanced Filter to Film Simulation, so that we can add Grain, Color Chrome Effect, etc., to it. While the Velvia Film Simulation is indeed vivid, I think some nature and landscape photographers would welcome one that’s beyond Velvia.

Velvia XPRO

Red Caboose – Boron, CA – FED 5c – Fujichrome Velvia 50 cross processed

Back in the day, cross processing was a fun experiment. Cross processing, also sometimes called xpro, was simply developing film in chemistry that was not intended for that film. It could mean a lot of things, but most commonly it was developing slide film in C41 chemistry. My personal favorite film for this was Velvia 50. It would be really cool if Fujifilm made a Film Simulation that replicated cross processed Velvia. Or maybe this is something that could be added to Advanced Filters should Pop Color become a Film Simulation.

Infrared Chrome

Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2 Recipe

I love infrared photography with my full-spectrum Fujifilm X-T4 ES. RNI has an app that replicates Aerochrome on any digital photo. I don’t see why Fujifilm couldn’t make a Film Simulation that resembles Aerochorme, but obviously they’d need to change the name. I think a lot of people are interested in IR photography, but full-spectrum cameras aren’t particularly common and the cost to convert a camera is expensive. This would give a faux-IR experience in a non-IR camera, and without the need of various filters.

Expired Film

Railroad Museum Diptych – Savannah, GA – Fujifilm X half – Expired Film Filter

Expired Film is a really cool Filter on the Fujifilm X half. It’s definitely not for every subject or situation, but it can be great occasionally. If they don’t make it a Film Simulation, at the very least it should be added to Advanced Filters on other X-series cameras.

Now it’s your turn! In your opinion, what Film Simulation should Fujifilm make next? Let me know in the comments, I’d love to hear your ideas.

The Best Fujifilm Recipe for Each Film Simulation

Posted on by Ritchie Roesch

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues

I’ve been asked a couple of times lately which Fujifilm Recipes are the best. Someone also asked which Recipes are my favorite for each Film Simulation. Of course “best” is a subjective term, making it impossible to answer; however, if you consider “best” as a synonym to “my personal favorite” then we can move forward answering these questions. Instead of compiling a list of (say) the Top 10 Best Recipes, I decided to tackle this by sharing my favorite Recipe for each Film Simulation.

Some of these were difficult decisions because I have so many favorite Recipes for Classic Chrome, Classic Negative, Reala Ace, Nostalgic Neg. and Eterna. I’m not 100% sure that I actually chose the best, and it probably depends on what day of the week you ask me. If I had written this yesterday or if I procrastinated until tomorrow, some of the selections might be different. I guess take this list with a small grain of salt.

I also included a “runners up” selection for each Film Simulation. Those Recipes were in the running as possible picks for the best, but didn’t quite make the cut. For Classic Chrome and Classic Negative, I could have made the runners up list much longer, and I still would have felt like I left some worthy contenders out. And I know that I did leave a large number of excellent Recipes out of this list, but that’s just the way it goes. So feel free to tell me in the comments what you agree with, what you disagree with, and which Recipes should have been mentioned but weren’t.

Let’s dive in!

Provia/STD — Provia Slide

Spring Wildflowers & Dead Wood – Buckeye, AZ – Fujifilm X-Pro2 – Provia Slide

Provia Slide is a Recipe for X-Trans III cameras, plus the X-T3 and X-T30 by setting Color Chrome Effect to Off. It’s probably the most ideal Provia Recipe, just really lovely. Generally speaking, I’m not a big fan of the Provia film sim, but this Recipe forces me to like it.

Runners up:
Fujichrome Sensia 100
Standard Provia
Provia 400
Provia Summer
Cross Process

Velvia/Vivid — Aerochrome v2

Red Yucca in the White Sand – White Sands NP, NM – Fujifilm X-T4 ES – Aerochrome v2

I love Velvia for colorful landscape photography, and there are a number of excellent options. Being pressed to choose my favorite, the obvious answer is Aerochrome v2, a Recipe for full-spectrum infrared cameras, like the X-T4 ES. This Recipe is an absolute thrill; unfortunately, most can’t use it.

