Fujifilm Acros | FUJI X WEEKLY

A Chance Encounter on a Rainy Day in May

*Chuck Drummond* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400“

I just learned that Chuck Drummond passed away this last Friday at 79-years-old. I met him once, and he was very kind. My deepest sympathies go out to the Drummond family, who I’m sure are still mourning.

This last summer my family and I embarked on an epic roadtrip that took us through Oklahoma. Pawhuska was a little out of the way, but we made sure to detour through it so that we could visit The Mercantile, the restaurant/coffee shop/bakery/gift store owned by Ree Drummond, who is also known as The Pioneer Woman.

For those unfamiliar, Ree Drummond became famous for her cooking blog, where she shared recipes used to feed her family and the hungry ranchmen, which turned into books, television shows, product lines, and The Mercantile, among other things. She lives on a large ranch in rural Oklahoma. Pawhuska was barely on the map before Ree became famous—now it’s still barely on the map, although it certainly has seen a significant resurgence, and it can become quite busy with tourists. Yes, for The Pioneer Woman fans, Pawhuska is a destination.

I’ve written about Pawhuska before, and I don’t want to rehash that; instead, I want to share a serendipitous encounter while in the small town, which I’ll remember for some time to come.

We awoke to steel grey sky and light rain. After getting ourselves put together, my family and I strolled around the small town of Pawhuska, which was almost deserted—the weather seemed to scare people off, or at least keep them indoors. We explored the streets, and I captured photographs with my Fujifilm X100V using the Kodak Tri-X 400 Film Simulation Recipe—black and white seemed especially appropriate for the weather. Eventually we made our way inside The Mercantile for breakfast, something that everyone should experience at least once in their lives—to say that it’s good is as big of an understatement as saying the Grand Canyon is big; both are true, but neither truly describe it.

*Mercantile* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

While waiting for our food, an old man wearing a cowboy hat walked in by himself. He appeared weathered and worn, but in good spirits, with a smile on his face. My wife stated in a whisper just loud enough for our children to hear, “Look, there’s a real cowboy.” A true ranchman. An iconic stature of the American west. He sat at a small table near ours.

My wife knew right away who he was. This was Chuck. Ladd’s dad. Ree’s father-in-law. When the waitress came by, my wife asked if it would be alright to say hi to him. “Oh, sure,” she answered with a wink, “he loves the attention.” So my wife stood up, walked to his table, and introduced herself.

Chuck grinned, and he, too, stood up. He shook my wife’s hand, then he shook mine. He noticed my little girl’s cowboy boots, and made a comment to her about how nice they were and that he liked them. The waitress asked if she could take our picture, so with my wife’s phone she snapped one with Chuck, myself and my wife standing together. It was all very quick. Then we sat back down. Our food came, and we ate. His food came, and he ate alone, although other people also recognized him and he would pause to shake their hands and maybe take a picture. Chuck was a celebrity of sorts.

Our encounter was brief, but memorable. His kindness was obvious. His cheerfulness contagious. We met a genuine cowboy in rural Oklahoma. Just now I showed my daughter the picture I captured of Chuck Drummond (at the top of this article), and asked if she remembered him. “Oh, yeah,” she stated without hesitation, “that man said he liked my boots.” We’ll forever remember this chance encounter on a rainy day in May.

I’d yet to share any of these pictures, which were all captured on that drizzly morning in Pawhuska. I hope that you enjoy them!

*Open All Year* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Zoltar & Aliens* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Empty Cup of Tea* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Smoking Area* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Do Not Lock* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Gas Pipes* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Rooftop Access* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Now Open Windows* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Reserved for Ree* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Raindrop Windshield* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Tree & Wet Seats* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Empty Crosswalk* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Mercantile Parking* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Charlie’s* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Inside Looking Out* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*5¢ Biscuit Co* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Love Mugs* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Coffee* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Super Easy* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Mercantile Shoppers* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Jo & Charlie* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Ranch Truck* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Power Wagon* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Bull* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Dog & Table* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Chair & White Table* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Couch by Windows* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*MMM MMM MMM* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Yum!* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Yum, Too!* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Jitter Juice* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

*Breakfast* – Pawhuska, OK – Fujifilm X100V – “Kodak Tri-X 400”

