[Not] My Fujifilm X100V Classic Negative Film Simulation Recipe

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Boy with a Bubble Gun – Farmington, UT – Fujifilm X100V

When the Fujifilm X-Pro3 came out late last year, which was the first camera with the new Classic Negative film simulation, I began to see some wonderful pictures that looked like they were captured using Superia film. Classic Negative is supposed to resemble Fujicolor Superia, most likely Superia 200, although Fujifilm doesn’t say. I believe there were more than 10 variants of Superia film made by Fujifilm, so it’s hard to know which version the film simulation was mostly modeled after. Whichever version of the film it’s intended to be, Classic Negative does a great job of mimicking it, because it definitely looks like Superia.

The Classic Negative look that was most intriguing to me was by Luis Costa, and I couldn’t wait for the day that I’d be able to try it for myself. Luis’ Classic Negative film simulation recipe, which can be found on his website, is nothing short of wonderful! It’s especially great for sunny days. It’s every bit as good as Luis made it look in his photographs. It’s programmed into the C1 slot on my Fujifilm X100V, and I doubt that it will move. It reminds me a lot of Superia X-Tra 400 with a warming filter, or maybe Superia 200 pushed one stop. Either way, it just looks good.

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Warm Light on Reeds – Farmington Bay, UT – Fujifilm X100V

I did modify Luis Costa’s recipe slightly. Nothing big, but I added Color Chrome Effect and Clarity, and set Grain to Weak instead of Strong. It doesn’t change the look much at all. Feel free to turn off Color Chrome Effect and Clarity and set Grain to Strong if you’d like, which is Luis’ exact recipe. I want to thank Luis Costa for making and sharing his great Classic Negative recipe, and for allowing me to post it here. I encourage you to visit his website.

Because the Classic Negative film simulation changes look depending on how it’s exposed, you can get a couple different aesthetics with this recipe. I encourage you to increase exposure on some shots and decrease it on others (over and under exposing slightly), and see how it renders the picture. You might find that you prefer one look over the other, or that you prefer one in some situations and one in another. It’s fun to experiment with, and I invite you to do just that.

Classic Negative
Dynamic Range: DR200
Highlight: +1
Shadow: 0
Color: +3
Noise Reduction: -4
Sharpening: 0
Clarity: +2
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto, +4 Red & -4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Classic Negative film simulation recipe on my Fujifilm X100V:

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Red Rose Bush – Farmington, UT – Fujifilm X100V

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Flowers by the Fence – Farmington, UT – Fujifilm X100V

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Suburban Blooms – Farmington, UT – Fujifilm X100V

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Dragonfly – Farmington, UT – Fujifilm X100V

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Spring Leaves – Farmington, UT – Fujifilm X100V

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Girl in Evening Light – Farmington, UT – Fujifilm X100V

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Upside Down Wheelbarrow – Farmington, UT – Fujifilm X100V

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Neighborhood Bubbles – Farmington, UT – Fujifilm X100V

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Suburbs Illuminated – Farmington, UT – Fujifilm X100V

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Boy in the Window Light – Farmington, UT – Fujifilm X100V

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Little Yellow Ball in the Sky – Farmington, UT – Fujifilm X100V

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Lake Reeds – Farmington Bay, UT – Fujifilm X100V

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

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My Fujifilm X100V Kodachrome 64 Film Simulation Recipe

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Evening at a Pond – Farmington Bay, UT – Fujifilm X100V “Kodachrome 64”

The Fujifilm X100V has some new features, including Clarity and Color Chrome Effect Blue, that my X-T30 doesn’t have, despite sharing the same sensor. The more JPEG options that I have, the more accurately I can create in-camera looks. My hope is to revisit some of my film simulation recipes, and create what I hope are more accurate versions using the new features. The first one that I revamped is my Kodachrome 64 film simulation recipe.

Many people love my Kodachrome 64 recipe, but not everyone. The biggest complaint that I’ve heard about it is that the reds aren’t vibrant enough. I don’t disagree with that, but there are always compromises when recreating looks in-camera because the tools available to me are limited. Of course, what Kodachrome 64 looks like depends on how you’re viewing it, whether projector, light table, scan, print, and how so. You can find some vastly different looking pictures that were captured on Kodachrome 64. For this revamped recipe, I spent some time studying the Kodachrome slides that I captured many years ago.

