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Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Xpro ’62

Posted on May 3, 2021 by Ritchie Roesch

*Empty Diner* – Reno, NV – Fujifilm X100V – “Xpro ’62”

Inspiration for film simulation recipes can come from unusual places. This recipe, for example, was inspired by a promotional photograph of Ron Howard for the movie American Graffiti hanging on the wall of Mels Diner in Reno, Nevada. A little trivia: Ron Howard shoots Fujifilm cameras—or, at least, he’s been spotted sporting an X100F. Anyway, it seems unlikely, but it’s true, that an old image of Ron Howard from 1973 hanging on the wall of a restaurant in Reno inspired a new recipe that will be used by hundreds—maybe thousands—of Fujifilm photographers across the world.

This particular picture, which you can see in the image below towards the left-side, had a cross-process look to it, like reversal film developed in negative film chemistry. Of course, cross-processed film can have many different looks, depending on several factors, including (especially) the film used. I have no idea what film or process was used for that Ron Howard picture—I tried researching it, but came up empty; however, while I was waiting for my dinner to arrive at the table, I fiddled with the settings on my Fujifilm X100V and created a facsimile to that picture aesthetic.

*Picture of Ron Howard (left-side) that inspired this recipe… captured with this recipe.*

The photographer who captured the picture is most likely Dennis Stock. I couldn’t find a whole lot about what films he used for his color photographs or his darkroom techniques. Dennis was a legendary Magnum photographer who was best known for his celebrity photographs. His picture might not actually be cross-processed film, but it has a cross-processed look nonetheless.

The reason why I named this recipe “Xpro ’62” is because Xpro is a common abbreviation for “cross-process” and 1962 is the year that American Graffiti takes place. Promotional posters for the movie often included the question, “Where were you in ’62?” I thought that “Xpro ’62” would be a logical fit. Because this film simulation recipe uses the Classic Negative film simulation and other new JPEG options available on the newer cameras, it is only compatible with (as of this writing) the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4. Also, for some of the pictures in this article I used a Tiffen 1/4 Black Pro Mist filter to diffuse the highlights (such as Empty Diner at the top).

*Wharf* – Santa Cruz, CA – Fujifilm X100V – “Xpro ’62”

Classic Negative
Dynamic Range: DR400
Highlight: +3
Shadow: 0
Color: +4
Noise Reduction: -4
Sharpening: -4
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, -3 Red & -9 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this new “Xpro ’62” film simulation recipe on my Fujifilm X100V:

*Cigarettes* – Reno, NV – Fujifilm X100V

*Wall Harley* – Reno, NV – Fujifilm X100V

*In Bottles* – Reno, NV – Fujifilm X100V

*Stay Apart* – Hollister, CA – Fujifilm X100V

*Casa de Cherries* – Hollister, CA – Fujifilm X100V

*Basketball Hoop Unused* – San Francisco, CA – Fujifilm X100V

*Stop Turning* – Santa Cruz, CA – Fujifilm X100V

*Tracks & Bridge* – Santa Cruz, CA – Fujifilm X100V

*Suburban Truck* – Reno, NV – Fujifilm X100V

*Electric Intersection* – Reno, NV – Fujifilm X100V

*Flower by the Path* – Reno, NV – Fujifilm X100V

*Flowers & Stone* – Hollister, CA – Fujifilm X100V

*Lower Yosemite Falls* – Yosemite NP, CA – Fujifilm X100V

*Tree & Lower Falls* – Yosemite NP, CA – Fujifilm X100V

*Yosemite Trees* – Yosemite NP, CA – Fujifilm X100V

*Sentinel Above Merced River* – Yosemite NP, CA – Fujifilm X100V

*Upper Yosemite Falls* – Yosemite NP, CA – Fujifilm X100V

*El Cap* – Yosemite NP, CA – Fujifilm X100V

*El Cap & Merced* – Yosemite NP, CA – 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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Fujifilm X-Trans III + X-T30 & X-T3 Film Simulation Recipe: Chrome Bypass

Posted on May 2, 2021 by Ritchie Roesch

*Don’t Walk Under Falling Bicycles* – Farmington, UT – Fujifilm X-T30 – “Chrome Bypass”

There are a number of X-Trans IV film simulation recipes that I’ve had multiple requests to create versions for that are compatible with X-Trans III and X-T3 and X-T30 cameras. LomoChrome Metropolis and Bleach Bypass are two that are commonly requested. These recipes require JPEG settings that don’t exist on the “older” cameras, including the Classic Negative or Eterna Bleach Bypass film simulations. I knew it would be impossible to recreate those recipes for X-Trans III and the X-T3 and X-T30 cameras, but I wanted to get as close as I could. After much experimenting, I came up with some settings that are sometimes similar to the LomoChrome Metropolis recipe and are sometimes similar to the Bleach Bypass recipe, and sometimes not like either.

What the LomoChrome Metropolis and the Bleach Bypass recipes have in common are that they’re both high in contrast and low in color saturation. There are some other similarities between them, but there’s plenty that’s different, too. This recipe with certain subjects and in certain light situations can resemble one or the other, or neither. It’s as close as I could get. If you like the LomoChrome Metropolis and Bleach Bypass recipes, this is your best bet for X-Trans III and X-T3 and X-T30 cameras (aside from doing double-exposures). While it’s not as “perfect” as I was hoping to achieve, I think it’s a pretty good recipe for capturing dramatic pictures. It’s kind of (but not really) the low saturation version of Dramatic Classic Chrome.

*1100 Stop* – Farmington, UT – Fujifilm X-T30 – “Chrome Bypass”

Because these settings resemble both the LomoChrome Metropolis and the Bleach Bypass film simulation recipes, I decided to name this recipe Chrome Bypass, taking a little from each name. I don’t currently have access to an X-Trans III camera, so I don’t have any samples captured with a Fujifilm X-Trans III camera, but it should look very similar.

