Fuji Recipes | FUJI X WEEKLY

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

Posted on August 3, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fuji X Weekly is now Available on Apple Watch!!

Posted on July 24, 2023 by Ritchie Roesch

The Fuji X Weekly App is now on Apple Watch!

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

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

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

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

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

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

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

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

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

Posted on July 22, 2023 by Ritchie Roesch

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

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

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

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

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

Film Simulation: Eterna Bleach Bypass
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome FX Blue: Weak
White Balance: 7700K, -9 Red & +5 Blue
Dynamic Range: DR400
Highlight: -0.5
Shadow: +1.5
Color: +3
Sharpness: 0
High ISO NR: -4
Clarity: -3
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this Pushed CineStill 800T Film Simulation Recipe on my Fujifilm X-T5:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

8 Fujifilm Film Simulation Recipes for Those Hot Summer Nights

Posted on July 22, 2023 by Ritchie Roesch

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

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

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

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

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

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

Fujicolor Super HG v2

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

Ektachrome 320T

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

Expired ECN-2 100T

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

Fujicolor NPS 160 Pulled

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

Xpro ’62

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

CineStill 800T

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

Pushed CineStill 800T

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

Serr’s 500T

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

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

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

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

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

Posted on July 20, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Getting that ’90’s Film Look with Fujifilm Cameras

Posted on July 19, 2023 by Ritchie Roesch

*Captured with a Fujifilm X100V + Kodak Max 800 Recipe + 10% CineBloom filter + Flash*

A lot of people are interested right now in achieving a 1990’s film look. If you’re unfamiliar, the specific aesthetic is that of cheap 35mm point-and-shoot and disposable cameras. You know, the 4″ x 6″ prints from the 1-hour photo lab that’s in your (or your parent’s) photo album or picture box. If you are older than 25 (and maybe as young as 20) there might be some nostalgia associated with this look. If you own a Fujifilm model, it’s not too difficult to achieve the ’90’s film aesthetic straight-out-of-camera.

While Kodak was king of film, a surprisingly significant extent of this aesthetic was influenced by Fujifilm. There are a few key reasons for this.

First, Fujifilm’s QuickSnap disposable cameras were a huge hit, and Kodak was often playing catch-up with their FunSaver line. While both were really popular, odds are that if you are looking at a disposable camera picture, it was captured on a QuickSnap, which often used a Fujicolor Superia film.

Second, for those pictures captured on reloadable point-and-shoot cameras, while Kodak sold more film, Fujifilm sold a heck-of-a-lot, too. The majority of pictures were likely shot on Kodak emulsions, but a very large chunk were captured with Fujicolor film.

Third, a lot of 1-hour photo labs used Fujifilm’s machines, chemicals, and paper. Even if the film was Kodak, Fujifilm still had an influence in the final picture aesthetic. The majority of snap-shooters in the 1990’s in the U.S. were dropping their film off at cheap labs inside drug stores or box stores, such as (for example) Walmart. Because Fujifilm sold their photo development equipment and supplies at a slightly lower price than Kodak, many of these labs went with Fujifilm over Kodak. Also, if you had the film scanned by the 1-hour lab (and placed on a CD), it was likely done with a Frontier scanner by Fujifilm.

If you want to recreate this ’90’s film aesthetic on your Fujifilm camera, the best starting point is the Classic Negative film simulation, because it is closely based off of Fujicolor Superia film. Any Film Simulation Recipe that uses Classic Negative as the base is going to get you halfway there. For those who own a Fujifilm camera that doesn’t have Classic Negative (X-Trans III and older, plus X-T3 & X-T30), look for Recipes with Classic Chrome (such as Kodak Gold 200 and Kodacolor) for a retro Kodak look or PRO Neg. Std (such as Fujicolor Superia 800 and Fujicolor 100 Industrial) for a Fujicolor look.

I shot with 10 different Film Simulation Recipes that use Classic Negative as the base for this article. As of this writing, there are over 45 Recipes that use Classic Negative, so there are many more to choose from—just because I didn’t use a particular Recipe here doesn’t mean that it wouldn’t work well or that you shouldn’t try it (finding Classic Negative Recipes on the Fuji X Weekly App is easy for Patron subscribers). I do think these 10 are all good options, and they produce a variety of characteristics. Some are more contrasty and some less. Some are more warm and others more cool. Some are more vibrant and some less so. Take a look at each, and if you are drawn more to the pictures in a particular Recipe, give that one a try for yourself.