Fujifilm X-Trans IV Film Simulation Recipe: Moody Monochrome

Posted on April 5, 2022 by Ritchie Roesch

*Apocalyptic Pavillion* – Layton, UT – Fujifilm X100V – “Moody Monochrome”

Of the different faux filter options for Acros, +Y is the one I use the least. I think it goes back to my film days when I used color filters with B&W film. I would select Orange or Red before Yellow, because Yellow is fairly subtle, but the advantage of the Yellow filter is that it doesn’t block as much light. Of course, the faux filters on Fujifilm cameras don’t affect the exposure like real filters with film. Anyway, recognizing that I infrequently use Acros+Y, I set out to make a Film Simulation Recipe that uses +Y and produces an aesthetic that I like. I think it is important to challenge myself sometimes, so if there’s some setting or gear or option that I don’t use often, forcing myself to use it helps me to grow as a photographer. That’s why I made this recipe.

I wanted something with an overall darker curve, so that it would produce a moody look. Maybe deep blacks reminiscent of Tri-X, and maybe a push-process feel. I didn’t have any specific film in mind, but I’m reminded of this time that I push-processed a roll of Ilford Delta 400, but inadvertently got it wrong—I underexposed two stops, and only had the lab push it by one stop, so the pictures were largely underexposed, and they were darker and moodier (yet less contrasty and grainy) than I had intended. This isn’t exactly the same as that, but not too dissimilar, either, so that’s why I call this recipe Moody Monochrome.

*Early Blossoms* – Farmington, UT – Fujifilm X100V – “Moody Monochrome”

Because this film simulation recipe uses Clarity, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. If you have an X-T3 or X-T30 or X-Trans III camera, ignore Clarity and Grain size, and use a diffusion filter, like a 10% CineBloom or 1/4 Black Pro Mist, to get similar results.

Acros+Y
Dynamic Range: DR400
Highlight: -1
Shadow: +4
Noise Reduction: -4
Sharpness: -2
Clarity: -3
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: Fluorescent 3, -4 Red & -9 Blue
ISO: 3200
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Moody Monochrome” Film Simulation Recipe on my Fujifilm X100V:

*Stop West* – Farmington, UT – Fujifilm X100V

*Watch For Falling Bikes* – Farmington, UT – Fujifilm X100V

*Sun Beams* – Layton, UT – Fujifilm X100V

*Tower in the Middle of Nowhere* – Layton, UT – Fujifilm X100V

*Path Through The Grass* – Layton, UT – Fujifilm X100V

*Wetland Boardwalk* – Layton, UT – Fujifilm X100V

*Wetland Grass* – Layton, UT – Fujifilm X100V

*Creek in the Trees* – Farmington, UT – Fujifilm X100V

*Creek, Stick & Vines* – Farmington, UT – Fujifilm X100V

*Log Above The Water* – Farmington, UT – Fujifilm X100V

*Grey Brush* – Farmington, UT – Fujifilm X100V

*Cat on a Log* – Farmington, UT – Fujifilm X100V

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Fujifilm X100V Film Simulation Recipe: Black & White Infrared

Posted on August 11, 2020 by Ritchie Roesch

Stop Here on Infrared – Yellowstone NP, WY – Fujifilm X100V – “Black & White Infrared”

Infrared photographing is capturing light beyond the visible spectrum. It requires special film, or a digital sensor that has had the infrared filter removed. Any digital camera has the potential to be infrared sensitive, but the process isn’t easy or cheap. Full spectrum photography is similar to infrared, but also includes ultraviolet and visible light (not just infrared light). With full spectrum photography you can choose by the use of filters which light you want to capture. You can use filters with infrared, too, to control what light comes through, but not to the extent of full-spectrum. A characteristic of both infrared and full-spectrum in black-and-white is deep contrast, with dark skies and white foliage. One of my favorite photographers is Mitch Dobrowner, who converted his Canon cameras to full-spectrum for dramatic monochrome storm photography.

When I purchased my Fujifilm X-T1, I had the intentions of converting it to full-spectrum, but the cost of the conversion has prevented me from doing it. I still hope to do so, maybe later this year or perhaps next year. We’ll see. But I figured out a way to simulate something that’s in the neighborhood of infrared or full-spectrum on my Fujifilm X100V without any conversions. In the right light and with the right subject, it can be quite convincing! Even though you are only using the visible spectrum of light, it can appear as though you are actually doing infrared photography. Amazing!