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Red Lights & Rain – Farmington, UT – Fujifilm X100V “Kodachrome 64”

While I feel that this is an improved Kodachrome 64 recipe, it’s still not perfect. Those who disliked how reds were rendered on the old recipe will certainly like this one better, but is it 100% exactly like the film? No. I think +2 Color might be too much, but +1 Color doesn’t render reds and yellows vibrant enough. If you prefer +1 Color, feel free to do that instead. There’s a little less contrast with this new version. Both of the Color Chrome Effects, the lower Dynamic Range setting, and Clarity add contrast, so I changed Highlight and Shadow to compensate. The X-T4 has .5 Highlight and Shadow adjustments, and I would set Shadow to +0.5 if I were using these settings on that camera (I hope that Fujifilm updates the X100V and X-Pro3 to allow this, too). I think it would be acceptable to use +1 Shadow, but I felt that was a tad too much, so I set it to 0. Despite not being perfect, I do feel that this version is a little more accurate to actual Kodachrome 64 film.

If you have an X100V, X-Pro3 or X-T4, I invite you to try this new-and-improved Kodachrome 64 film simulation recipe. Be sure to let me know what you think! Here are a couple pictures comparing the two versions of this recipes:

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Original Kodachrome 64 recipe.

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New Kodachrome 64 Recipe.

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Original Kodachrome 64 recipe.

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New Kodachrome 64 recipe.

Classic Chrome
Dynamic Range: DR200
Highlight: 0
Shadow: 0
Color: +2
Noise Reduction: -4
Sharpening: +1
Clarity: +3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, +2 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this new Kodachrome 64 film simulation recipe on my Fujifilm X100V:

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White Horse by a Stream – Farmington, UT – Fujifilm X100V

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Horses in the Grass – Farmington, UT – Fujifilm X100V

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Curious Horse – Farmington, UT – Fujifilm X100V

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Country Tires – Farmington, UT – Fujifilm X100V

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Yellow Flowers, Blue Sky – Farmington, UT – Fujifilm X100V

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Wishful Day – Farmington, UT – Fujifilm X100V

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Beer & Board – Farmington, UT – Fujifilm X100V

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Road Bicycling – Farmington, UT – Fujifilm X100V

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All the World’s a Sunny Day – Farmington, UT – Fujifilm X100V

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Orders & Pickup – Farmington, UT – Fujifilm X100V

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Red, White & Blue Day – Farmington, UT – Fujifilm X100V

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Flag Up Close – Farmington, UT – Fujifilm X100V

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Reeds by the Water – Farmington Bay, UT – Fujifilm X100V

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Evening Reeds – Farmington Bay, UT – Fujifilm X100V

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Landscape Flowers – Farmington, UT – Fujifilm X100V

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Handlebar – Farmington, UT – Fujifilm X100V

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Kodak Colors – Farmington, UT – Fujifilm X100V

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Half of an Orange – Farmington, UT – Fujifilm X100V

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Ground Beans – Farmington, UT – Fujifilm X100V

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Pallets – Centerville, UT – Fujifilm X100V

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IHOP – Centerville, UT – Fujifilm X100V

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Cupcake – Farmington, UT – Fujifilm X100V

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Sitting on Concrete – Farmington, UT – Fujifilm X100V

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Spring Snow – Farmington, UT – Fujifilm X100V

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

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Film Simulation Review: Changing Light, Part 2: Ilford HP5 Plus

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Clouds On Top – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

Changing Light, Part 1: Velvia

I get asked sometimes how do I decide between color and black-and-white. I don’t remember where I heard this, but a long time ago somebody told me that if color is important to the scene then it should be a color picture, and if it’s not it should be black-and-white. Back then you had to make this decision before loading your camera with 24 or 36 exposures. Nowadays you can wait until after capturing the picture before deciding, although I find it best to choose before making the exposure.

Color pictures are (primarily) about three things: light, shadow and color. Black-and-white pictures are (primarily) about two things: light and shadow. It’s easy to see that if color isn’t an essential element to the picture, then it only serves as a distraction to light and shadow; however, that’s an oversimplified way of looking at it. There are many different color theories, and whether color is important or unimportant is highly subjective. One thing is for certain: black-and-white pictures are about light and shadow and those in-between grays.