PRO Neg. Std
Dynamic Range: DR200
Highlight: +3
Shadow: +4
Color: -4
Color Chrome Effect: Off or N/A
Sharpness: -1
Noise Reduction: -4
Grain Effect: Strong
White Balance: Auto, +2 Red & -5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Sample photographs, all camera-made JPEGs, captured with a Fujifilm X-T30 using this “Chrome Bypass” film simulation recipe:

*Mountain Teasels* – Farmington, UT – Fujifilm X-T30

*Cloudy Branches* – Farmington, UT – Fujifilm X-T30

*Summer Tree* – Farmington, UT – Fujifilm X-T30

*Country Fence & Old Tires* – Farmington, UT – Fujifilm X-T30

*Tulip Pot* – Farmington, UT – Fujifilm X-T30

*Colorful Tulips* – Farmington, UT – Fujifilm X-T30

*Handy Dandy Grill* – Farmington, UT – Fujifilm X-T30

*Little Bit of Green* – Farmington, UT – Fujifilm X-T30

*Thrown Pillow* – Farmington, UT – Fujifilm X-T30

*Instax Table* – Farmington, UT – Fujifilm X-T30

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Fujifilm X-Trans IV Film Simulation Recipe: Eterna v2

Posted on April 27, 2021 by Ritchie Roesch

*Rural Thistle* – Farmington, UT – Fujifilm X-E4 – “Eterna v2”

One of my favorite film simulations is Eterna. There’s a special quality to it that’s different than the other film simulations, with its low contrast and muted colors. Yes, you can get pretty close to Eterna using PRO Neg. Std, but you cannot completely match the lovely subtle tonality of it. I think the Eterna film simulation is a little underrated, as it’s a great base for crafting recipes, and I was eager to create a new look with it—so I did!

Real Eterna is a motion picture film. Actually, there have been a number of different film stocks that Fujifilm has given the name Eterna to. The film simulation of the same name doesn’t exactly match any specific Eterna film, yet it has a great general Eterna cinematic feel. In my opinion, the Eterna film simulation is good for achieving an analog color negative film aesthetic.

The first recipe that I created that uses the Eterna film simulation is simply called Eterna, and I really like how that one turned out. I wanted to make something similar, but not identical, using the additional JPEG options that Fujifilm has added to their newer X-Trans IV cameras. I wanted a warm vintage film look—something that could possibly be confused as being actual analog—without being based on any specific film. I think it looks pretty good, and I hope that you do, too.

*El Capitan* – Yosemite NP, CA – Fujifilm X-E4 – “Eterna v2”

Because this film simulation recipe requires the new Auto White Priority white balance, it is only compatible with the X-T4, X-S10 and X-E4; however, for outdoor natural light photography, using Auto white balance will produce identical results, which means that you can use this Eterna v2 recipe with the X100V and X-Pro3! For indoor artificial light photography, using Auto white balance will produce overly warm images, so Auto White Priority works better, but right now only the three newest Fujifilm X cameras have that option. For the X-T3 and X-T30, in addition to using Auto white balance, you’ll have to disregard Color Chrome Effect Blue and Clarity, and consider setting Highlight to +2 and Shadow to +1 plus Sharpness to -2 to compensate, as well as disregard Grain size (simply use Strong). It won’t be identical, but it will be very similar—I tested it out on my X-T30 and it works.

Eterna
Dynamic Range: DR400
Highlight: +3
Shadow: +2
Color: +3
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto White Priority (X100V + X-Pro3: Auto), +4 Red & -7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Eterna v2” film simulation recipe on my Fujifilm X-E4:

*Faux Plant on a Table* – Farmington, UT – Fujifilm X-E4

*J.C. Higgins* – Farmington, UT – Fujifilm X-E4

*Empty Grapefruit Box* – Bountiful, UT – Fujifilm X-E4

*Duerden’s Will Call* – Bountiful, UT – Fujifilm X-E4

*Reaching Tree Branches* – Bountiful, UT – Fujifilm X-E4

*Flower Tree* – Farmington, UT – Fujifilm X-E4

*Sevenhundred Sixty* – Farmington, UT – Fujifilm X-E4

*Cold Country* – Farmington, UT – Fujifilm X-E4

*Chief of Rocks* – Yosemite NP, CA – Fujifilm X-E4

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Fujifilm X-E4 Film Simulation Recipe: Ektachrome 320T

Posted on April 26, 2021 by Ritchie Roesch

*Since 1938* – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”

The Ektachrome line has been around since the 1940’s, but Kodak didn’t introduced Ektachrome 320T, also known as Ektachrome EPJ 320T, until 1992. This was a high-speed Tungsten color-reversal (slide) film intended for use under artificial light. Tungsten films were never as popular as daylight-balanced films; when used in daylight you get a strong blue cast (unless you have an 80A filter). I’m not completely sure when Kodak discontinued Ektachrome 320T, but I believe it was sometime in the early to mid 2000’s—all Ektachrome films were discontinued by 2013. When Kodak reintroduced Ektachrome in 2018, EPJ 320T was unsurprisingly not included.

This film simulation recipe was not intended to mimic Ektachrome 320T. I was simply trying to create a tungsten film look using the new Eterna Bleach Bypass film simulation. Prior to this I had only one recipe for Eterna Bleach Bypass, LomoChrome Metropolis, so I was eager to create another. The reason for a tungsten-like recipe is because I feel as though I don’t have as many after-dark options as I’d like. This recipe’s similarities to Ektachrome 320T film is coincidental, as I didn’t set out to recreate it, but it does, in fact, resemble the film fairly well.

On – Farmington, UT – Fujifilm X-E4 – “Ektachrome 320T”

Even though I didn’t intend to create an Ektachrome 320T recipe, these settings come curiously close. I would consider, when using this recipe under artificial light, setting the White Balance Shift to -7 Red & -6 Blue to more accurately reflect the film (I didn’t make that adjustment for any of the photographs in this article). I wish that +5 was an option for Color—that would likely be more accurate to the film—but unfortunately it tops out at +4. I debated if Grain size should be Small or Large, but I ended up going with Small because that’s what I originally set it to; however, Large grain might be slightly closer to what you’d find on actual Ektachrome 320T, although that’s certainly debatable.

This recipe is the first one to use the new Auto Ambience Priority white balance, which is currently (as of this writing) only available on the Fujifilm X-T4, X-S10 and X-E4 cameras. That means this recipe is only compatible with those three cameras. As a reminder, the camera will take a moment to save each exposure when using Clarity. Also, High ISO NR on the newer camera models is the same as Noise Reduction—Fujifilm renamed it for some reason, but it’s the same thing.

