Film Simulation

Eterna Bleach Bypass is an Underrated Film Simulation

Posted on by Ritchie Roesch

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

Among Fujifilm’s 20 Film Simulations, Eterna Bleach Bypass might be the second least popular, only ahead of Sepia. In my opinion, it is the most underrated and under-appreciated option. Introduced on the Fujifilm X-T4 in 2020, Eterna Bleach Bypass remains exclusive to newer-generation cameras, so those with older models don’t have it available to them. Of the recent Film Simulations—Reala Ace, Classic Negative, Nostalgic Negative, Eterna, and Eterna Bleach Bypass—this one seems to get the least love, which I think is a bit unfair.

To understand the Eterna Bleach Bypass Film Simulation, it helps to first understand what it’s trying to replicate. Bleach bypass is a film processing technique in which the bleach stage is reduced or skipped during development, leaving silver in the emulsion along with the color dyes. The result is an image with higher contrast, muted colors, and a gritty, dramatic tonality—almost as if a black-and-white and color frame were combined together into one. It’s a more common darkroom technique for motion pictures than still photography, but it has been used for both. If you have ever watched the movie Saving Private Ryan, you’ve seen actual bleach bypass. Fujifilm’s Eterna Bleach Bypass Film Simulation is essentially an approximation of their Eterna motion picture film processed this way. It has strong contrast and is the lowest saturated of all the color Film Simulations.

Tilted Saguaro – Tucson, AZ – Fujifilm X-T5 – 1960 Chrome

Eterna Bleach Bypass is not a “works for everything” type of Film Simulation like Classic Chrome, Reala Ace, etc.. It’s more for when the subject and situation are “right” for it. Because of that, many never try it, or if they do, it’s once or twice and never again. When used intentionally, it can create cinematic images with a moody character. If you want to add drama to urban environments, partially cloudy or overcast sky, mountain scenes, and much more, this Film Simulation will do it.

Technically, you can get pretty close to factory-default Eterna Bleach Bypass by using the Eterna Film Simulation and increasing both Highlight and Shadow while also lowering Color and making a WB Shift adjustment. But there are straight-out-of-camera aesthetics that are only possible with the Eterna Bleach Bypass Film Simulation. It has its own look that’s immediately recognizable once you become familiar with it. Eterna Bleach Bypass is way underrated and deserves more fanfare. If you’ve never tried it, below are seven really good Fujifilm Recipes that use Eterna Bleach Bypass. I invite you to try one today!

1960 Chrome

Bell & Cross – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome

The aesthetic of the 1960 Chrome Recipe comes from several photographs in various 1960’s issues of Arizona Highways magazine (I collect old copies of Arizona Highways, there’s so much great photography inside), so it has a vintage feel to it. This Recipe has compatibility with fourth and fifth generation models.

Ferrania Solaris FG 400

Golden Light on Water – Buckeye, AZ – Fujifilm X-T5 – Ferrania Solaris FG 400

The Ferrania Solaris FG 400 Recipe is simply Kodak Portra 400 v2 with Eterna Bleach Bypass instead of Classic Chrome. Most Recipes don’t look particularly good when you change the Film Simulation, but in this case it does. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Off.

LomoChrome Metropolis

Winter Blooms – Buckeye, AZ – Fujifilm X-T5 – LomoChrome Metropolis

The very first Recipe that I created using the Eterna Bleach Bypass Film Simulation was LomoChrome Metropolis. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Eterna Bleach Bypass

Boardwalking – Pismo Beach, CA – Fujifilm X-E4 – Eterna Bleach Bypass

“Essentially black-and-white for color photography,” is how I described the Eterna Bleach Bypass Recipe. It’s compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Chrome City

Raindrops on a Pond – Peoria, AZ – Fujifilm X100VI – Chrome City

Chrome City is found in the Universal Negative Recipe set, and is one of my favorite Recipes for dreary, rainy days. It’s intended for fifth-generation cameras.

Kodachrome Blue

American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue

The Kodachrome Blue Recipe mimics improperly scanned Kodachrome slides. Due to its unique design, Kodachrome is the most difficult slide film to accurately scan, so there are a lot of examples of the film with a blue cast, including some of my own that the lab did a poor job scanning. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Pushed CineStill 800T

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

The Pushed CineStill 800T Recipe was intended for daytime photography, but is actually most well suited for nighttime situations. This one is compatible with X-Trans V cameras; for “newer” X-Trans IV (Fujifilm X-T4, X-S10, X-E4 & X-T30 II) use this version, and for the X-Pro3 and X100V use this one that has Eterna as the base.