Even in situations where this recipe doesn’t resemble infrared or full-spectrum, it will still produce a dramatic, high-contrast look that you might find appealing. Those who have said that Acros+R doesn’t actually resemble the use of a red filter on black-and-white film will appreciate these settings. Many landscape photographers, including Ansel Adams, employed a red filter to achieve a dark sky (for example, Moonrise Over Hernandez).

White Tree Black Sky – West Valley City, UT – Fujifilm X100V – “Black & White Infrared”

The trick is to use a low Kelvin white balance in conjunction with a dramatic white balance shift when using Acros+R. I got the idea from Fuji X Weekly reader James Clinich, who uses between 3800K and 4500K with a 0 Red & +8 shift to achieve a darker sky, which is something you can apply to other B&W recipes if you’d like to better mimic the use of a red filter. I just took his idea a step further to make it even more dramatic for this recipe.

My Black & White Infrared film simulation recipe can be difficult to use. I find that it doesn’t always work well. It can be very tough to gauge the best exposure, and I’ve had to go anywhere from -1 to +3 on the exposure compensation dial to get it right. It’s one of the more difficult to use recipes that I’ve created, yet it is highly rewarding. If you like dramatic black and white photographs, you’ll want to give this one a try! As of this writing, it’s only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: +3
B&W Toning: 0
Noise Reduction: -4
Sharpening: -4
Clarity: +5
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: 2750K, -5 Red & +9 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Black & White Infrared film simulation recipe on my Fujifilm X100V:

Crafts & Hobbies – West Valley City, UT – Fujifilm X100V

Cloud Above The Wall – Draper, UT – Fujifilm X100V

Flags Over IKEA Infrared – Draper, UT – Fujifilm X100V

Pinnacle – Farmington, UT – Fujifilm X100V

Suburban Abstract – Farmington, UT – Fujifilm X100V

Suites – West Valley City, UT – Fujifilm X100V

Paved Paradise – West Valley City, UT – Fujifilm X100V

Accessible Parking – West Valley City, UT – Fujifilm X100V

Done Shopping – West Valley City, UT – Fujifilm X100V

Soda Glass – West Valley City, UT – Fujifilm X100V

Couch Stripes – Farmington, UT – Fujifilm X100V

Flowers in the Sky – Big Sky, MT – Fujifilm X100V

Grey Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned Dream Infrared – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned House by the Hill IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Henry’s Fork River – Island Park, ID – Fujifilm X100V

Upper Red Rock Lake IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Red Rock Road Monochrome – Red Rock Lakes NWR, MT – Fujifilm X100V

Aspen Leaves Infrared – Farmington, UT – Fujifilm X100V

Illuminated Tree – West Valley City, UT – Fujifilm X100V

Infrared Tree – Farmington, UT – Fujifilm X100V

Fujifilm X100V Film Simulation Recipe: Kodak Tri-X 400

Posted on June 18, 2020 by Ritchie Roesch

Leaves in the Forest – Farmington, UT – Fujifilm X100V – ISO 3200 – “Kodak Tri-X 400”

The number one black-and-white film simulation recipe that I’ve been asked to create is Kodak Tri-X 400, but I’ve never been satisfied with my own attempts. Thankfully for you, Fuji X Weekly reader Anders Lindborg (Instagram) was able to do it! This is brilliant, and I’m sure you’ll love it. It’s the only B&W recipe I’m using on my Fujifilm X100V right now.

Kodak introduced Tri-X in the early 1940’s, and in the 1950’s they began selling it in 35mm format. Ever since, it has been the “standard” high-ISO black-and-white film for photographers. It’s been made in ISO 160, 200, 320 and 400 versions; this recipe is based on Tri-X 400. Kodak re-engineered Tri-X 400 in 2007 with finer grain and lower contrast, but it’s still nearly identical to the old stock.