Eterna Bleach Bypass
Dynamic Range: DR400
Highlight: +1
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto Ambience Priority, -6 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Ektachrome 320T film simulation recipe on my Fujifilm X-E4:

*White Tree, Blue Sky* – Farmington, UT – Fujifilm X-E4

*Thistle Field* – Farmington, UT – Fujifilm X-E4

*Fake Plant on a Table* – Farmington, UT – Fujifilm X-E4

*Cage Free Eggs* – Bountiful, UT – Fujifilm X-E4

*Lifted* – Bountiful, UT – Fujifilm X-E4

*Old Navy Carts* – Farmington, UT – Fujifilm X-E4

*Ghost Mart* – Farmington, UT – Fujifilm X-E4

*Pot & Bench* – Farmington, UT – Fujifilm X-E4

*Lights in a Puddle* – Farmington, UT – Fujifilm X-E4

*Night Blooms* – Farmington, UT – Fujifilm X-E4

*Old Old Navy* – Farmington, UT – Fujifilm X-E4

*Cotton Eyed* – Farmington, UT – Fujifilm X-E4

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Fujifilm X-Trans IV Film Simulation Recipe: Vintage Vibes

Posted on April 21, 2021 by Ritchie Roesch

*Autumn Aspen* – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

Accidents happen. Sometimes they’re happy accidents that lead to great discoveries, and sometimes they’re not. An example of one that wasn’t happy is when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 film simulation recipe. When I saw it, I thought, “You know, I’m going to make this mistake work, and call it ‘Agfa Vista Baby’—I just need to figure out what situations it works well in.” But, try as I might, Agfa Vista using Classic Chrome instead of Classic Negative just doesn’t look good. Sorry, Omar. An example of a happy accident is this recipe—it was discovered by mistake, but I’m very glad to have made that mistake.

You see, back in the fall I was shooting in Montana with what was at the time a brand-new yet-to-be-published recipe that’s now known as Kodak Portra 400 v2. Somehow I managed to accidentally change the film simulation from Classic Chrome to Classic Negative, and I shot a number of frames with this before I realized my mistake. As I reviewed the pictures I realized that the results were pretty good, and that this mistake was actually good fortune. As Lefty Gomez coined, “I’d rather be lucky than good.”

What does this film simulation recipe resemble? Of course, since it’s based on the Classic Negative film simulation, it has a Superia-like aesthetic, as that is what Classic Negative is modeled after. But to me it feels more vintage than Superia. I kept thinking that I’ve seen this look before. Not every picture makes me feel this way, but some—Autumn Aspen, Mill Creek, Blossoming Branch, etc.—seem to have this vintage vibe that I recognize from somewhere. But where?

*Yellow Spots* – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

*Red on Pine* – Big Fork, MT – Fujifilm X100V – “Vintage Vibes”

*Wet Red Leaves* – Big Arm, MT – Fujifilm X100V – “Vintage Vibes”

I was digging through some old issues of Arizona Highways Magazine, which, if you are unaware, is full of fantastic photography—Ansel Adams was a fairly regular contributor back in the day—and I found a very similar aesthetic on the pages of that magazine. From the mid-1960’s through the early-1980’s, there are images with this look, by numerous photographers. I did research in an attempt to discover what films were used for those pictures, but unfortunately that was largely a dead-end. I’m not sure if it’s a specific film that creates this look (and, if so, which one?), or if it’s a byproduct of the printing process that was used, or the fading ink, or a combination of all that, but this film simulation recipe, which I call “Vintage Vibes” for lack of a better name, can be, in the right situations, very similar. It’s also similar, in the right situations, to Fujicolor Superia. Whatever it looks like, it looks good, and I know that many of you will appreciate this recipe.

I’ve been wanting to get this recipe out for awhile. Sometimes it takes time. Now it’s finally ready! This “Vintage Vibes” film simulation recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and X-E4 cameras.

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpening: -2
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 5200K, +1 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Vintage Vibes” film simulation recipe on my X100V and X-E4:

*Trees & Dirt Cliff* – Layton, UT – Fujifilm X100V

*Forest Road* – Layton, UT – Fujifilm X100V

*Mill Creek* – Bountiful, UT – Fujifilm X-E4

*Blossoming Branch* – Bountiful, UT – Fujifilm X-E4

*Sunlit Blossoms* – Layton, UT – Fujifilm X100V

*Windshield Water* – Centerville, UT – Fujifilm X-E4

*Johanna & Lens Flare* – Farmington, UT – Fujifilm X-E4

*Playing in a Dirty Kitchen* – Farmington, UT – Fujifilm X-E4

*Heat Lamps* – Bountiful, UT – Fujifilm X-E4

*Tableware* – Woods Cross, UT – Fujifilm X-E4

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Fujifilm X-Trans I Film Simulation Recipe: Superia Xtra 400

Posted on April 19, 2021 by Ritchie Roesch

*Forest River* – Layton, UT – Fujifilm X-M1 – “Superia Xtra 400” – Photo by Joy Roesch

I handed my Fujifilm X-M1 camera to my daughter, Joy, and told her that she could change the settings to whatever she wanted them to be—you might remember that she created the Winter Blue film simulation recipe. She used the camera to capture a bunch of pictures; afterwards, when I reviewed the images, I was very impressed with the look that she created. I asked her why she chose these settings, and she answered that she had hoped to capture some cherry blossoms, and it was initially overcast when she dialed in the settings, and she thought that it might work well for that.

These settings remind me of my X-Trans IV Superia Xtra 400 film simulation recipe. It’s definitely not an exact match—there’s no way that it could be because X-Trans I cameras don’t have many of the JPEG options that X-Trans IV cameras have, including the Classic Negative film simulation—but it’s surprisingly similar. I don’t imagine it’s possible to get closer. If you have an X-Pro1, X-E1 or X-M1, this is your best bet for a Superia Xtra 400 look. I think it’s also not far off from my Superia Premium 400 recipe, although, again, it’s not an exact match, just in the general ballpark. For some of you, I have no doubts that this will become your new favorite recipe.

*Horsetail Reeds* – Layton, UT – Fujifilm X-M1 – “Superia Xtra 400” – Photo by Joy Roesch

While this recipe is intended for X-Trans I cameras, it’s possible to use it on Fujifilm Bayer cameras, although it will look slightly different. You can also use it on X-Trans II cameras, but it will look fairly significantly different, although you might like the results anyway, so it might be worth a try.