Whenever I photograph in monochrome my mentality changes. They way that I look at the scene is different. When I photograph in color, I look for color. When I photograph in black-and-white, I look for tones. That’s why it’s important for me to decide before capturing the picture whether it will be color or not. For the pictures in this article, I decided that they needed to be monochrome. I chose my Ilford HP5 Plus film simulation recipe because I thought it would offer me the right amount of contrast. It’s not my most contrasty black-and-white recipe, but it has a good amount of contrast—not too much or too little. I think it was a great choice for these scenes.

I captured these pictures over the last several days from my house. I didn’t go anywhere. There were a lot of clouds and the light on the mountain was constantly changing. Oftentimes it was rather dull, but sometimes it was amazing! The camera I used was a Fujifilm X-T30. Most often I used a Fujinon 100-400mm lens, but occasionally I used a Fujinon 90mm. These longer focal lengths allowed me to “bring close” the mountain, making it appear as though I was in them, and not at a distance. Sometimes you don’t have to go anywhere to capture interesting pictures. That’s especially true if you have a great view where you are.

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Wasatch with Snow – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Dramatic Sky Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Silver Sky Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Clouds Over the Peak – Farmington, UT – Fujifilm X-T30 & Fujinon 90mm

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Clouds Around the Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Top – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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White Cloud – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Cloud Reaching – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Clouds & Dark Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Lightly Snowing On Top – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Gray Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Obscurity – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Rain Shower – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Downpour – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Mountain Mist – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Francis Peak Rain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Monochrome Radar – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Dark Hills – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Storm Over Dark Mountains – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Storm – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Clouds on the Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Covered by Clouds – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

See also: Film Simulation Reviews

Film Simulation Review: Changing Light, Part 1: Velvia

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Wasatch Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

Over the last few days I’ve captured a number of pictures from my house of the nearby Wasatch Mountains. I’m very fortunate that I live so close to such a majestic and beautiful landscape. I can see it from my living room. I can sit on my patio and watch the light change and the seasons change on the mountains. It’s right there! I feel very lucky to witness this and be able to capture it with my camera.

It’s been between overcast and partly-cloudy lately, with conditions changing rapidly and dramatically. It’s gone from fairly uninteresting to amazing and back to mostly uninteresting in a matter of moments. This has repeated over and over. I’ve tried to keep an eye out for it, and tried to be quick enough to photograph it before it disappeared. That’s not always possible, and many times I wasn’t successful, but sometimes I was.

The film simulation recipe that I chose for these pictures is my Velvia recipe (I also used my Ilford HP5 Plus recipe, and those pictures are in Part 2). These settings are bold and vibrant, much like actual Velvia film. I really appreciate this film simulation recipe for landscape photography where I want colors to pop. The mountain is covered in the fresh green of spring, and these settings are the best for highlighting that. If I want vivid colors, my Velvia recipe is what I choose.

The gear that I used for these pictures is a Fujifilm X-T30 with a Fujinon 100-400mm lens attached to it. I like to use a tripod or monopod with the 100-400mm lens, but these pictures are all hand-held. If I had waited to attach a tripod to the lens, I would have missed many of these shots. The long telephoto lens allows me to bring the mountains up-close, like I travelled into the mountains to capture these pictures, yet I didn’t even leave home. It really is amazing that I was able to make these photographs without going anywhere.

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Clearing Clouds Above the Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Cold Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Francis Peak Veiled – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Mist – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Spring Green Mountain – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain in May – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Radar – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Sliver of Illumination – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Spring Green Hill – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Wasatch Green – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

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Mountain Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm

Changing Light, Part 2: Ilford HP5 Plus
See also: Film Simulation Reviews

Fujifilm X100V New Feature: Clarity

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The Fujifilm X100V has a new feature called Clarity. It actually first appeared on the X-Pro3, and it’s also on the new X-T4, but the X100V is the first camera that I’ve used with it. I’m always very happy whenever Fujifilm gives us new JPEG options, as it allows me to  more accurately achieve the look that I’m after in-camera. I can create better film simulation recipes when I’m given more tools, and the X100V indeed has some new tools.