Anders actually made three recipes in one: low-contrast, mid-contrast, and high-contrast. Tri-X, like most films, can be made more contrasty or less contrasty based on how it’s developed (chemicals used and/or development times) or printed (contrast filters). The recipe further down this article is the mid-contrast version. For low contrast, set Highlight to -1 and Shadow to +2. For high contrast, set Highlight to +1 and Shadow to +4. This film simulation recipe was designed for the X-T3 and X-T30, but I changed a couple of things for the X100V: I set Clarity to +4 (which isn’t available on the X-T3 and X-T30) and Grain to Strong & Large (on the X-T3 and X-T30, Grain is set to Strong). Because it adds contrast, setting Clarity to +4 actually makes this look more like the high-contrast version. If you are using this on the X100V, X-Pro3 or X-T4, feel free to try all three contrast versions, with or without Clarity, to see which you like better. For X-Trans III cameras, which don’t have Color Chrome Effect, you can still use this recipe; while it won’t look exactly the same, it will still look very similar. In other words, even though the title says “Fujifilm X100V Film Simulation Recipe” you can actually use it on any camera with the Acros film simulation—I’ve tried it on an X-T30 and X-T20, and it looks great!

Forest Edge – Fruit Heights, UT – Fujifilm X100V – ISO 1600 – “Kodak Tri-X 400”

I found that this recipe looks best when set to ISO 1600 or higher. From ISO 1600 to 3200, the results more resemble newer Tri-X 400 film. From ISO 6400 to ISO 12800, the results more resemble older Tri-X 400 film. I want to give a big thank-you to Anders Lindborg for creating this recipe, sharing it, and allowing me to publish it here—you are appreciated! Thank you!

Acros (+Y, +R, +G)
Dynamic Range: DR200
Highlight: 0
Shadow: +3
Noise Reduction: -4
Sharpening: +1
Clarity: +4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Daylight,+9 Red & -9 Blue
ISO: ISO 1600 – 12800
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Kodak Tri-X 400 film simulation recipe on my Fujifilm X100V:

Fallen Trunk – Fruit Heights, UT – Fujifilm X100V – ISO 1600

The Forest – Fruit Heights, UT – Fujifilm X100V – ISO 1600

Light in a Dark Canopy – Farmington, UT – Fujifilm X100V – ISO 1600

Sunlight & Leaves – Farmington, UT – Fujifilm X100V – ISO 12800

Monochrome Backlit Leaves – Farmington, UT – Fujifilm X100V – ISO 1600

Drops on a Window – Fruit Heights, UT – Fujifilm X100V – ISO 1600

Half Leaf In The Road – Farmington, UT – Fujifilm X100V – ISO 1600

Footstep – Farmington, UT – Fujifilm X100V – ISO 1600

Barrier – Farmington, UT – Fujifilm X100V – ISO 1600

Corner Benches – Farmington, UT – Fujifilm X100V – ISO 6400

Drinking Fountains – Farmington, UT – Fujifilm X100V – ISO 1600

Feel Like A Kid Again – Farmington, UT – Fujifilm X100V – ISO 1600

Walking at an Amusement Park – Farmington, UT – Fujifilm X100V – ISO 1600

Waiting at the Exit – Farmington, UT – Fujifilm X100V – ISO 3200

Diagonal Light Boy – Farmington, UT – Fujifilm X100V – ISO 12800

FED 5c Film Camera – Farmington, UT – Fujifilm X100V – ISO 3200

Coffee Grounds in a Filter – Farmington, UT – Fujifilm X100V – ISO 3200

Rainbow Feet on the Floor – Farmington, UT – Fujifilm X100V – ISO 3200

Girl in Zebra Shirt – Farmington, UT – Fujifilm X100V – ISO 12800

Rainy Day Siblings – Farmington, UT – Fujifilm X100V – ISO 3200

Level Up – Farmington, UT – Fujifilm X100V – ISO 12800

Wet Leaf in the Grass – Farmington, UT – Fujifilm X100V – ISO 5000

Wet Tree Leaves – Farmington, UT – Fujifilm X100V – ISO 3200

Leaf of a Different Color – Farmington, UT – Fujifilm X100V – ISO 3200

Emptiness – Roy, UT – Fujifilm X100V – ISO 3200

Empty Boxes in an Abandoned Home – Roy, UT – Fujifilm X100V – ISO 12800

Nobody’s Home – Roy, UT – Fujifilm X100V – ISO 3200

White Truck – Roy, UT – Fujifilm X100V – ISO 3200

Dead End Night – Roy, UT – Fujifilm X100V – ISO 12800

Trolley Bus – Farmington, UT – Fujifilm X100V – ISO 12800

Wrong Way – Centerville, UT – Fujifilm X100V – ISO 12800

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Fujifilm Monochrome

Posted on January 26, 2020 by Ritchie Roesch

Mountains Dressed In Monochrome – South Weber, UT – Fujifilm X-T30

Leica recently announced the M10 Monochrom, which is their third black-and-white only camera. It can’t capture a color picture because it doesn’t have a Bayer array. It only does black-and-white photography. Fujifilm should do something similar, even though most won’t buy it.

Believe it or not, there’s actually an advantage to a monochrome sensor. With a typical Bayer color array, only 50% of the light-sensitive sensor elements are recording luminosity information, while the other 50% are recording color information. With an X-Trans sensor, 55% of the light-sensitive sensor elements are recording luminosity information while 45% are recording color information. With a monochrome sensor, 100% of the light-sensitive sensor elements are recording luminosity information. Because of this, you get a higher perceived resolution, as pictures will appear more richly detailed, and there’s more shadow latitude, which also improves high-ISO capabilities. You can also use color filters like with black-and-white film.

I think an X-Pro3-M, a black-and-white only version of the X-Pro3, or an X100V-M, a black-and-white only version of the upcoming X100V, would do well enough commercially. Yes, it’s clearly a niche product, as there’s only a tiny market for it, yet Leica found a way to make it profitable, and Fujifilm could, too. There are plenty of photographers who use their X-Pro or X100 series camera to only shoot black-and-white. A Monochrome version would make things simpler for them, while improving perceived resolution, dynamic range and high-ISO. And, Fujifilm has a cool marketing angle: call it the X-Pro3 Acros or X100V Acros. People would eat that up. Increase the price a couple hundred dollars and it would sell well enough to be profitable, in my non-expert opinion.

The flip side to this is that Fujifilm X-Trans cameras, particularly X-Trans III and IV cameras that have the Acros film simulation, are already fantastic for black-and-white photography. Would a monochrome-only camera really produce enough of an improved image to justify buying one? I think that’s a tough question to answer, but my guess is probably not for most people. Still, a monochrome-only camera wouldn’t be for “most people” as it would be for a very small crowd, and for those people the difference would indeed justify buying it. For most, your current X-Trans camera is a great black-and-white photography tool, and there’s no need to get a monochrome-only camera. Some, however, would absolutely love to have one, and I think there’s enough of those people that such a camera could be profitable for Fujifilm, if they ever wished to create one. I hope they do.

My Fujifilm X-T30 Acros Film Simulation Recipe (Agfa APX 400)

Posted on April 18, 2019 by Ritchie Roesch

Cloud Over The White Ridge – South Weber, UT – Fujifilm X-T30 – Acros

I made a new Acros recipe! I’ve been playing around lately with the Acros settings on my Fujifilm X-T30, trying to create a certain look (which I’m still working on), and I stumbled upon some interesting settings. I tried them out for a few days and wanted to share my findings with you. I think some of you might like this one!

This recipe is not intended to mimic the look of any particular film, but it’s in the neighborhood of a couple different black-and-white stocks. The closest might be Agfa APX 400 (the newer version), but it’s not an exact match for that film. I don’t think it really matters if it’s an exact match or not, it has an analog black-and-white look that’s easy to appreciate!

Shopping Carts – Farmington, UT – Fujifilm X-T30 – Acros

The idea behind this film simulation recipe is to have a lower-contrast option that doesn’t look flat. It seems to be especially well suited for high-contrast scenes, but there’s a certain beauty in low-contrast scenes where it produces almost a faded aesthetic. This Acros recipe is really great for certain situations, and it’s one of my favorite Acros recipes that I’ve created. If you don’t have an X-Trans IV camera, you can still use this recipe, except you can’t use Color Chrome Effect or Toning, so the results will be slightly different, but still very similar.