Astia
Dynamic Range: DR200
Highlight: -2 (Low)
Shadow: +1 (Medium-High)
Color: +2 (High)
Sharpness: 0 (Normal)
Noise Reduction: -2 (Low)
White Balance: Shade, +2 Red & +2 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured by Joy using her “Superia Xtra 400” film simulation recipe on a Fujifilm X-M1:

*Dirt Cliff Forest* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Sideways Tree* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Photographer Hiding in the Forest* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Forest Creek* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Water in the Woods* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Johanna on a Bridge* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Path Through The Trees* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Small Flower* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*Patch of Red* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

*White Tree* – Layton, UT – Fujifilm X-M1 – Photo by Joy Roesch

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My Fujifilm X-E4 Focus Switch & ISO Dial Exclusion Solution

Posted on April 19, 2021 by Ritchie Roesch

Ever since I published my review of the Fujifilm X-E4, I have received numerous requests to explain my focus switch and ISO dial exclusion solution. It can be difficult to know how to best set up this new camera, especially with the changes that Fujifilm made, and perhaps most puzzling are focus mode and ISO. I don’t know if my settings are best, but hopefully this will be helpful to some of you.

In case you don’t know, Fujifilm removed from the X-E4 the M/C/S focus selector switch that most X cameras have. This switch allows you to quickly and easily go between Manual Focus (MF), Autofocus Continuous (AF-C), and Autofocus Single (AF-S). Instead of a switch, you now have to dig into the menu to change this, which is an inconvenience, to say the least. Fujifilm programmed the X-E4 so that the Focus Mode can be, or really must be, set and saved with each Custom Preset. I have all of my presets set to Autofocus Single (AF-S) because that’s the Focus Mode that I most commonly use. No matter the C1-C7 preset that I choose, it is set to AF-S, and whenever I change presets the Focus Mode will be automatically set to AF-S, whether that’s what I want or not. Most of the time this works well, but not always.

I have AF+MF set to On. I also have MF Assist set to Focus Peak Highlight (I prefer Red) and Focus Check set to On. This is important because most Fujinon lenses are capable of Manual Focus Override, and if you have one of these lenses, when you are in an autofocus mode, if you half-press the shutter you can turn the manual focus ring on the lens and manually focus. Yes, you read that correctly: you can manual focus while in AF-S or AF-C, without setting the camera to MF! Not only that, but MF Assist will automatically activate, and if you are using Single Point AF Mode, focus zoom will also automatically activate. So it’s like setting the focus selector switch to M, except that you stay in AF-S or AF-C. By the way, this isn’t a new feature, and many other Fujifilm cameras are capable of this. It’s pretty slick, and if you’ve never used it you should give it a try.

That works well for Fujinon lenses, but what if you are using a third-party or vintage lens that is manual-only? No matter the Focus Mode you are in, you can press the Focus Stick in to activate Focus Check. You don’t need to be in MF Mode to manually focus, and Focus Check helps to achieve a properly focused image; however, MF Assist will only activate in MF Mode, so Focus Peak Highlight (or whatever you have it set to) won’t activate unless MF Mode is selected. If you don’t need MF Assist, keeping the camera in AF-S or AF-C focus mode even when using a manual lens, and using the Focus Stick to Focus Check, is a good strategy. If you do like to use MF Assist, you’ll need to set the camera to Manual Focus Mode, which is found in the AF-MF Menu.

You can program one of the buttons on the camera body or one of the touch-screen gestures as a shortcut to activate the Focus Mode menu. I chose the AEL-AFL button on the back, and that works well for me, but it might not work for you. The unmarked Function (Fn) button on the top is another good option. This is not an ideal solution, but it’s better than digging through the menu. Since most of the time I’m using AF-S, it’s only occasionally that I need to change the Focus Mode to AF-C or MF, so it’s not a huge deal, but it would have been better if Fujifilm had kept the M/C/S switch on the camera body.

The X-E line has never had an ISO dial on the camera body. You’ve always had to dig through the menu to find the ISO menu. I had hoped that Fujifilm would add an ISO dial around the Shutter knob like the X100V, but they didn’t. My solution to this lack of an ISO dial is simple: the front wheel, which is called The Command Dial. The little wheel on the front can be programmed for only a few different things, like aperture, shutter speed, and ISO. A long press will allow you to switch what it controls, but I have it set to, and I leave it set to, ISO. Because I most often use Auto ISO, which can be programmed with each Custom Preset, I don’t change ISO often, but when I do this works very well, probably better than a dial around the Shutter knob.

The Fujifilm X-E4 is a great minimalistic camera, and I really appreciate that aspect of it, but the exclusion of the M/C/S switch went just a little too far, in my opinion. But that doesn’t mean the camera isn’t a great tool or that it can’t be worked around. I found that it has a sufficient number of buttons, and the firmware Fujifilm gave it does make up for some of the exclusions. Changing focus modes is more cumbersome than it should be, but it’s not a big problem, just an occasional minor inconvenience.

If you have a Fujifilm X-E4, I hope that you found this article helpful. If you’ve found a different solution to either the missing focus mode selector switch or the non-existent ISO dial, I’d love to hear about it in the comments! I’m fairly satisfied with my focus switch and ISO dial exclusion solution, but maybe you’ve figured out something even better.

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New Patron Early-Access Film Simulation Recipe: Old Kodak

Posted on April 12, 2021 by Ritchie Roesch

*Wet Radio Flyer* – Farmington, UT – Fujifilm X-E4 – “Old Kodak”

The Fuji X Weekly app is free, yet becoming a Fuji X Weekly Patron unlocks the best app experience! One benefit of being a Patron is you get early access to some new film simulation recipes. These early-access recipes will eventually become available free to everyone in time, including this new one. In fact, a few of the original early-access recipes have been publicly published on this blog and the app, so everyone can now use them. Patrons help support Fuji X Weekly and, really, without them there would be no app. So I want to give a special “thank you” to all of the Patrons!

This new recipe, called Old Kodak, is similar to Vintage Kodachrome and Kodachrome 1. I was recently viewing some old pictures captured on various Kodak films, and I was reminded of those two film simulation recipes. I thought that with some tweaks I could get closer to mimicking the aesthetic of the old Kodak pictures I was looking at. If you like the Vintage Kodachrome and Kodachrome 1 recipes, you’ll really appreciate this Old Kodak recipe, too! It’s compatible with the Fujifilm X-T4, X-S10 and X-E4 cameras.

If you are a Fuji X Weekly Patron, it’s available to you right now on the app!