If you’ve ever done RAW processing, you’ve probably seen a Clarity tool within your software of choice. Maybe you use it all of the time, maybe you’ve never touched it. What exactly Clarity does with each software is slightly different, but the gist of it is that it increases mid-tone contrast, while (mostly) leaving the highlights and shadows untouched. This makes the image appear more contrasty while not blocking up shadows or blowing out highlights. Because Clarity often adds micro-contrast (contrast to fine lines), it can make an image appear to be sharper and more finely detailed than it actually is. Some software programs include sharpening within Clarity. Too much Clarity can often make a picture look unnatural and “over baked”.

I like the idea of having a Clarity option on my Fujifilm camera, but I was really unsure of how it would look. Is it actually a good tool? Does it produce pleasing results? Where should I set it on my camera?

In the manual Fujifilm states that Clarity increases or decreases “definition” while minimally altering highlights and shadows. The camera has the options of -5 to +5, with 0 being the default setting. Let’s take a look at some examples to see what exactly this new feature does to photographs.

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Clarity -5

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Clarity 0

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Clarity +5

You can see from the photographs above that there’s a noticeable difference between Clarity set at -5, 0 and +5. There’s a significant contrast difference between the three pictures. Even highlights and shadows are affected. The first picture looks “soft” while the third picture boarders being “over-baked” with too much definition. Let’s take a closer look at some crops, and add -2 and +2 while we’re at it.

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Clarity -5

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Clarity -2

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Clarity 0

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Clarity +2

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Clarity +5

When you look closely, you can appreciate using minus Clarity for softening skin. At -2 there’s a small difference, but by -5 there’s a big difference. The X100V has a new lens, and it’s sharper, especially when wide open. Some people (myself included) appreciated the softness of f/2 on the old X100 series lens for artistic effect, but the X100V is tack sharp across the board at all apertures. However, -5 Clarity will give a similar softness at any aperture as the old X100 lens does at f/2. Portrait photographers might especially appreciate selecting a minus Clarity option, and somewhere in the range of -2 to -5 seems to be nice.

On the other side, +5 Clarity is definitely too much for some circumstances, particularly portraits. Even +2 might be pushing it in this case, although the results are acceptable in my book. I find that minus Clarity is better when skin is involved, but you can use plus Clarity for more dramatic portraits, although I’d limit it to no higher than +3, unless you’re trying to accentuate something like wrinkled skin and a greying beard, in which case up to +5 might be acceptable. Outside of portraits, I like adding Clarity, and I find that +2 or +3 is a good range for me.

Here are some more examples:

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Clarity -5

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Clarity -3

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Clarity 0

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Clarity +3

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Clarity +5

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Clarity -5

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Clarity -3

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Clarity 0

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Clarity +3

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Clarity +5

The difference between -5 and +5 Clarity is pretty significant, but the in-between differences aren’t huge. It’s difficult to notice a plus or minus one difference. Going up or down two spots is a bit more obvious, although if you’re not closely comparing side-by-side examples you might not pick up on it. I think you’re perfectly fine selecting any of the Clarity options, but for portraits I’d consider using minus Clarity, unless you’re want a dramatic portrait look. For everything else adding a little Clarity helps the picture to pop more. I personally like Clarity set at +2.

Because Clarity adds contrast and does affect highlights and shadows, if you go higher than +3 Clarity, consider decreasing Highlight and Shadow by one to compensate. Also, if you go lower than -3 Clarity, consider increasing Highlight and Shadow by one to compensate. The X-T4 can do .5 Highlight and Shadow adjustments (please, Fujifilm, update the X100V to allow this, too), and that’s probably closer to what you need to compensate for the increased or decreased contrast due to selecting the far ends of Clarity. Just be aware that when you change the Clarity setting, you are changing the picture’s contrast.

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+3 Clarity

Something that I need to point out is that when Clarity is set to anything other than 0, it takes the camera longer to save the file. Fujifilm actually recommends setting Clarity to 0 and adding it later by reprocessing the RAW files in-camera. If you need to shoot quickly, this might be a good option, but if you’re not in a hurry, I’d just set it to what you want it to be so that you don’t have to change it later. Yes, it does slow you down, but if you’re not in a hurry, it’s not a big deal.