Find these Fujifilm 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.

7 Must-Try Recipes for 4th-Gen Fujifilm Cameras

Posted on by Ritchie Roesch

Yellow Rose – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues

Part 1: 5th-Gen

This is Part 2 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 2, is specifically for fourth-generation Fujifilm cameras, which is to say X-Trans IV, but it’s a little more complicated than that. The fourth-generation cameras that this set is specifically for are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

Two Caballeros – Culleoka, TX – Fujifilm X-E4 – Kodachrome 64

Kodachrome was the most iconic film, so it stands to reason that we should begin this list with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. I feel like Kodachrome 64 is an essential Recipe to try.

Kodak Portra 400 v2

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2

Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too.

Reggie’s Portra

Mountain Sunset – Flagstaff, AZ – Fujifilm X100V – Reggie’s Portra

I like to have at least one Recipe programmed into my camera that’s highly versatile. There are several excellent options, but a personal favorite is Reggie’s Portra, which works in almost any light situation.

Pacific Blues

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

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

The Rockwell

Abandoned Dream – Red Rock Lakes NWR, MT – Fujifilm X100V – The Rockwell

This list wouldn’t be complete without a Velvia-based Recipe. When the situation calls for something bold, The Rockwell will accomplish that, delivering vibrant and sharp results.

Serr’s 500T

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

Most Recipes are intended for sunny daylight; while some can still do well at night, there are Recipes specifically intended for night photography. Of those, Serr’s 500T is one of my favorites.

Kodak Tri-X 400

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

No C1-C7 would be complete without at least one B&W Recipe, and Kodak Tri-X 400 is my go-to option. I love monochromatic photography, and you’ll be hard-pressed to find a better Recipe than this.

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.

7 Must-Try Recipes for 5th-Gen Fujifilm Cameras

Posted on by Ritchie Roesch

Sailboat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Velvia

This is Part 1 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. We will begin with the latest models, and work our way back towards the older cameras. For each article, I will suggest seven Recipes to try on your Fujifilm camera. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 1, is specifically for fifth-generation Fujifilm cameras, which is to say X-Trans V, but it’s a little more complicated than that. Fifth-generation cameras are: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fifth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

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

Kodachrome was the most iconic film, so it stands to reason that we should begin this list with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. I feel like Kodachrome 64 is an essential Recipe to try.

Kodak Gold 200

Spinning – Anaheim, CA – Fujifilm X100VI – Kodak Gold 200

This is a classic Recipe that’s always popular. Kodak Gold 200 produces warm photos, and is intended for use in sunny daylight situations. It’s especially good for golden hour, including sunrises and sunsets.

Pacific Blues

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

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the two options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

Reala Ace

Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace

The Reala Ace Recipe predates the Reala Ace Film Simulation release, and is based on Classic Negative. It’s more like the actual film of the same name than the Reala Ace Film Simulation, which is more like Fujicolor PRO 160C. This is a highly versatile Recipe that can be used anytime of the day or night.

Vivid Velvia

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

Boldly colorful, Vivid Velvia is intended for landscape photography where you want the scene to pop. It’s fairly versatile, but probably not the best option for portraits. If you are primarily a landscape photographer, you might find yourself using this one the most.

CineStill 800T

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

While some of the other Recipes will do well for nighttime photography, CineStill 800T is specifically intended for photographing after dark. You can use it during the day if you should desire a cool blueish cast, but for the most part you’ll want to save it for after sunset. This Recipe pairs well with a weak diffusion filter, like 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.

Agfa Scala

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

Agfa Scala is a new adaptation of an old Recipe. I’ve loved the Agfa Scala Recipe for a long-time, and an update for the latest cameras was long-overdue. This is one of my current favorite B&W options.

Part 2: 4th-Gen

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.

Is Fujifilm About To Make Fortia the Next Film Simulation?

Posted on by Ritchie Roesch

Could this be the next Film Simulation? Fujifilm X-T50 + Pop Color Advanced Filter

Fujifilm has become renown for their Film Simulations. On the latest X and GFX cameras, there are 20 Film Simulations: Provia, Velvia, Astia, Classic Chrome, Reala Ace, PRO Neg. Hi, PRO Neg. Std, Classic Negative, Nostalgic Negative, Eterna, Eterna Bleach Bypass, Acros, Acros +Ye, Acros +R, Acros +G, Monochrome, Monochrome +Ye, Monochrome +R, Monochrome +G, and Sepia. That’s a lot, but of course we always welcome more.