10 Film Simulation Recipes

Kodak Max 800

Fujicolor Analog

Fujicolor Superia 100

Superia Premium 400

Fujicolor Superia 1600

Fujicolor Natura 1600

Fujicolor NPS 160 Pulled

Pulled Fujicolor Superia

Nostalgia Color

Agfa Ultra 100

Gear

Fujifilm X100V

We discussed Film Simulation Recipes before talking about gear because choosing the right Recipe is more critical than the gear you use. With that said, gear is important, too. One critical component is flash. While not all ’90’s film snapshots were captured using a flash, a lot were, and so it has become associated closely with the aesthetic. I used flash in all of the Recipe example pictures above.

The Fujifilm X100V has a great fill-flash built into the camera, making it an ideal choice for this style. It also has a leaf shutter, which makes flash photography much easier. There are other Fujifilm cameras that also have a flash and leaf shutter, such as the X100F, X70, and XF10 (to name a few), but the X100V is the only one that also has Classic Negative.

One problem with using the X100V is that the fixed lens is too good. It’s not really believable as a ’90’s point-and-shoot (although there are some examples that have high-quality glass). To tone it down a little, I used a 10% CineBloom diffusion filter, which helps to produce a more analog-like rendering.

When using the Fujifilm X100V, choose the Classic Negative Recipe of your preference, screw a diffusion filter onto the lens (you’ll need an adapter if you don’t have one already), and turn the flash On (TTL). You’re now good to go!

Fujifilm X-E4 + Lens + Flash

Of course, you don’t need a camera with a built-in flash to do this. My Fujifilm X-E4 doesn’t have a flash, for example, but by attaching an external unit, such as my Godox Lux Junior, to the hot-shoe on top of the camera, I can now do flash photography. This is a lot trickier than using the X100V, and takes some practice if you don’t have experience with a flash, but it is certainly one way to do it.

What I do appreciate about this approach is that the camera is interchangeable-lens, which means you can use a more lofi option, such as the 7Artisans 18mm f/6.3 II. This is softer glass with strong vignetting, and perhaps not one you’d use much for other purposes; however, for replicating the aesthetic of a cheap point-and-shoot it is great!

Combining the Fujifilm X-E4 with the 7Artisan 18mm f/6.3 II lens and using the Godox Lux Junior flash is an affective way to replicate a ’90’s film aesthetic. All of the Fujicolor Analog and Agfa Ultra 100 examples above were captured with this combination, as well as some of the other pictures. If you don’t have a built-in flash on your Fujifilm camera, this is a good way to achieve the look.

While the picture quality from cheap point-and-shoot and disposable cameras were not considered great, this is how many important memories and ordinary life moments where captured in the 1990’s. Many people look back with fondness on these photographs. The image aesthetics conjure up nostalgic feelings, so it should not be too surprising that this look is currently in-style. You can achieve it yourself on your Fujifilm camera without much fuss—it’s mostly just choosing the right Film Simulation Recipe and turning the flash on.

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

Fujifilm X100V — Amazon B&H Moment
Fujifilm X-E4 — Amazon B&H Moment
7Artisans 18mm f/6.3 II — Amazon B&H
Godox Lux Junior — Amazon B&H

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.

Creative Collective 051: 7 Recipes for July 4th

Posted on July 13, 2023 by Ritchie Roesch

*Firework over Super Moon* – Fujifilm X100V – Kodak Ultramax 400 – 70mm Digital Teleconverter

July 4th is an American holiday, often celebrated with family, fireworks, watermelon, and barbecues. I chose to document the day with my Fujifilm X100V loaded with seven Film Simulation Recipes, each picked for a specific reason. I made a point to try all seven throughout the day, and especially during the fireworks show. Let’s take a look at how that worked out!

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

Posted on July 11, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Future of Photography is Unedited

Posted on July 7, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 6

Posted on July 5, 2023 by Ritchie Roesch

*Yellow Kayaks, White Trucks* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

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

Day 6 — June 9, 2023 — Travel Day

This was the final day of my trip to California’s Central Coast. Only the morning was spent at the ocean—my wife and I took the kids tide pooling, which was a lot of fun. Afterwards we hit the road back home, waving goodbye the Pacific coast.