In my opinion Fujifilm did a good job of implementing Clarity on the X100V. It’s a useful tool. Those who appreciated the softness of f/2 on the older models will appreciate using minus Clarity on the new model. Those who want to add just a little more punch to their pictures will like using plus Clarity. Each situation might benefit from a Clarity adjustment, and you’ll have to decide which setting is the best for the scene. Whether it’s adding or subtracting Clarity, this is a feature you’ll find me using often. Fujifilm’s inclusion of Clarity on the X100V is something that I’m extremely happy with.

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 Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Fujifilm X100F Review Blog

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Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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My Fujifilm X-T30 Kodak Vision3 250D Film Simulation Recipe

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Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 “Kodak Vision3 250D”

A Fuji X Weekly reader asked me to create a film simulation recipe that mimics Kodak Vision3 250D motion picture film. Kodak introduced Vision3 250D in 2009. While it’s a color negative motion picture film, it can also be used for still photography. I’ve never used this film, but as I researched it, I came to realize that this one film can produce many different looks, depending on how it’s shot and developed. In fact, you can develop it using either the C-41 or ECN-2 process, and you can even develop it as black-and-white. You can push-process several stops. There’s a lot of latitude for over and under exposure.

As you can imagine, it would be impossible to create a film simulation recipe that mimics every possible look from this film, or even most. I focused in on one specific aesthetic, although I can’t say for sure how that aesthetic was achieved, and made a recipe that mimics it. I think I came pretty darn close. Perhaps more importantly, these settings look good. There’s a certain quality to the pictures made using this recipe that’s especially lovely. Some of you are really going to love these settings!

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Flowers on a Tree Branch – Farmington, UT – Fujifilm X-T30 “Kodak Vision3 250D”

Since Kodak Vision3 250D is a motion picture film, I had fun using this film simulation recipe in the 16:9 aspect ratio from time-to-time because it is a more cinematic shape. If you used the film for still photography, most likely the frame would be a 3:2 aspect ratio, which is what I chose for most of these pictures. You can choose any aspect ratio that you’d like. If you have an X-H1, which doesn’t have Color Chrome Effect but does have Eterna, you can still use this recipe, but the results will be slightly different.

Eterna
Dynamic Range: DR100
Highlight: +3
Shadow: +4
Color: +3
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Fluorescent 1 (Daylight Fluorescent), -3 Red & -1 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Below are all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation recipe on my Fujifilm X-T30 camera:

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Blue Bokeh – Farmington, UT – Fujifilm X-T30

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Nighttime Fire Hydrant – Farmington, UT – Fujifilm X-T30

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Yellow Tree – Farmington, UT – Fujifilm X-T30

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Lights Strung Across The Road – Farmington, UT – Fujifilm X-T30

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Forever the Perfect Accessory – Farmington, UT – Fujifilm X-T30

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Artificial Light Rays – Farmington, UT – Fujifilm X-T30

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Reserved Parking – Syracuse, UT – Fujifilm X-T30

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Grass by a Waterfall – Syracuse, UT – Fujifilm X-T30

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Three Ducks – Farmington, UT – Fujifilm X-T30

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Pond – Syracuse, UT – Fujifilm X-T30

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Tree & Purple Flowers – Farmington, UT – Fujifilm X-T30

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Green Leaves & White Blooms – Farmington, UT – Fujifilm X-T30

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Webs in the Grass – Farmington, UT – Fujifilm X-T30

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Sky Reeds – Farmington, UT – Fujifilm X-T30

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Clouds & Roof – Farmington, UT – Fujifilm X-T30

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Chopped Logs – Farmington, UT – Fujifilm X-T30

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Fake Flower Decor – Farmington, UT – Fujifilm X-T30

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Shy & Uninterested – Farmington, UT – Fujifilm X-T30

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Sunglasses Indoors – Farmington, UT – Fujifilm X-T30

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Boy in Evening Light – Farmington, UT – Fujifilm X-T30

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Beans in the Grinder – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Fujifilm X100F Review Blog

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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My Fujifilm X-T30 Kodak Portra 400 Film Simulation Recipe

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Around The Bend – Layton, UT – Fujifilm X-T30 “Kodak Portra 400”

Portra 400, which is a color negative film, was introduced by Kodak in 1998. It was redesign in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made. Like all films, results can vary greatly depending on how it’s shot, developed and printed or scanned, and even which version of the film you’re talking about. Interestingly, Kodak briefly made a black-and-white version of Portra 400!