*Suburban Storm* – Farmington, UT – Fujifilm X-E4 – “Old Kodak”

*The Joy of Writing* – Farmington, UT – Fujifilm X-E4 – “Old Kodak”

*Gumby on a Table* – Farmington, UT – Fujifilm X-E4 – “Old Kodak”

*Sunset Light on Winter Mountain* – Farmington, UT – Fujifilm X-E4 – “Old Kodak”

Fuji X Weekly — Film Recipes App

Posted on March 5, 2021 by Ritchie Roesch

The Fuji X Weekly — Film Recipes App is now available for both Android and iOS!

The Fuji X Weekly app is a mobile film simulation recipe library containing over 100 recipes for Fujifilm cameras! The film simulation recipes in the app are the same ones that you know and love from this website, but now take them with you on the go, and have them at your fingertips wherever you are!

The Fuji X Weekly app is free! No annoying ads. Get access to 100+ film simulation recipes, which can be sorted alphabetically or chronologically. Each recipe contains an assortment of sample images, as well as a list of compatible cameras. Within each recipe there’s a place where you can keep notes, a useful feature for many of you, no doubt. The app will work offline, so if you don’t have internet access but need to find a certain recipe, no problem! The Fuji X Weekly app is a handy tool for Fujifilm photographers, an essential app to accompany your X-series camera.

This app does have some advanced features that can be unlocked by becoming a Fuji X Weekly Patron! These advanced features include filtering by sensor or camera, as well as by film simulation or color/B&W, and the ability to favorite recipes for quick access. The best app experience is reserved for Patrons!

Fuji X Weekly Patrons also get early access to some new film simulation recipes. There are currently 9 brand-new film simulation recipes that only Patrons can view. These recipes will eventually be published on Fuji X Weekly—free to everyone—but right now they’re available only to Patrons. These recipes currently are: Kodak Portra 400 v2 (for X-T30 and X-T3), CineStill 800T (for X-Trans II), Fujicolor Negative (for X100V, X-Pro3, X-T4, X-S10 and X-E4), LomoChrome Metropolis (for X-T4, X-S10 and X-E4), Porto 200 (for X-Trans III + X-T3 and X-T30), Kodak Portra 400 Warm (for X100V, X-Pro3, X-T4, X-S10 and X-E4), Provia (for X-Trans I), Vintage Negative (for X100V, X-Pro3, X-T4, X-S10 and X-E4), and Fujicolor NPH (for X100V, X-Pro3, X-T4, X-S10 and X-E4). As new early-access recipes are cycled into the app for Patrons, the others will be made available on this website and on the app free to all, so no worries.

By becoming a Fuji X Weekly Patron, which is only $19.99 annually, you unlock the app’s full potential, you get early access to some new film simulation recipes, and you help support Fuji X Weekly! It’s a win-win!

It’s Here! Introducing the Fuji X Weekly — Film Recipes App for Android

Posted on March 1, 2021 by Ritchie Roesch

The Fuji X Weekly — Film Recipes App is a mobile film simulation recipe library containing over 100 recipes for Fujifilm cameras! The film simulation recipes in the app are the same ones that you know and love from this website, but now take them with you on the go, and have them at your fingertips wherever you are!

Fuji X Weekly Patrons also get early access to some new film simulation recipes. There are 9 brand-new film simulation recipes that only Patrons can view. These recipes will eventually be published on Fuji X Weekly—free to everyone—but right now they’re available only to Patrons. As new early-access recipes are cycled into the app for Patrons, the others will be made available on this website and on the app free to all, so no worries.

The Fuji X Weekly app is now available in the Google App Store. Download it to your mobile Android device today!

***Update 3/4/2021***
The Fuji X Weekly — Film Recipes App is now compatible with Android 9 (a.k.a. Android Pie)!

Fujifilm X-Trans IV Film Simulation Recipe: Creamy Color

Posted on February 23, 2021 by Ritchie Roesch

*Dark Sunset over Salt Lake* – Antelope Island SP, UT – Fujifilm X100V – “Creamy Color”

There are some film simulation recipes that just have a special look—the “it factor”—and this “Creamy Color” recipe is definitely one of those! I didn’t make it; this one was created by Immanuel Sander, who also created the Nature Neon recipe. Immanuel was kind enough to allow me to publish his recipe on the Fuji X Weekly blog, and he also gave me permission to include some of his wonderful photographs in this article. Thank you, Immanuel, for creating and sharing this recipe! I encourage you to follow him Instagram.

Immanuel created a great YouTube video for this recipe that you should watch. It’s very inspirational—well done!

“It’s a rather emotional recipe for me,” Immanuel explained. “The recipe works very well in bad weather and dreary colors. Foggy weather or rainy days are perfect for such silent pictures.” I think it also works well around sunset and on partly-cloudy days. The results from this Creamy Color film simulation recipe can be fantastic! Because this recipe requires Classic Negative, Clarity and Color Chrome FX Blue, it’s only compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and the upcoming X-E4.

Classic Negative
Dynamic Range: DR400
Highlight: +4
Shadow: +4
Color: -4
Noise Reduction: -4
Sharpening: -4
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 8700K, +4 Red & +6 Blue
ISO: up to ISO 5000
Exposure Compensation: +1/3 (typically)

Example photographs, all camera-made JPEGs captured with this Creamy Color film simulation recipe:

Immanuel Sander

Ritchie Roesch

*Last Light on a Pine* – Farmington, UT – Fujifilm X100V

*Suburban Winter* – Farmington, UT – Fujifilm X100V – “Creamy Color”

*Winter Sky Over Warehouse* – Uintah, UT – Fujifilm X100V

*Riverdale* – Unitah, UT – Fujifilm X100V

*Dodge Truck* – Weber Canyon, UT – Fujifilm X100V

*Weber River* – Weber Canyon, UT – Fujifilm X100V

*Pet Area* – Weber Canyon, UT -Fujifilm X100V

*Winter Bison* – Antelope Island SP, UT – Fujifilm X100V

*Coyot*e *Photography* – Antelope Island SP, UT – Fujifilm X100V

*Cold Stone* – Antelope Island SP, UT – Fujifilm X100V

*Reflection in the Puddle* – Antelope Island SP, UT – Fujifilm X100V

*Wasatch Front From Across the Lake* – Antelope Island SP, UT – Fujifilm X100V

*Approaching Storm* – Antelope Island SP, UT – Fujifilm X100V

Fujifilm X-M1 (X-Trans I) Film Simulation Recipe: Winter Blue

Posted on February 21, 2021 by Ritchie Roesch

Fujifilm X-M1 – Farmington, UT – Photo by Joy Roesch – “Winter Blue”

I handed a Fujifilm X-M1 to my 13-year-old daughter, Joy—gave her a brief tutorial on how to use the camera, and let her have at it. Attached to the camera was a Pergear 10mm f/8 Fisheye lens, which is challenging to use, but can also be rewarding. I thought that maybe the lens would be too difficult for her, but it turns out that I had nothing to worry about, as she did great with it.