Acros (Acros+Y, Acros+R, Acros+G)
Dynamic Range: DR400
Highlight: -2
Shadow: +4
Noise Reduction: -4
Sharpening: +4
Grain Effect: Weak
Color Chrome Effect: Strong
Toning: +1 (warm)
ISO: Auto up to ISO 12800
Exposure Compensation: +2/3 to +1-1/3 (typically)

Example photographs, all camera-made JPEGs using this recipe on the Fujifilm X-T30:

Frozen Reservoir – Causey Reservoir, UT – Fujifilm X-T30 – Acros

Mid Morning Mountain – South Weber, UT – Fujifilm X-T30 – Acros

Head In The Clouds – Ogden Canyon, UT – Fujifilm X-T30 – Acros

Mountain Obscured – South Weber, UT – Fujifilm X-T30 – Acros

Reaching For Grass – South Weber, UT – Fujifilm X-T30 – Acros

Jo by a Window – South Weber, UT – Fujifilm X-T30 – Acros

Girl Sitting – South Weber, UT – Fujifilm X-T30 – Acros

Bread Cutting – South Weber, UT – Fujifilm X-T30 – Acros

The Course Toward – Farmington, UT – Fujifilm X-T30 – Acros

Asleep – Farmington, UT – Fujifilm X-T30 – Acros

Couch – South Weber, UT – Fujifilm X-T30 – Acros

Three Vases By A Window – South Weber, UT – Fujifilm X-T30 – Acros

White Flower Bouquet – South Weber, UT – Fujifilm X-T30 – Acros

Dead Rose Leaves – South Weber, UT – Fujifilm X-T30 – Acros

Hiding Hydrant – Farmington, UT – Fujifilm X-T30 – Acros

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Fujifilm X-T30 – New Feature: B&W Toning

Posted on March 29, 2019 by Ritchie Roesch

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One great new feature found on the Fujifilm X-T30, which first appeared on the X-T3, is the ability to tone black-and-white photographs in-camera, either warm or cool. Back in the days of film, in the darkroom you would dip your prints into certain chemicals to tone them. You could make them warm or cool or any number of different colors, including split toning, depending on the exact process and chemicals. I’m glad that Fujifilm has finally created the option to tone black-and-white photographs in-camera.

The reason you might want to tone a photograph is to add emotion to it. A warm image will give a different feel than a cool image. It’s part of the nonverbal communication of the photograph. In the days of film there may have been other benefits, such as archival, but that won’t apply to a digital image. I used sepia quite frequently myself, both for the warm tone and the archival benefit.

The X-T30 has the option to tone from +1 through +9 for warm, and -1 through -9 for cool, with 0 being not toned. I find that +9 and -9 are both much too much, and that +5 and -5 are the limits for my tastes. I think that plus or minus one is often enough, and plus or minus two is more than plenty for most pictures. Subtlety is often preferred when it comes to black-and-white toning. Below is an example of +5, 0, and -5:

Toned +5 (warm)

Set to 0 (not toned)

Toned at -5 (cool)

It’s easy to see how toning an image changes how it feels. It’s also easy to see that plus or minus five is quite pronounced, and you can imagine how going beyond that would be even more so. My opinion is that the beauty of the toning that Fujifilm offers on the X-T30 can be found in the weaker application of it, such as plus or minus two or less. But everyone has different tastes, so you might prefer different settings than me.

Below are a few more examples of toned black-and-white photographs that I captured with the X-T30.

Snow Falling Gently On The Mountain – South Weber, UT – Fujifilm X-T30

Wasatch Rain – South Weber, UT – Fujifilm X-T30

Storm Beyond The Frozen Lake – Echo Lake, UT – Fujifilm X-T30

Piano Wire – Layton, UT – Fujifilm X-T30

Filmed In Black & White – South Weber, UT – Fujifilm X-T30

Two Pots – Layton, UT – Fujifilm X-T30

Understanding Acros Film Simulation Options On Fujifilm X Cameras

Posted on March 7, 2019 by Ritchie Roesch

B&W Film With Colored Filters – South Weber, UT – Fujifilm X-T20

Fujifilm has included on X-Trans III and IV cameras four Acros Film Simulation options: Acros, Acros+Y, Acros+R, and Acros+G. I’ve been asked a few times to explain the differences between these options. On my Acros Film Simulation recipes I never mention which one to use, I only say to use any or all of them, so that has left some confusion on what’s the best choice. Which Acros Film Simulation should you choose?