I’ve been meaning to revisit Kodak Portra 400 for some time now. As you may know, I already have a Kodak Portra 400 recipe, which I created two years ago, but it requires a difficult-to-achieve custom white balance measurement. I was never really satisfied with that recipe, even though it can produce interesting results. I have been eager to create a new Portra 400 recipe, and, In fact, I’ve tried a couple of times, but without success.

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Blue Sky Day – Syracuse, UT – Fujifilm X-T30 “Kodak Portra 400”

A Fuji X Weekly reader suggested to me that if I use my Kodak Portra 160 recipe, except increase Shadow, Highlight and Color by one, that should be pretty close to Portra 400. Indeed it is! I liked what I saw, but I played around with the settings more to see if I could improve on it. Turns out not much needed to be tweaked. I liked the results better with Color Chrome Effect set to Strong, but if you have an X-Trans III camera, which doesn’t have that feature, you can still use this recipe, but it will look slightly different. The only other change that I made was I set Grain to Strong.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: -1
Shadow: -1
Color: +2
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Daylight, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Kodak Portra 400 film simulation recipe on my Fujifilm X-T30:

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Mountain in the Evening Light – Farmington, UT – Fujifilm X-T30

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Reeds To The Sky – Farmington, UT – Fujifilm X-T30

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Jensen Pond – Syracuse, UT – Fujifilm X-T30

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Water Beyond The Trees – Layton, UT – Fujifilm X-T30

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Paved Trail – Layton, UT – Fujifilm X-T30

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Spring Green & White – Layton, UT – Fujifilm X-T30

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Fries in the Sky – Syracuse, UT – Fujifilm X-T30

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Royal Lunch – Layton, UT – Fujifilm X-T30

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Evening Suburban Home – Farmington, UT – Fujifilm X-T30

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Boy in the Striped Light – Farmington, UT – Fujifilm X-T30

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Boy Sitting – Farmington, UT – Fujifilm X-T30

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Sunlight Through The Pink Blooms – Farmington, UT – Fujifilm X-T30

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Pink Tree Bloom – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Fujifilm X100F Review Blog

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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Film Simulation Review: Waiting With Fujicolor 100 Industrial

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Waiting Outside – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

My Fujicolor 100 Industrial film simulation recipe is very underrated. I don’t hear many people talk about it. This recipe doesn’t get nearly as many views as some of my other ones, perhaps because the film that it mimics isn’t especially well known. Make no mistake, this recipe is one of the best! If you’ve never tried it, I invite you to do so.

This particular film simulation recipe pairs well with urban scenes. It’s good for more than just that, but a downtown environment seems to be where this recipe does its best work. These photographs aren’t urban, but my Fujicolor 100 Industrial recipe was a good choice for this series.

Anytime can be a good time for photography. Take a camera with you wherever you go, and you’ll be surprised at the photographic opportunities that present themselves. This series of pictures was captured while waiting in line to get inside of Costco, and I was able to do this because I had my Fujifilm X-T30 with me, which had a Fujinon 35mm f/2 lens attached to it. With what’s going on in the world, there’s a line to even get inside of the store to shop. I used the wait as an opportunity to create some pictures. This is no special event. The lighting wasn’t extraordinary. It was unremarkable. Despite that, there were pictures worth capturing, images worth creating, even in an ordinary moment. Use the ordinary moments in life as photographic opportunities.