I had my Provia recipe programmed into the camera, but Joy changed the settings, making up her own film simulation recipe. I asked her why she chose her settings, and she answered that snow looks nice with lots of blue, so she wanted to create a blue-look. When I asked her what she would name the recipe, she replied, “Winter Blue.” It has sort of a Fujichrome 64T aesthetic, but really it’s too warm for that, so maybe it loosely resembles if you used that film in conjunction with a warming filter? I don’t know how well this recipe might do in other conditions, but it certainly looks good on a blue-sky winter day.

Velvia
Dynamic Range: DR400
Highlight: -1 (Medium-Low)
Shadow: 0 (Normal)
Color: -2 (Low)
Sharpness: 0 (Normal)
Noise Reduction: -2 (Low)
White Balance: Daylight (“Fine”), 0 Red & +2 Blue
ISO: Auto, up to ISO 3200
Exposure Compensation: +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Joy using her Winter Blue film simulation recipe on a Fujifilm X-M1:

Fujifilm X-M1 – Farmington, UT – Photo by Joy Roesch

Find Jon’s Classic Chrome film simulation recipe on the Fuji X Weekly app!

Fujifilm X-T1 (X-Trans II) Film Simulation Recipe: Jon’s Classic Chrome

Posted on February 21, 2021 by Ritchie Roesch

Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch – “Jon’s Classic Chrome”

I handed my Fujifilm X-T1 to my 11-year-old son, Jonathan—gave him a brief tutorial on how to use the camera, and let him have at it. My XF10 Classic Chrome film simulation recipe was programmed into the X-T1; to my surprise, Jon made a few small adjustments to it. He increased Dynamic Range to DR400, moved the White Balance Shift to +4 Red, and set Sharpness at 0. I’m not sure why he made those specific changes, but the results are pretty good, and I’m very proud and impressed by the pictures that he captured with the X-T1 using his settings!

My opinion is that this recipe has a ColorPlus feel to it. It could be close to Kodacolor, Portra 400, or Ultramax—it definitely has a Kodak color negative vibe; however, I think Fujicolor C200 might also be in the neighborhood. Whatever film it might be close to, it’s got a great analog-like aesthetic that’s easy to love. Great job, Jon!

Classic Chrome
Dynamic Range: DR400
Highlight: +1 (Medium-High)
Shadow: +2 (High)
Color: +1 (Medium-High)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +4 Red & -4 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: +2/3 (typically)

Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using his Classic Chrome film simulation recipe:

Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch

Find Jon’s Classic Chrome film simulation recipe on the Fuji X Weekly app!

Two New (Yet Old) Film Simulation Recipes

Posted on February 17, 2021 by Ritchie Roesch

I just added two new film simulation recipes to the Fuji X Weekly app!

These two recipes aren’t actually new, they’re just new to the app. I’ve created so many different film simulation recipes over the last few years, sometimes it’s hard to keep track of them all. Right now there are 135 different ones on the app! The two that I just added were somehow overlooked. By request, they’re now included on the app.

Let’s take a look at these two new (yet old) film simulation recipes!

Stephan Shore Kodacolor

*Pointing Towards the Sky* – Layton, UT – Fujifilm X-T30

My Kodacolor film simulation recipe is quite popular as it produces a great vintage-analog aesthetic that’s easy to love. Kodacolor film has been around for a long time—the name was first used by Kodak in 1942—and many different emulsions have had this brand name on it. Interestingly, Kodacolor was the first color negative film intended for making prints.

Stephen Shore shot a lot of Kodacolor, mostly Kodacolor-X and Kodacolor II, but also likely the original Kodacolor, Kodacolor 400, and Kodacolor-VR. While Shore did shoot 35mm film, he is most known for his medium-format and large-format photographs. Something I learned is that medium and large format Kodacolor film is more saturated than the 35mm emulsion. The only difference between the original Kodacolor recipe and the Stephen Shore Kodacolor recipe is that Color is turned up a little, otherwise they’re identical.

Faux Eterna

*Smiling Jonathan* – South Weber, UT – Fujifilm X-T30

When Fujifilm introduced the Eterna film simulation on the X-H1, I received several requests to create a recipe that mimics it for cameras that don’t have Eterna. At the time, there weren’t many example pictures captured with Eterna, yet I made an attempt anyway, but it turned out to be inaccurate. Once I had a chance to use Eterna, I created this Faux Eterna recipe, which is much closer to the film simulation.

Faux Eterna is intended to look like “stock” Eterna (Highlight, Shadow, and Color set to 0, plus auto-white-balance with no shift). It’s nothing fancy, but that doesn’t mean it’s not a good look. There are other fake Eterna recipes that I created for cameras that don’t have it, including one that mimics my X-Trans IV Eterna recipe for X-Trans III, one that mimics that Eterna recipe but for X-Trans II, and, if you look at the bottom of the Expired Eterna recipe for X-Trans IV, you’ll find a version of that for X-Trans III cameras.

Fujifilm X-T30 (X-Trans IV) Film Simulation Recipe: Velvia v2

Posted on February 16, 2021 by Ritchie Roesch

*Sunset Cyclists* – Farmington, UT – Fujifilm X-T30 – “Velvia v2”

I’ve been wanting to create a new Velvia recipe for awhile now. The previous version is bold, but sometimes produces too much contrast. This recipe is actually a little closer to my original Velvia recipe, but with even less contrast yet with more saturation. This Velvia v2 recipe doesn’t closely mimic any specific version of Velvia film, yet it still retains an overall Velvia-like aesthetic.

Velvia is a high-saturation, low-ISO color reversal (slide) film introduced in 1990. I’ve shot many rolls of it, mostly the original ISO 50 version, but also the “new” Velvia 50, Velvia 100F and Velvia 100 emulsions. Of those films, this recipe is probably closest to Velvia 100, but not exactly like it.