Runners up:
Velvia Film
Vivid Chrome
Vivid Velvia
The Rockwell
BewareMyVelvia

Astia/Soft — CineStill 400D v2

Aspen Gold – Flagstaff, AZ – Fujifilm X100V – CineStill 400D v2

Astia is a Film Simulation that I have to warm up to, it’s not one that I typically choose. But there are a number of good Recipes that use Astia as the base, and my favorite is CineStill 400D v2, which was collaboratively created by Nestor Pool and myself.

Runners up:
Everyday Astia
Astia Negative
Astia Azure
Indoor Astia
Kodak Ektar 100

Classic Chrome — Kodachrome 64

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Classic Chrome is the king of Film Simulations. There are probably 25 or more Recipes that could have been chosen to represent the “best” but Kodachrome 64 jumped out to me as the one I should pick. There are so many excellent ones, and I feel like the five “runners up” below is a significantly insufficient selection—lots of great Recipes were unfortunately excluded.

Runners up:
Kodak Portra 160 v2
Kodak Portra 400
Kodak Portra 400 v2
Kodak Gold 200
Vibrant Arizona

Reala Ace — Fujicolor PRO 160C Warm

Service – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm

Even though this is the newest Film Simulation, there are a lot of excellent Reala Ace Recipes. I went back-and-forth a bit, but decided on Fujicolor PRO 160C Warm, which is a part of the Film Dial set. The Reala Ace film sim is essentially a “better” PRO Neg.—as Fujifilm put it, a negative for the new era.

Runners up:
Avalon Ace
Kodak Pro 400
Fujifilm Negative
Pushed Analog
PRO Negative 160C

PRO Neg. Hi — PRO Negative 160C

Spiky Arms – Saguaro National Park, AZ – Fujifilm X-T5 – PRO Negative 160C

Between PRO Neg. Hi and PRO Neg. Std, I tend to choose the latter much more often than the former. Now that we have Reala Ace, I don’t go for either very often anymore. But there are some good Recipes to choose from, and for PRO Neg. Hi, PRO Negative 160C is my favorite.

Runners up:
Pro Film
PRO Neg. Hi
Fujicolor Pro 400H
Fujicolor Pro 160NS
Jeff Davenport Night

PRO Neg. Std — Fujicolor 100 Industrial

Urban Binding – Salt Lake City, UT – Fujifilm X-T30 – Fujicolor 100 Industrial

I have several favorite Recipes for PRO Neg. Std, but Fujicolor 100 Industrial, which is for X-Trans III cameras (plus the X-T3/X-T30), is something special.

Runners up:
CineStill 800T (X-Trans II)
CineStill 800T (X-Trans III + X-T3/X-T30)
Nostalgic Print
Fujicolor Superia 800
Analog Color

Classic Negative — Pacific Blues

Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

Classic Negative is one of my top favorite Film Simulations. Like Classic Chrome, choosing a top favorite and narrowing to just five “runners up” was difficult, and I’m certain I left a number of excellent ones off the list. With that said, Pacific Blues seemed like a good choice to represent this film sim as the best Recipe.

Runners up:
1-Hour Photo
Reggie’s Superia
Superia Negative
Reala Ace
Fujicolor NPS 160 Pulled

Nostalgic Neg. — 1970’s Summer

Fire, Truck – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

The Nostalgic Neg. film sim is one that seems to work very well or only so-so, just depending on the subject and lighting. Of the various color Film Simulations, I would probably rank this one fifth best. There are a number of excellent Recipes that use Nostalgic Neg. as the base, and 1970’s Summer is probably my top favorite.

Runners up:
Nostalgic Americana
Kodak Vericolor III 160
Kodak Vericolor VPS
Kodak Vision3 250D v2
1976 Kodak

Eterna/Cinema — Kodak Vision3 250D

Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D

The Eterna Film Simulation is probably most often used for video, but it is excellent for stills, too. It has a unique tonality that can be fun to experiment with. While I chose Kodak Vision3 250D as my favorite, it was a difficult decision, and any of the five below could have just as easily been chosen instead.