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Architecture of Costco – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Green Tree & Roof – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Removing Gloves – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Pushing Baskets – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Distancing – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Guy in a Red Shirt – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Cart Man – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

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Red & Silver Carts – Ogden, UT – Fujifilm X-T30 & Fujinon 35mm f/2

See also: Film Simulation Reviews

My Fujifilm X-T30 Kodacolor II 126 Film Simulation Recipe

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Blooming Pink – Farmington, UT – Fujifilm X-T30 “Kodacolor II 126”

A Fuji X Weekly reader asked me to recreate the look of some old family prints from the 1970’s that he found. After some investigating, it was determined that the pictures were captured on an Instamatic camera using 126 film (also called Kodapak). 126 film was basically 35mm film, except with a paper back and no sprockets (like 120 film), and in a cartridge that didn’t need to be rewound (similar to 110 film). It was intended for low-budget point-and-shoot cameras, and the cartridge made loading and unloading film easier. Basically, Instamatic was Kodak’s attempt to open up photography to the masses, as it required little to no skill or photographic background. It was very popular in the 1960’s and ’70’s, and became less popular in the 1980’s. A quirk of Instamatic cameras and 126 film is that it captured square pictures.

It’s unknown what film was used on the pictures in question, but most likely it was Kodacolor II, which was by far the most popular color 126 film during the time that these pictures were captured. Kodacolor is a name that Kodak gave to a number of different color negative films going back to the 1940’s. Kodacolor II was the very first C-41 process film. It was introduced in 1972 and discontinued in 1981, replaced by Kodacolor VR, which is the film that my Kodacolor film simulation recipe resembles. The prints likely have some fading and color shifts due to age, but they appeared to be in good condition overall.

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Instamatic – Farmington, UT – Fujifilm X-T30 “Kodacolor II 126”

This film simulation recipe, which I’ve called Kodacolor II 126, is a bit unusual in that it is supposed to mimic a look that came from cheap cameras. It calls for Image Quality to be set to Normal instead of Fine (I normally use Fine). The only other recipe that I’ve done this with is my Kodak Elite Chrome 200 Color Fade. I keep the ISO high on this recipe to make it look more grainy. While I’ve done that with several black-and-white recipes, this is the first time I’ve done it with color. This is also the only recipe that calls for the 1:1 aspect ratio, although feel free to use 3:2 or 16:9 if you’d like. These settings pair well with vintage lenses, and if you “miss” focus a little sometimes, well, that just makes it resemble Instamatic even more.

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: +3
Color: -4
Noise Reduction: -4
Sharpening: -4
Grain Effect: Strong
Color Chrome Effect: Strong
Image Quality: Normal
Aspect Ratio: 1:1
White Balance: 6300K, +6 Red & +3 Blue
ISO: 3200 – 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Kodacolor II 126” film simulation recipe on my Fujifilm X-T30:

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Polaroid Girl – Farmington, UT – Fujifilm X-T30

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Lizard, Boy & Wall – Farmington, UT – Fujifilm X-T30

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Boy in the Alley – Farmington, UT – Fujifilm X-T30

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Two Cans – Farmington, UT – Fujifilm X-T30

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Suburban House & Tree – Farmington, UT – Fujifilm X-T30

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Suburban Trees & Distant Mountain – Farmington, UT – Fujifilm X-T30

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Tree Top & Mountain Top – Farmington, UT – Fujifilm X-T30

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Suburban April  – Farmington, UT – Fujifilm X-T30

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Robot in the Window – Farmington, UT – Fujifilm X-T30

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Heart & Soul – Farmington, UT – Fujifilm X-T30

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Wreath & Flowers – Farmington, UT – Fujifilm X-T30

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White Paper – Farmington, UT – Fujifilm X-T30

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Bowl on a Trike – Farmington, UT – Fujifilm X-T30

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Hose & Elephant – Farmington, UT – Fujifilm X-T30

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Concrete Path – Farmington, UT – Fujifilm X-T30

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Little Colorful Chair – Farmington, UT – Fujifilm X-T30

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Summer Chair – Farmington, UT – Fujifilm X-T30

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Day Dreaming – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

Fujifilm X100F Review Blog

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

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All About Aspect Ratios

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Your Fujifilm X camera has three aspect ratio options: 3:2, 16:9 and 1:1. You can see an example of each of those above. Have you ever wondered which one to use? Why these three? Why not others? Should you crop to a different aspect ratio? What do the numbers mean? I hope to answer these questions and more in this article!