I love the ocean, and find myself often drawn to it. The central coast of California is probably my favorite stretch of shoreline—such a magical place! I enjoyed time with my family, and the lasting memories we made together. The two days spent with Ken Rockwell and Dave Wyman were great—I captured a bunch of photographs and learned some things. Hopefully I can join in on one of their other tours in the future. This was a good week, and it was sad that it seemed to end so soon. I guess that means I’ll have to return, perhaps for a bit longer next time.

*Rocky Water* – Pismo Beach, CA – Ricoh GR III – Monochrome Film

The camera gear that I used on Day 6 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Meike 35mm f/1.7, and a Ricoh GR III. Mostly, I just used the X100V, which is such a great travel camera!

For Day 6, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Fujicolor 100 Gold, Superia Premium 400, Urban Dreams and Xpro ’62. On the GR III, I used the Monochrome Film Recipe (which can be found in the Ricoh Recipes App) for the entirety of the trip, treating the camera as a monochrome-only model.

The photographs below are in order of when they were captured. The picture at the top of this article, Yellow Kayaks, White Trucks, fits in-between Seaside Home and Blue & Yellow. The second photo, Rocky Water, fits in-between Yellow Kayaks in the Big Blue and Jon & Crab Claw. I hope that you enjoy these pictures, and have appreciated the photographs throughout this series!

*Two Seagulls* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

*Wave on Rocky Coastline* – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

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

*Crab Grass* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

*Seaweed Wood* – Pismo Beach, CA – Fujifilm X100V – Urban Dreams

*Yellow Kayaks in the Big Blue* – Pismo Beach, CA – Fujifilm X100V – Urban Dreams

*Jon & Crab Claw* – Pismo Beach, CA – Fujifilm X100V – Urban Dreams

*Seaside Home* – Pismo Beach, CA – Fujifilm X100V – Fujicolor 100 Gold

*Blue & Yellow* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

*One In, One Out* – Pismo Beach, CA – Fujifilm X100V – Superia Premium 400

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

*White Bike* – Santa Barbara, CA – Fujifilm X-E4 & Meike 35mm – Xpro ’62

*Montecito Bus* – Santa Barbara, CA – Ricoh GR III – Monochrome Film

*Searching for Something* – Santa Barbara, CA – Ricoh GR III – Monochrome Film

*Sent by Large Marge* – Cabazon, CA – Fujifilm X100V – Kodak Tri-X 400

That’s it! You’ve reached the end of the Central Coast of California tour. I had so much fun, and I hope you did, too!

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

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

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

Posted on July 3, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Day 6

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

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

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

Posted on June 25, 2023 by Ritchie Roesch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Travel: Central Coast of California “En Plein Air” — w/Ken Rockwell & Dave Wyman — Day 4, Part 1

Posted on June 22, 2023 by Ritchie Roesch

*Bench with a View* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues

Day 1 — Day 2 — Day 3

Day 4, Part 1 — June 8, 2023 — Prefumo Canyon

I’m not a morning person. When my alarm sounded and it was still very dark outside, I didn’t want to jump out of the warm bed that I was comfortably resting in. I knew this was going to be a fun, memorable, and photographically productive day, so I wiped the sleep from my eyes and began to get ready. I was finally going to meet Ken Rockwell and Dave Wyman, and all the others who also signed up for the Central Coast of California tour, and I did not want to be late.

Everyone knows who Ken Rockwell is. His longstanding website has been one of the most popular in photography for decades. Dave Wyman is perhaps less well-known, but he has been teaching photography, leading tours, and publishing books for a long, long time—an incredible talent who deserves to be a household name in photography circles. I was very excited for the opportunity to meet them both in-person.

The tour began at a hotel in San Luis Obispo, where we all met up and decided who would be driving and who would be riding in which car. There were twelve of us total, including Ken and Dave, which means there were 10 attendees, including myself. Interestingly, I found out that seven were repeat customers, and had participated in at least one of Ken and Dave’s tours before.

After everyone had their gear loaded up, and as the sun was rising, we carpooled and caravanned to Prefumo Canyon, which is a mountainous area in-between San Luis Obispo and Avila Beach. It’s not a place anyone would likely stumble upon, unless they were purposefully exploring back roads that few ever take. But Dave knows these hidden gems very well thanks to the research he did for his first two books: Backroads of Northern California and Backroads of Southern California. While Dave does take his tours to the iconic locations that everyone photographs, he also goes to places almost nobody else does because virtually no one else knows where they are. Prefumo Canyon is one such spot.