With each new generation, Fujifilm has introduced new Film Simulations. With X-Trans II it was Classic Chrome; X-Trans III saw Acros and Eterna (sort of—just at the very end with the X-H1); Classic Negative and Eterna Bleach Bypass were released within the fourth-generation; and Nostalgic Neg. and Reala Ace are found on fifth-generation models. If the pattern continues, we can expect a new Film Simulation to be introduced at or near the beginning of the sixth-generation (which should be announced within the coming months), followed by another Film Simulation later in the generation.

Pop Color Diptych — Fujifilm X half

Just this morning Fujirumors dropped a hint of what the new Film Simulation could be, describing it as having “really deep and strong colors.” My first thought: they’re graduating the Pop Color Advanced Filter to Film Simulation. I’ve been advocating that for a few years now, since Pop Color has some notable similarities to Fortia (a short-lived slide film sold only in Japan with colors more wild than Velvia). Instead of having Pop Color, you’d have the Fortia Film Sim., and of course that also means Advanced Filters would need an update, too. This makes a lot of sense, and is the most likely scenario in my estimation. Pop Color is the only Advanced Filter that I use even remotely regularly, and I wish I could apply the other JPEG options (like Color Chrome Effect, Grain, etc., etc.) to it. The Retro and Expired Film Filters from the Fujifilm X half should be added to Advanced Filters, replacing Pop Color.

But “really deep and strong colors” could mean a lot of things. A Cross Process Film Simulation, which mimics Velvia film developed in C41 chemistry, would certainly meet the description. I used to do this sometimes 15-20 years ago, and it was a lot of fun. I would love to get a similar look straight from my Fujifilm camera. This is another potential Film Simulation that for years now I’ve advocated for, and I hope they someday make.

Cross-processed Fujichrome Velvia 50 film

Aside from those two, what else could it be? An Aerochrome-like Film Simulation that mimics infrared photography without actually being IR (similar to the RNI Aero app) is one possibility. I’d be quite surprised if they did this, but it would be really cool if they did. Maybe something that more-or-less mimics Ektachrome E100VS, which was basically Kodak’s version of Velvia. I doubt it, but you never know. I can’t think of much else that would meet the description. Of course, it could be a poor explanation of the upcoming Film Sim., and it actually won’t have the “deep and strong colors” as I’m imagining. My guesses could be pretty far off, who knows!

What do you hope the next Film Simulation is? Personally, I think one that mimics Fujicolor PRO 400H, including turning pastel with overexposure, would be popular. Maybe a Sensia slide film look? A Film Simulation that resembles Instax? A more contrasty black-and-white option? I’d love to read your ideas in the comments!

7 Fujifilm Recipes to Replace RAW Editing

Posted on by Ritchie Roesch

Sailboat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Velvia

By moving the creative process from the computer to the camera, Fujifilm Recipes can effectively replace RAW editing for many photographers. Instead of spending hours adjusting curves and sliders after the fact, you make the aesthetic decisions before even pressing the shutter. The colors, contrast, grain, white balance, and overall mood become part of the act of photography itself. Some people—gatekeepers—insist that RAW editing is the only serious path because it offers maximum flexibility, but maximum flexibility isn’t always the best path. Sometimes, limitations improve art.

One of the great benefits of Recipes is freedom—freedom from the computer and Lightroom (or other RAW editing software), freedom from indecisive aesthetic choices, freedom from unfinished work (such as RAW files just sitting around waiting to be edited). Most photographs that are created using Recipes are finished the moment that they’re made, making the journey from vision to finished image dramatically shorter. Perhaps the greatest freedom that Recipes bring is time.

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

Another benefit of using Recipes is that it aligns with how a large number of people actually want to do photography. Not everyone desires photography to be half-camera and half-computer. Some simply want to capture meaningful moments, compelling scenes, and beautiful light without turning every outing into a post-processing project. There is no rule that says a photographer must shoot RAW and edit in Lightroom to be legitimate. If a Recipe delivers the look you want straight-out-of-camera, then you’ve already reached the destination. This is not to say that RAW has no place, only that it isn’t a prerequisite or requirement. There’s no right or wrong way to do photography, only whatever works best for you. That could be JPEGs, that could be RAW, it could be film, it could be all of those at different times, or something else entirely. Do whatever is best for you and your photography.