Before moving on, I want to quickly discuss the aspect ratio numbers and what they mean. For instance, what does 3:2 stand for? It’s math, and it means that one side of the picture is 3 parts long (whatever the measure), and the other is two. It’s the shape of the image, and the shape matters when you print. A 3:2 image can be printed 4″ x 6″ without cropping, as well as 8″ x 12″, 12″ x 18″, 16″ x 24″ and 20″ x 30″. If you want to print at those sizes and don’t want to crop, the 3:2 aspect ratio is the right shape for you. The shape also matters for composition. What might look great with one aspect ratio might not with another. You will likely compose your pictures differently depending on the shape.

Let’s take a look at each of the three aspect ratios that Fujifilm gives you, plus some other common aspect ratios not found on your camera.

3:2

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The 3:2 aspect ratio is the native ratio on your Fujifilm X camera, and that’s because it’s the shape of the sensor. It’s the common aspect ratio of full-frame and APS-C sensor cameras, and it’s also the aspect ratio of 35mm film. The 3:2 aspect ratio is one of the most used, if not the most used, aspect ratios in digital photography. It’s a very familiar shape that most of us use every day, and it conveniently matches a number of different print sizes.

While the 3:2 aspect ratio is a very common shape, for some it’s too wide, and for others not wide enough. There are other shapes that might suite your photography better.

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16:9

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The 16:9 aspect ratio might seem cinematic, and that’s because it’s the shape of wide-screen televisions. When you watch your favorite TV show or movie at home, you likely view it in this aspect ratio. This is a common shape for video.

While mainly intended for video, the 16:9 aspect ratio can be used for still photography. The long, thin proportions are almost panoramic, and can be especially great for landscape photography. In order to create this shape, your camera crops a little off the top and bottom of the image and doesn’t use the whole sensor.

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1:1

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The 1:1 aspect ratio is square, but that doesn’t mean it’s lame. In fact, it’s the original shape of Instagram. The square picture has been around nearly as long as photography itself. There have been numerous cameras over the years that capture square images, including many 120 and 126 film cameras.

Magazine and newspaper editors used to prefer square pictures because they could crop them tall or wide, whatever would best fit the available space. On your Fujifilm X camera, some of the picture is cropped off the ends to make it square, so it doesn’t use the whole sensor.

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5:4

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The 5:4 aspect ratio is not found on your Fujifilm X camera. In fact, none of the rest are, only the first three. In order to get this shape, which is almost square, you’ll need to crop your picture using software.

This aspect ratio is from large format film, which commonly come in 4″ x 5″ or 8″ x 10″ sheets. You might note that this is the shape of 8″ x 10″ and 16″ x 20″ prints, which are common sizes. While it’s not unusual to print in this aspect ratio, it is a bit unusual to find a camera that captures it.

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4:3

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The 4:3 aspect ratio, which has its origins in medium format film, is very common. Most digital cameras with sensors larger than full frame or smaller than APS-C use this aspect ratio, including Fujifilm GFX. It’s not as wide as 3:2, but wider than 5:4. I wish that Fujifilm offered this as an option on their X-Trans models. Since they don’t, if you want to use the 4:3 aspect ratio you’ll have to crop using software. If you print poster-sized, you might make a 30″ x 40″ print; otherwise, the 4:3 aspect ratio will require some cropping to print common sizes.

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7:5

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The 7:5 aspect ratio is very uncommon. It’s a not-especially-popular large format film size. You can make 5″ x 7″ prints, too. Outside of that, this is a pretty much forgotten aspect ratio. With that said, it’s a nice in-between to the 3:2 and 4:3 ratios, which might make it a good option if you’re looking for something different.

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Your Fujifilm X camera has 3:2 as its standard aspect ratio, which is good because it won’t require cropping for many common print sizes. You also have the option of 16:9 if you want a wide picture, or 1:1 if you want a square picture, although the camera won’t use the whole sensor. Any other aspect ratio will require you to crop using software. You can make a picture any shape you want, but the more uncommon the aspect ratio, the more difficult it might be to print. Still, that shouldn’t stop you if that’s what you want to do. It can be tricky to discover what aspect ratio works best for your photography, so if you aren’t sure, I invite you to try different shapes until you find what you like best. You might find that you appreciate different shapes for different subjects or situations. There’s no one-size-fits-all aspect ratio, but the 3:2 aspect ratio is one-size-fits-most, which makes it ideal to have as the shape of your sensor.