Runners up:
Eterna Summer
Summer of ’59
Timeless Negative
SantaColor
Vintage Color

Eterna Bleach Bypass — Ferrania Solaris FG 400

Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

I feel like Eterna Bleach Bypass is one of the least used color film simulations, maybe even the least used. But that doesn’t mean it’s not good, because it certainly can be great. My favorite Recipe that uses Eterna Bleach Bypass is Ferrania Solaris FG 400, but the runners up below are good, too.

Runners up:
1960 Chrome
Chrome City
Kodachrome Blue
Analog Gold
LomoChrome Metropolis

Acros (+Ye, +R, +G) — Kodak Tri-X 400

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

When people ask what my favorite Recipe is, I often tell them Kodak Tri-X 400, which was created by Anders Lindborg. This is my favorite B&W Recipe, and one of my top Recipes, period. Acros is such a great Film Simulation, and this Recipe really makes the most of it.

Runners up:
Agfa Scala
Classic B&W
FRGMT B&W
Kodak T-Max P3200
Kentmere Pan 400

Monochrome (+Ye, +R, +G) — Ilford HP5 Plus 400

Horsetail Falls From Bridge – Columbia River Gorge, OR – Fujifilm X100V – Ilford HP5 Plus 400

I don’t like the Monochrome Film Simulation (which is simply Provia without color) nearly as much as Acros, but it can still be a good base for black-and-white Recipes. Ilford HP5 Plus 400, which was also created by Anders Lindborg, is my favorite that uses the Monochrome Film Simulation.

Runners up:
Kodak T-Max 100 Soft Tone
Kodak T-Max 100 Hard Tone
Kodak T-Max 400
Ilford FP4 Plus 125
Dramatic Monochrome

Sepia — B&W Sepia

Dodge – Boulder, CO – Fujifilm X100VI – B&W Sepia

Last and least is Sepia. After Fujifilm introduced Monochromatic Color on X-Trans IV, which allows custom toning of B&W photos, the Sepia Film Simulation seemed obsolete. Still, it’s found on every Fujifilm camera. I haven’t created very many Sepia-based Recipes, but there are a few. B&W Sepia, which is a part of the Universal Negative set, is my personal favorite.

Runners up:
Sepia Print
Sepia

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Vivid Chrome — A Fujifilm Recipe for X and GFX Cameras

Posted on by Ritchie Roesch

Flower Farm – Buellton, CA – Fujifilm GFX100S II – Vivid Chrome

Fujifilm Nordic asked if I’d be interested in making a Film Simulation Recipe specifically designed for Denmark that would be unveiled at the upcoming Fujikina event in Copenhagen next month. Of course I said yes! I made three Recipes, and then traveled to Solvang and Catalina Island in California to test them out. Solvang is probably the most Danish town in America, so that was an obvious choice. Catalina Island has more of a Mediterranean vibe than Baltic Sea, but it’s colorful and leans slightly European, making it another good option. After photographing with each of the three Recipes at those two locations, the winner was obvious to me. That Recipe will be unveiled in Copenhagen in a little less than a month, and published on Fuji X Weekly a short time later. Second place was Avalon Ace, which is currently available in the Fuji X Weekly App. This Recipe, called Vivid Chrome, came in last; however, it’s very nice, and I’m sure many of you will appreciate it. Even though it didn’t win, it’s still a winner.

Vivid Chrome is probably most reminiscent of Fujichrome Velvia 100, but it’s not intended to be a replication of that or any other specific film. The idea was more to produce good results for colorful scenes. This Recipe produces punchy, vibrant colors; however, it’s also slightly restrained, and avoids being too over-the-top. This is a great option for landscape photography, and also for travel if you’ll be someplace colorful. This Recipe works best in sunny daylight, and can be ok for nighttime photography in the right lighting situations.