If you are looking for some Fujifilm Recipes to try that might convince you to stop editing RAW, I’ve picked seven that I think could do just that. Of course everyone has their own tastes and styles. You might like some of these and not others, or all of them, or none of them. The Recipes that could become your favorites might not even be in this list. But, if you are looking for some great ones to try, these are seven that I highly recommend.

Kodachrome 64

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

The Kodachrome 64 Recipe is modeled after the iconic film. It’s intended for sunny daylight photography, so it works best in those conditions, although I have had good results in some other situations, too. This particular version of the Kodachrome 64 Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 II, GFX100 II, GFX100S II, and GFX100RF. There’s also a version for fourth-generation models, one for the X-T3 and X-T30, as well as an X-Trans II iteration. You might also appreciate the McCurry Kodachrome Recipe.

Kodak Portra 160 v2

Vista View of Grand Canyon Station – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Portra 160 v2

Kodak Portra 160 V2 is another Recipe intended for sunny daylight conditions. Interestingly, a photographer recently loaded a roll of Portra 160 into his film camera and used this Recipe on his Fujifilm camera, and shot them side-by-side. The results? The images were nearly identical, difficult to distinguish from each other. This Recipe, which is a modification by Thomas Schwab of my old Kodak Portra 160 Recipe (which was made with some help of Piotr Skrzypek), is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Also, those with fourth-generation cameras should try my Kodak Portra 160 Recipe.

Pacific Blues

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

While intended for a sunny day at the beach, the Pacific Blues Recipe is surprisingly excellent in a variety of conditions and for diverse subjects. It’s one of my all-time favorites. This particular version is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. There is also a version for fourth-generation models. Another Recipe to consider is Fujicolor 100 Gold.

Copenhagen Negative

Canal at Sunset – Copenhagen, Denmark – Fujifilm GFX100RF – Copenhagen Negative (XPan ratio)

Copenhagen Negative is one of the newest Recipes on Fuji X Weekly, and it’s already one of my favorites. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. You might also appreciate the 1-Hour Photo Recipe.

Fujicolor PRO 160C Warm

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

A part of the Film Dial Recipe set, Fujicolor PRO 160C Warm is highly versatile, and can be used anytime of the day or night. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. An alternative to consider is the PRO Negative 160C Recipe.

Vivid Velvia

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

Vivid Velvia is a bold Recipe for vibrant pictures. It’s best for landscape photography, or anytime you want to emphasize vivid colors. This Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF, as well as some fourth-generation models: X-T4, X-S10, X-E4, X-T30 II, and GFX100S. You might also like The Rockwell Recipe.

Kodak Tri-X 400

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

Last but far from least is Kodak Tri-X 400, the only black-and-white Recipe in this list. Created by Anders Lindborg, this is my all-time favorite B&W option. It can be used with any fourth or fifth-generation camera. Agfa Scala is another Recipe to consider.

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:
Fujifilm Recipe Starter Pack — 7 Recipes to Try First on Your X-Trans V Camera
The first 7 Film Simulation Recipes to use in your Fujifilm X100VI
7 Fujifilm Recipes for Midday Retro Americana Photography
10 Fujifilm Recipes for a 1970’s Aesthetic
10 Grainy Fujifilm Recipes

Fujifilm Recipe: Provia Positive

Posted on by Ritchie Roesch

Baltic Sea – Greve, Denmark – Fujifilm X-T5 – Provia Positive Recipe

About a month-and-a-half ago, Dan Allen sent a Recipe for me to try. It was based on Provia and was specifically intended for spring blossoms, so he called it Spring Provia. When I had the opportunity, I loaded it into my camera and tried it out. I didn’t get to use it a lot, but I did like the results. Fast forward to Fujikina Copenhagen. There was a Magnum exhibit that had a light table wall with hundreds of color transparencies displayed. It was really cool! I noticed one group of slides—I couldn’t tell you who the photographer was or what film was used or any technical information—that was reminiscent of Dan’s Recipe. I found the images I had made using his Recipe on the SD card in my X-E5, and reprocessed them in-camera to better match the slides. While I don’t think I got it completely perfect, I was very happy with the results. Then I continued to use the Recipe—a variant of Dan’s Recipe—while in Copenhagen.

My modified version, which I’ve called Provia Positive, is highly versatile. It’s hands-down my favorite Provia Recipe of all-time. As many of you may know, Provia is not my favorite Film Simulation, and I don’t personally use it often. This Recipe gave me a new appreciation for it, and is one I could see myself using regularly. It’s highly versatile, great for most subjects and situations. While portraits are probably hit-or-miss, it’s excellent for landscapes, still-life, street photography, etc., etc..