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

Dave Wyman is the tour organizer and leader, while Ken Rockwell is brought along as a subject matter expert. They are both available during the trip for any questions or advice that anyone might have. There’s no classroom portion of the tour—it’s all “en plein air”—so any and all education is done in-the-field. One can learn as much or as little as one wants to, and it is up to the attendees to ask any questions that they might have. Both Dave and Ken make themselves available throughout the tour; however, the information and advice that they provide is limited until questions are asked. If anyone is considering joining one of their tours in the future, my advice is to think about what you want to learn, and have a list of questions written down in advance. Also, don’t be afraid to approach Dave and Ken, as they’re both eager to help.

We spent much of the morning in Prefumo Canyon, photographing in a few different locations before moving on to Avila Beach. Thankfully the sun was shining—this would be the only non-dreary day of the entire trip! I did so much photography at this spot that I decided to separate Day 4 into two parts.

The camera gear that I used on the first part of Day 4 (you can read the entirety of the gear that I brought with me in my Ultimate Travel Compact Camera Kit article) was a Fujifilm X100V with a 5% CineBloom filter, a Fujifilm X-E4 with a Fujinon 18mm f/2, Fujinon 90mm f/2, Pentax-110 24mm f/2.8, and Pentax-110 50mm f/2.8, and the RitchieCam App on my iPhone 11.

For this part of Day 4, the Film Simulation Recipes that I used on my Fujifilm cameras (which can be found in the Fuji X Weekly App) were Kodak Tri-X 400, Kodachrome 64, Kodak Portra 400 v2, Kodak Ektachrome E100VS v1, Fujicolor 100 Gold, Superia Premium 400, Pacific Blues, The Rockwell and Vintage Color. For the iPhone, I used my Vintage Kodak, Classic Color, and B&W Fade filters on RitchieCam.

The photographs below are in order of when they were captured. The picture at the top of this article, Bench with a View, fits in-between Retro Yellow and Dave with Rolleiflex. The second image, Light in the Woods, fits in-between Light in the Dark Forest and Ken & Distant Moon. Otherwise, the order is correct. I hope that you enjoy these pictures!

*Morro Rock from Above* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Curvy Canyon Road* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Tall Grass & Fence Post* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*California Hills* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – The Rockwell

*Post & Shrub* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – The Rockwell

*Hilltop view of Morro Rock* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Dave Wyman* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Rock Vista* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Pyramid* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Poison Oak* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Hills with Distant Clouds* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Pacific Blues

*Thistles* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodachrome 64

*Backlit Ken* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 90mm – Kodak Portra 400 v2

*Photograph of Photographers* – Prefumo Canyon, CA – Fujifilm X-E4 & Fujinon 18mm – Kodak Portra 400 v2

*Falling Windmill* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Old Barn* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Barn & Moon* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Rural* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Rustic* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Kodak Portra 400 v2

*Pacific Aermotor* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Kodak Portra 400 v2

*15 MPH* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Kodak Portra 400 v2

*Rural Pole* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Yellow* – Prefumo Canyon, CA – Fujifilm X100V – Superia Premium 400

*Retro Yellow* – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – Vintage Kodak

*Dave with Rolleiflex* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues

*Rural Watch* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Pacific Blues

*Green Bush* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 24mm – Vintage Color

*Ken & Distant Moon* – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – Classic Color

*Half Moon* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color

*Windmill* – Prefumo Canyon, CA – Fujifilm X-E4 & Pentax-110 50mm – Vintage Color

*Canopy* – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

*Tree Arch* – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

*Rural Road* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

*Ken Rockwell* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

*Dave in B&W* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

*Sunlight in a Black Forest* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

*Flare over a Log*– Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

*Light in the Dark Forest* – Prefumo Canyon, CA – Fujifilm X100V – Fujicolor 100 Gold

*Ken at 1,017′* – Prefumo Canyon, CA – iPhone 11 – RitchieCam App – B&W Fade

*Backlit Gate* – Prefumo Canyon, CA – Fujifilm X100V – Kodak Tri-X 400

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

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

Fujifilm X100V — Amazon B&H  Moment
Fujifilm X-E4 — Amazon B&H  Moment
Fujinon 18mm f/2 — Amazon   B&H   Moment
Fujinon 90mm f/2 — Amazon   B&H   Moment

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

Posted on June 20, 2023 by Ritchie Roesch

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

Day 1 — Day 2

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

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

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

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

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

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

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

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