Crescent Ave Morning – Avalon, CA – Fujifilm X- E5 – Vivid Chrome

The Vivid Chrome Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It’s also compatible with “newer” fourth-generation models: X-T4, X-S10, X-E4, and X-T30 II. Additionally, it works well on the latest GFX cameras, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF.

Film Simulation: Velvia
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Daylight, +2 Red & -2 Blue
Dynamic Range: DR400
Highlight: -1
Shadow: -0.5
Color: +2
Sharpness: -2
High ISO NR: -4
Clarity: +3
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Vivid Chrome Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:

Green Pleasure Pier & Boats in the Bay – Avalon, CA – Fujifilm GFX100RF
Shoreboat – Avalon, CA – Fujifilm X-E5
Nautical Preparations – Catalina, CA – Fujifilm X-E5
Docked Boats in Avalon Bay – Avalon, CA – Fujifilm X-E5
Green Rope on a Dock – Avalon, CA – Fujifilm X-E5
Yellow Rope in the Water – Avalon, CA – Fujifilm GFX100RF
Ready for a Ride – Avalon, CA – Fujifilm GFX100S II
Avalon Morning – Avalon, CA – Fujifilm GFX100S II
Hotel St. Lauren – Avalon, CA – Fujifilm GFX100RF
Atwater Hotel at Dusk – Avalon, CA – Fujifilm GFX100RF
Christmas Window – Solvang, CA – Fujifilm X-E5
Patina Rooftop – Solvang, CA – Fujifilm X-E5
Office – Solvang, CA – Fujifilm GFX100S II
Windmill Morning – Solvang, CA – Fujifilm GFX100S II
Hamlet Square Ice Cream – Solvang, CA – Fujifilm GFX100RF
Golden Light on Windmill – Solvang, CA – Fujifilm GFX100RF
Last Light on Solvang – Solvang, CA – Fujifilm GFX100S II
Windmill Closeup – Solvang, CA – Fujifilm X-E5
Danish Design – Solvang, CA – Fujifilm X-E5
Hotel – Solvang, CA – Fujifilm GFX100S II
Green Apex – Solvang, CA – Fujifilm GFX100S II
Pinnacle – Solvang, CA – Fujifilm GFX100S II
Flower Bed – Solvang, CA – Fujifilm GFX100RF
Field of Flowers – Buellton, CA – Fujifilm GFX100RF
Flower Field – Buellton, CA – Fujifilm X-E5
Prickly Cactus – Apache Junction, AZ – Fujifilm X-E5
Superstition Mountains – Apache Junction, AZ – Fujifilm X-E5
Western Desert Girl – Apache Junction, AZ – Fujifilm X-E5

Find this Film Simulation Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

10 Grainy Fujifilm Recipes

Posted on by Ritchie Roesch

Dark Cloud Over The Dark Mountain – South Weber, UT – Fujifilm X-T30 – Ilford HP5 Plus 400 Push-Process

Some people like grainy photos, and some people don’t. Back in the film days, there were photographers who chose their film based on the grain. Kodachrome 25 was a one of the finest-grained color films, and some liked it for the near lack of grain. Kodak Tri-X 400 had a strong grain structure, and some preferred the character of it over options with finer grain. Personally, I like grain in my photos, because it adds texture and feels more organic. Digital photography can be super clean, essentially “grain-free” (noise free, really), but to me that’s a bit clinical or sterile. With your Fujifilm camera, you can choose to keep the ISO low and Grain set to Off for a clean image, or you can bump up the ISO and select Strong/Large Grain for texture and character, or anything in-between. There’s no right or wrong approach, only what each photographer wants for their pictures.

For those who desire a lot of grain and not just a little, below are 10 Fujifilm Recipes that will produce grainy pictures. These aren’t the only ones (this is not an exhaustive list by any means), just some that I think you might like. For more, use the Filter By Categories feature in the Fuji X Weekly App, and select Grain. If grainy photos are something you’re after, take a look at these Recipes.