*Brown Reflection* – Farmington, UT – Fujifilm X-T30 – “Velvia v2”

This film simulation recipe is intended for the Fujifilm X-T30 and X-T3 cameras. If you have “newer” X-Trans IV cameras, you might consider Color Chrome Effect Blue set to Weak, Grain set to Weak and Small, and Clarity set to +2 perhaps. If you have an X-Trans III camera, which doesn’t have Color Chrome Effect, you can still use this recipe, but the results will be slightly different. Those with GFX cameras can also use this recipe, and it will look very close but not exactly the same.

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

Example photographs, all camera-made JPEGs, captured using a Fujifilm X-T30 with this Velvia v2 film simulation recipe:

*March Reeds* – Farmington, UT – Fujifilm X-T30

*Reeds in Evening Light* – Farmington, UT – Fujifilm X-T30

*Water Under The Bridge* – Farmington, UT – Fujifilm X-T30

*Muddy Water* – Farmington, UT – Fujifilm X-T30

*Ducks in the Shallow Water* – Farmington, UT – Fujifilm X-T30

*Flying Seagull* – Farmington, UT – Fujifilm X-T30

*Evening Gull* – Farmington, UT – Fujifilm X-T30

*Utah Reeds* – Farmington, UT – Fujifilm X-T30

*Evening Cloud Over The Ridge* – Farmington, UT – Fujifilm X-T30

*Grass, Pond & Mud* – Farmington, UT – Fujifilm X-T30

*Sunset Puddle* – Farmington, UT – Fujifilm X-T30

*Marsh Sunset* – Farmington, UT – Fujifilm X-T30

Find this recipe on the Fuji X Weekly app!

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New Nostalgic Negative Film Simulation + X-Trans IV Nostalgic Negative Recipe!

Posted on February 7, 2021 by Ritchie Roesch

*Winter Berries* – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

The upcoming Fujifilm GFX100S has a brand new film simulation called Nostalgic Negative. Even though this camera hasn’t even been released yet, I’ve had many requests to create a film simulation recipe for it. That’s a tough challenge because there’s so little about Nostalgic Negative that’s known and very few sample pictures floating around the internet.

Back when Eterna was new—before I had a chance to try it myself—I made a faux “Eterna” recipe, and it turned out to be not particularly close. Even though it didn’t faithfully mimic Eterna, it’s one of the more popular recipes on this website. When Classic Negative first came out, I made a faux “Classic Negative” recipe, and even though it also turned out to be not particularly close, I’ve had several people tell me that it’s their favorite recipe. There’s two important points to this: 1) this “Nostalgic Negative” recipe will likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation and 2) there are people who love it anyway. With that disclaimer out of the way, let’s get into what Nostalgic Negative is and how you can achieve a similar aesthetic on your Fujifilm X camera.

*Watch and Jewelry* – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

Fujifilm stated that the Nostalgic Negative film simulation is based on “American New Color” photography of the 1970’s. They studied photographs by William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach in order to create it. Eggleston and Sternfeld largely shot on Kodachrome—II and X in the early 1970’s, 25 and 64 in the late ’70’s—while Shore shot mostly Kodacolor, and Misrach shot a lot of Vericolor. All of those are Kodak films, but with different aesthetics. These four photographers had different styles and different darkroom processes, and they each had a unique look; the commonality that Fujifilm found was an “overall atmosphere based on amber.” That’s a basic explanation of what Nostalgic Negative is.

I didn’t count, but I’d estimate that I found about 20 examples of the Nostalgic Negative film simulation on the internet. I noticed that there were some large discrepancies between the pictures, as some looked much different than others. I wondered if the default settings were used on some images and not others, and if some of them weren’t straight-out-of-camera but had received some level of post-processing. I also wondered if Nostalgic Negative behaves similarly to Classic Negative in that the aesthetic changes a little depending on the exposure. There’s a lot of uncertainty to what exactly the new film simulation looks like. Overall, I think you can expect something along the lines of Eterna gradation, the Classic Chrome color palette (however, with a warm shift), and vibrancy a little beyond Astia. Low-contrast, high-saturation and warm is a quick synopsis of Nostalgic Negative.

*Reflected Red* – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

Interestingly, there are some already existing film simulation recipes that come close to Nostalgic Negative. My Eterna recipe (and there are versions for X-Trans II, X-Trans III and X-Trans IV cameras) is almost identical to one of the aesthetics that I found in the sample pictures. The contrast is likely slightly too high in those recipes, but it’s very close. For some other sample pictures, I thought that the Kodachrome 64 recipes (the X-T1 recipe, the X-T30 recipe and the X100V recipe, but especially the X100V version) are pretty darn close. For some other pictures, the Kodak Vision3 250D recipe looks quite similar, while this Kodacolor recipe looks close to some others. I think that my Kodak Gold, Kodachrome II, Kodak Ultramax (both for X-Trans III and X-Trans IV), Kodak Ektar, Kodak Portra 800, Kodak Portra 400 (both X-T30 and X100V), Kodak Portra 400 v2 (both the X-T30 recipe that’s only available right now to Patrons on Fuji X Weekly App and X100V), and Polaroid (although perhaps increase Color) have some similarities to Nostalgic Negative. If you have an X-Trans II, III or IV camera, you already have some options that are in the neighborhood of this new film simulation, so don’t fret that your camera doesn’t have it. You’ll just have to decide which option you like best.

Speaking of your camera not having Nostalgic Negative: it’s not coming to X-Trans IV, in my opinion. Fujifilm said, “For Nostalgic Negative, Fujifilm needs a large sensor. It can’t be implemented simply to APS-C. Fujifilm needs time to develop Nostalgic Negative for the APS-C system.” To me, that’s code-speak for, “Expect it on X-Trans V cameras.” Of course, Fujifilm hasn’t announced that sensor yet, so they can’t talk about it, but that’s where I would expect to see it.

*Stop 11* – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

I don’t know if this new recipe that I created will turn out to be accurate to Nostalgic Negative. Most likely not, but I hope that you like it anyway. I chose Clarity -5 because that’s the best I could do for imitating the gradation of Eterna, but feel free to use -4 or -3 if you feel that -5 is too much for your tastes. On cameras that can adjust by .5, I would consider setting Shadow to -0.5 instead of 0. This recipe is only compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and (the upcoming) X-E4.