With real black-and-white film, you can use colored filters to manipulate the shades of grey. Since there are no colors, the film interprets colors between black and white. You can change how the film interprets the color, and what grey you get, by using different filters. Take a look at the graphic below to see an explanation of how different color filters change the grey on black-and-white film.

You cannot use colored filters on your X-Trans camera to achieve this same effect, so Fujifilm has given you three “filter” options for Acros: +Y, which simulates the use of a yellow filter, +R, which simulates the use of a red filter, and +G, which simulates the use of a green filter. You might notice that, in black-and-white film photography, there are more options than you are given on your X-Trans camera, but at least you have some choices.

While these different “filter” Acros options simulate the look of using filters, the actual results aren’t a 100% match. The manipulation of grey is not nearly as pronounced as using colored filters on film, and it’s not exactly the same shift, either. One thing that can help achieve desired results is using the white balance shift in conjunction with the different Acros options. It takes a little extra thought to figure out how adjusting the color balance will change the way the film simulation interprets the color in grey, but it can be worth the effort.

To help you understand what the different Acros Film Simulation options are doing to different colors, I made an image in color and re-processed it in-camera using all four Acros choices. Take a look!

Fujifilm X-T20 – Velvia

Acros

Acros+Y

Acros+R

Acros+G

The differences between the different Acros Film Simulations might not seem immediately obvious, but take a closer look. Notice that the red paint is a little lighter and the blue paint is a little darker in the Acros+R image. However, in the Acros+G image the red paint is darker and the blue paint is lighter. These small manipulations in the shades of grey are what the different Acros options provide.

How do you use this information in a practical way? When should you consider using the different Acros Film Simulations? When would you want to change the shade of grey of a particular color? It’s really difficult to give generalized answers to those questions because what works for one person and one photograph may not work for another. You really must think in grey and consider how contrast will work in an image, and how to best achieve that using the different Acros options.

Monochrome Mountain Majesty – South Weber, UT – Fujifilm X-T20 – Acros+R

A common example of when Acros+R might work well is in landscape photography where the sky is a deep blue. You can turn the sky dark grey or even black, which will create dramatic contrast against clouds or a snow-capped peak. Acros+R will lighten reds, so sometimes in portraits it can lighten a face, but it can make lips blend in, which might be bad. Acros+G, which darkens reds, can sometimes work well for dramatic portraits.

There is a lot to consider when it comes to choosing the most appropriate Acros Film Simulation for a particular circumstance. You have to know what each one will do, and decide what shade of grey you want the different colors to be, in order to make the right selection. There’s no one-size-fits-all answer, but it’s not too hard to figure out with practice. My suggestion is to try them all in different situations, and study the differences closely to better understand what each one does.

Fujifilm Acros Film Simulation Recipes

Posted on January 10, 2019 by Ritchie Roesch

Taos Tourist – Taos, NM – Fujifilm X100F “Agfa Scala”

Acros is one of the most popular film simulations available on Fujifilm X-Trans cameras. It looks incredibly similar to the black-and-white film that it was named after. In fact, in my opinion, it produces the most film-like results of any settings on any camera! It’s easy to see the draw to the analog-esque results produced by the Acros film simulation.

I love Acros and I have used it as the base for a bunch of different film simulation recipes. It’s possible to achieve a number of different interesting looks straight out of camera by adjusting the settings. I plan to create even more film simulation recipes using Acros in the coming months. As I do, I will add them to this article.

Below you will find all of my different film simulation recipes that I have created that use Acros. If you haven’t tried them all, I personally invite you to do so and see which are your favorites! My personal favorite is Tri-X Push-Process, but they each have their own usefulness and charm. Let me know in the comments which recipe you like most!

Even though the different recipes say X100F and X-Pro2, they are completely compatible with any Fujifilm X-Trans III or IV camera. For example, you don’t have to use the X100F recipes exclusively on the X100F. You can use any of my recipes on any X-Trans III camera.

Original Acros

Acros Push-Process

Agfa Scala

Ilford HP5 Plus

Tri-X Push Process