Ilford HP5 Plus 400 Push-Process

Pickup Truck Taillight – Litchfield Park, AZ – Fujifilm X-T5 – Ilford HP5 Plus 400 Push-Process

The Ilford HP5 Plus 400 Push-Process Recipe is super grainy not only because Grain is set to Strong, but also because it requires ISO 25600 or 51200. It’s a combination of the Grain setting, the built-in Grain that the Acros Film Simulation has (which increases as the ISO increases), and the digital noise from the ultra-high ISO that makes it especially grainy, the most of any Recipe. It’s not the easiest to use in sunny daylight (an ND filter helps), but it produces a lot of texture, if that’s something you want. Besides, it can come in handy in low-light situations. This Recipe is specifically for the X-T3 and X-T30; to make it compatible with newer cameras, set Grain size to Large, Color Chrome Effect and Color Chrome FX Blue to Off, and Clarity to 0.

FRGMT B&W

Regular – Gatlinburg, TN – Fujifilm X-E5 – FRGMT B&W

Fujifilm’s first official Recipe, FRGMT B&W—created by fashion designer, producer, and artist Hiroshi Fujiwara—was included in a limited edition of the GFX100RF. I asked for and received permission to publish it on Fuji X Weekly. This is a contrasty and grainy black-and-white Recipe that produces dramatic results. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Kodak T-Max P3200

Courthouse Butte – Sedona, AZ – Fujifilm X-T5 – Kodak T-Max P3200

The Kodak T-Max P3200 Recipe was a collaborative effort between Anders Lindborg and the late John Sevigny. This is one of the best black-and-white Recipes, producing dramatic and grainy images. For more grain, use ISO 3200 and higher. It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

Kodak Tri-X 400

Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400

My personal favorite B&W Recipe is Kodak Tri-X 400, which was created by Anders Lindborg. This Recipe requires a minimum ISO of 1600, and the higher you go the grainier it gets. It has compatibility with X-Trans III, X-Trans IV, and X-Trans V cameras, as well as GFX. It can be modified a few different ways, which is discussed in the Recipe article.

Classic B&W

Coffee – Tucson, AZ – Fujifilm X-E5 – Classic B&W

Classic B&W is a newer monochromatic Recipe that I really like. For grainer photos, increase the ISO (all the way to 12800 if you’d like). It’s compatible with fourth and fifth-generation X-series cameras, as well as newer GFX models.

GAF 500

Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4 – GAF 500

Mimicking the aesthetic of the highest ISO color slide film of the ’60’s and ’70’s, the GAF 500 Recipe requires using an ultra-high ISO: 12800! This Recipe is compatible with fourth-generation X-series cameras; for fifth-generation, simply reduce Color Chrome FX Blue to Weak (instead of Strong). You can use it on newer GFX cameras, too.

Urban Dreams

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

Urban Dreams produces a look somewhat similar to Kodachrome 200, a high-ISO version of Kodachrome introduced in 1986 and discontinued in 2006. It was never as popular as Kodachrome 64 or even Kodachrome 25 due to its pronounced grain. This Recipe is not an exact match for that film, but not terribly far off, either. It’s for fourth-generation models; while it can be used on fifth-generation cameras, the results will be just slightly different.

Fujicolor Natura 1600

Ballyhoo – Childress, TX – Fujifilm X-E4 – Fujicolor Natura 1600

Fujicolor Natura 1600 is a Recipe that mimics one of the highest ISO color films. I really like this one, personally. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.

1970’s Summer

Corndog – San Francisco, CA – Fujifilm X100VI – 1970’s Summer

One of my personal favorite Recipes is 1970’s Summer. It seems to either work really well or only ok, but when it works really well it is absolutely fantastic! It’s compatible with fifth-generation cameras and the latest GFX models.

Pacific Blues

Church – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues

Last but certainly not least is Pacific Blues, another personal favorite Recipe. While intended for a sunny day at the beach, this one delivers dramatic photos in a variety of situations. The Recipe linked above is for fourth-generation cameras; however, there is a version for fifth-generation models.

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