For Dan’s original Recipe—Spring Provia—use Provia, DR400, Grain Effect Off, Color Chrome Effect Strong, Color Chrome FX Blue Off, White Balance Daylight, WB Shift +1 Red & -1 Blue, Highlight -1, Shadow +1, Color +3, Sharpness 0, High ISO NR -4, and Clarity 0. I invite you to try Dan’s Recipe, it’s pretty good. My variant adds Grain (because grain was visible in the slides, and I like it personally), Color Chrome FX Blue Strong (to mimic the blue sky in some of the slides, perhaps the photographer used a polarizer filter), Auto White Priority (some of the pictures in the group were in different light situations, and Daylight didn’t match those), WB Shift +2 Red & -3 Blue (I went back-and-forth between +1 and +2 Red… +1.5 Red would have probably been most appropriate if it was possible, so I settled on +2), Color +4, Sharpness -1, and Clarity +2. I made quite a few small changes, but the core idea of Dan’s Recipe remains, so I want to give him credit for the original concept.

Studio Ghibli Scene – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive Recipe

This Provia Positive Fujifilm Recipe is compatible with “newer” fourth-generation models—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—and “newer” GFX models, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the X-Pro3 and X100V, simply use Auto WB instead of Auto White Priority (outside of artificial light scenarios, it will look the same). For the X-T3 and X-T30, try Dan’s Spring Provia Recipe, which is compatible with those cameras.

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

Example photographs, all camera-made JPEGs using this Provia Positive Film Simulation Recipe on a Fujifilm X-E5, X-T5, and GFX100RF:

M/S Garde – Copenhagen, Denmark – Fujifilm X-E5
Yellow Bike, Yellow Wall – Copenhagen, Denmark – Fujifilm GFX100RF
Front Bike Tire – Copenhagen, Denmark – Fujifilm X-T5
Promenade – Copenhagen, Denmark – Fujifilm GFX100RF
Red Wall, Yellow Wall – Copenhagen, Denmark – Fujifilm X-E5
Red Building at Kastellet – Copenhagen, Denmark – Fujifilm X-E5
Red Cafe – Copenhagen, Denmark – Fujifilm X-E5
Bike Bags – Copenhagen, Denmark – Fujifilm X-E5
Bikes at the Bay – Copenhagen, Denmark – Fujifilm X-E5
North Atlantic Shore – Copenhagen, Denmark – Fujifilm X-E5
Bicyclist through Arch – Copenhagen, Denmark – Fujifilm X-E5
Boat Captain in Red – Copenhagen, Denmark – Fujifilm X-E5
Oskar Swan – Copenhagen, Denmark – Fujifilm X-E5
Hidden Kitesurfer – Copenhagen, Denmark – Fujifilm X-T5
Paddling the Canal – Copenhagen, Denmark – Fujifilm GFX100RF
Canal Tour – Copenhagen, Denmark – Fujifilm GFX100RF
Canal View – Copenhagen, Denmark – Fujifilm GFX100RF
Boat Dash – Copenhagen, Denmark – Fujifilm GFX100RF
Fence Between Blossoms – Copenhagen, Denmark – Fujifilm GFX100RF
Sisters on a Bench – Copenhagen, Denmark – Fujifilm GFX100RF
Closed Tulip – Copenhagen, Denmark – Fujifilm GFX100RF
Wet Tulip – Copenhagen, Denmark – Fujifilm X-T5
Little Blossoms Along Fence – Copenhagen, Denmark – Fujifilm X-E5
Blooming Wall – Copenhagen, Denmark – Fujifilm X-E5
Peace, Love & Ice Cream – Copenhagen, Denmark – Fujifilm X-E5
End of the Fence – Copenhagen, Denmark – Fujifilm X-E5
Gran Torino – Copenhagen, Denmark – Fujifilm X-E5
Red & Purple Flowers – Copenhagen, Denmark – Fujifilm X-E5
Amusement – Copenhagen, Denmark – Fujifilm X-E5
Mismatched Towers – Copenhagen, Denmark – Fujifilm X-E5
Kastelsmøllen – Copenhagen, Denmark – Fujifilm X-E5
Accordion Player – Copenhagen, Denmark – Fujifilm X-T5
PLH Sunset – Copenhagen, Denmark – Fujifilm X-E5
Lunch Behind Glass – Copenhagen, Denmark – Fujifilm X-E5
Coffee – Copenhagen, Denmark – Fujifilm X-E5
NEMAR – Copenhagen, Denmark – Fujifilm X-E5
Rainbow Stairs – Copenhagen, Denmark – Fujifilm GFX100RF
Sunset From Lille Langebro – 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.

Comparing Three Fujifilm Recipes for European Travel Photography

Posted on by Ritchie Roesch

White Boat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Copenhagen Negative

Early this year Fujifilm asked if I would make a brand-new Film Simulation Recipe to be unveiled at Fujikina Copenhagen. I created three Recipes that I thought could be good candidates, but only one would be selected to be the very first Fujifilm Recipe to be introduced at a Fujikina event. I used all three extensively on an adventure through southern California, and, after reviewing the pictures, one emerged as the obvious winner. That Recipe, which I called Copenhagen Negative, was first revealed a week-and-a-half ago (on my birthday!) in Copenhagen. After returning home, I published it on this website and added it to the Fuji X Weekly App.

The other two Recipes—the ones that didn’t win—are also very good. I published them already, well before Fujikina. Even though I like one best (and used it a ton), I also had the other two—Avalon Ace and Vivid Chrome—programmed into my cameras, and used them occasionally, too. If I had never invented Copenhagen Negative, and it was between Avalon Ace and Vivid Chrome, I would have been happy unveiling either at the event, but between those two, I would have gone with Avalon Ace. In other words, Avalon Ace placed second and Vivid Chrome placed third, but they are all good in their own way.

Red Boat in Nyhavn Canal – Copenhagen, Denmark – Fujifilm GFX100RF – Avalon Ace
Nyhavn Canal – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Chrome

I thought it would be fun to compare the three Recipes that were intended for use in Copenhagen—Copenhagen Negative, Avalon Ace, and Vivid Chrome—using images that were created in Denmark. Did I choose the winning Recipe wisely? Was Copenhagen Negative actually the best of the three options for European travel photography? Let’s find out!

The three pictures above were captured using each individual Recipe, while the examples below were reprocessed in-camera to show all three Recipes using the same exposure. I chose three very different light situations to better gage how the Recipes perform: bright midday sun, evening sun peeking through overcast sky, and sunset. Take a look:

Copenhagen Negative
Avalon Ace
Vivid Chrome
Copenhagen Negative
Avalon Ace
Vivid Chrome
Copenhagen Negative
Avalon Ace
Vivid Chrome

In the first set above (the windmill photo), all three Recipes do a great job. Each brings its own character to the image, and I’m happy with each. It’s difficult for me to choose a winner, but I’d give a slight edge to Avalon Ace. In the second set (Kultorvet from a second-floor window), Copenhagen Negative has the right character for my tastes (and is the winner), but Avalon Ace is really good, too; however, Vivid Chrome is clearly third. In the last set (the bridge photo), it’s a tough call between Copenhagen Negative and Avalon Ace, but I’m leaning towards Avalon Ace, while Vivd Chrome is in a close third. What do you think? Which of the three pictures in each set above do you prefer?

Of all the photos that I made of my trip to Denmark, I used the Copenhagen Negative Recipe by far the most, and I’m really happy with how those images turned out. If I had used Avalon Ace instead, I think I would have been happy, too. Vivid Chrome seems to work really well in some situations and only so-so in others, so it’s more of a now-and-then type Recipe rather than for every picture.

Left: Vivid Chrome Recipe; Top Right: Avalon Ace Recipe; Bottom Right: Copenhagen Negative Recipe

Interestingly, each of these three Recipes has a film-like character to them, but they each have a different aesthetic. Vivid Chrome is in the general ballpark of Fujichrome Velvia 100 (although not a faithful facsimile), so it’s more like slide film. Avalon Ace was inspired by some film scans of Kodak Gold and Portra that were captured in Denmark (by a different photographer), so it has a negative feel. Copenhagen Negative is a variant of Avalon Ace, but with more of a Fujicolor Superia aesthetic. None are a perfect match for a specific emulsion, but the analog aesthetics of each are easy to appreciate.

If I were traveling to Europe again, I would consider programming all three of these Recipes into my C1-C7 Custom Settings presets. That leaves four other slots available for other Recipes. Actually, on my Fujifilm X-E5, I had these set to FS1, FS2, and FS3, which meant that each C1-C7 slot was available for other Recipes. These three are great options for many subjects and situations, so you don’t need a lot more—perhaps a B&W Recipe like Kodak Tri-X 400, a nighttime option like CineStill 800T, and fill in the rest with whatever are your go-to favorites.

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.

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.

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