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

Example photographs, all camera-made JPEGs using this new “Nostalgic Negative” film simulation recipe on my Fujifilm X100V:

*Red Soccer Ball* – Farmington, UT – Fujifilm X100V

*Suburban Sky* – Farmington, UT – Fujifilm X100V

*Sky & Garages* – Farmington, UT – Fujifilm X100V

*JP Elect* – Farmington, UT – Fujifilm X100V

*Bear in the Snow* – Layton, UT – Fujifilm X100V

*Boy & Bear* – Layton, UT – Fujifilm X100V

*Red* *Brick Building* – Salt Lake City, UT – Fujifilm X100V

*Waiting Girl* – Farmington, UT – Fujifilm X100V

*City Fountain* – Farmington, UT – Fujifilm X100V

*Last Light Through Reeds* – Farmington, UT – Fujifilm X100V

*Mirror Image* – Orem, UT – Fujifilm X100V

*Window Light on Chair* – Farmington, UT – Fujifilm X100V

*Joshua’s Space* – Farmington, UT – Fujifilm X100V

*X-T1 on a Shelf* – Farmington, UT – Fujifilm X100V

*Film Drawer* – Farmington, UT – Fujifilm X100V

*Colorful Pens* – Farmington, UT – Fujifilm X100V

*Garage Globe* – Farmington, UT – Fujifilm X100V

*Jon’s Hands* – Farmington, UT – Fujifilm X100V

*Evening Park Joy* – Farmington, UT – Fujifilm X100V

*Rainbow Rays* – Farmington, UT – Fujifilm X100V

*Autumn Sun* – 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.

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

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Snow Fun with Fujifilm X-T4 & Fujinon 90mm + New Film Simulation Recipe: Amanda’s Classic Negative

Posted on January 27, 2021 by Ritchie Roesch

Fujifilm X-T4 & Fujinon 90mm – Photo by Amanda Roesch

My wife, Amanda, has a Fujifilm X-T4. She uses it for both stills and video. Amanda pretty much runs the video side of Fuji X Weekly, as that’s something she’s good at, but she also does some occasional portrait and product photography. A few days ago she borrowed my Fujinon 90mm lens, attached it to her X-T4, and on a snowy morning captured some pictures of our kids sledding at a local park (I was shooting with a GFX-50S, you can see some of those pictures here).

Amanda showed me the photographs that she had captured, and I liked the picture aesthetic, so I asked her what settings she used. She told me she just picked some that she thought might look nice, and went with that. She made her own recipe! It’s based on Classic Negative, which is such a great film simulation. I asked her if I could share her pictures and recipe here, and she agreed. Thanks, Amanda!

This film simulation recipe is only compatible with the Fujifilm X-T4 and X-S10 (most likely the X-E4, too, when that comes out next month). If you like this recipe or these pictures, be sure to let Amanda know by leaving her a comment.

Classic Negative
Dynamic Range: DR200
Highlight: +1
Shadow: +1.5
Color: +3
Noise Reduction: -4
Sharpening: +1
Clarity: 0
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1

All of the pictures in this article are camera-made JPEGs captured by Amanda Roesch using this Classic Negative film simulation recipe on her Fujifilm X-T4.

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-T4 Amazon B&H
Fujinon 90mm Amazon B&H

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Fujifilm GFX-50S Film Simulation Recipe: Ektachrome

Posted on January 25, 2021 by Ritchie Roesch

*Lookout Tower* – Layton, UT – Fujifilm GFX-50S

Ektachrome is a brand of Kodak color transparency film that’s been around (off and on) since the 1940’s. There have been several eras of the film, and even more variations; the name Ektachrome has been given to many different emulsions. While Kodachrome was more iconic, Ektachrome was more widely used, thanks in part to its easier development process and (typically) faster ISOs. While Ektachrome was more popular, it was much more prone to color fading. Kodachrome was a tad warmer, while Ektachrome was a tad more vibrant, depending on the version, of course. I shot plenty of rolls, and several different versions, of Ektachrome back in the day.

The Classic Chrome film simulation is, I believe, largely based on Ektachrome; set to defaults, Classic Chrome has a similar aesthetic to the film. I tweaked the settings so that Classic Chrome would more closely resemble Ektachrome, but I used my memory of the film and didn’t study actual examples of it. Fujifilm has a term for this: memory color. It basically means that it’s more important to have the right feel than to be perfectly accurate. I’m not exactly sure how accurate this recipe is to the film, or which exact emulsion it would be closest to (maybe 100G? 100GX?), but it feels right to me.

*Winter Tree* – Farmington, UT – Fujifilm GFX-50S – “Ektachrome”

This Ektachrome film simulation is intended for GFX cameras. I know that it’s compatible the GFX-50S and GFX-50R, and I believe that it’s compatible with the GFX100, but I’m not 100% certain. You can also use it on the Fujifilm X-T3 and X-T30, and it will produce nearly identical results; on the X100V, X-T4, X-Pro3 and X-S10, set Clarity to 0 (or -2 if you prefer), Color Chrome FX Blue Off, and Grain to Weak Small.

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +1
Color: +3
Color Chrome Effect: Weak
Sharpening: +1
Noise Reduction: -4
Grain Effect: Weak
White Balance: 7100K, -6 Red & +5 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Sample photographs, all camera-made JPEGs, captured with a Fujifilm GFX-50S using this Ektachrome recipe:

*Forest Creek* – Farmington, UT – Fujifilm GFX-50S

*Log Chair Boy* – Farmington, UT – Fujifilm GFX-50S

*Three Poles* – Farmington, UT – Fujifilm GFX-50S

*Pole Twists* – Layton, UT – Fujifilm GFX-50S

*End Post* – Layton, UT – Fujifilm GFX-50S

*Boardwalk in the Marsh* – Layton, UT – Fujifilm GFX-50S – “Ektachrome”

*The Roundabout* – Layton, UT – Fujifilm GFX-50S

*Signs Along the Boardwalk* – Layton, UT – Fujifilm GFX-50S

*Ice Tracks in the Reeds* – Layton, UT – Fujifilm GFX-50S

*Marsh Ice Tracks* – Layton, UT – Fujifilm GFX-50S

*Hairpin Curve* – Layton, UT – Fujifilm GFX-50S

*Birdseye View* – Layton, UT – Fujifilm GFX-50S

*Rural Boardwalk* – Layton, UT – Fujifilm GFX-50S

*Fence in the Grass* – Layton, UT – Fujifilm GFX-50S

*Tiny Islands in a Frozen Pond* – Layton, UT – Fujifilm GFX-50S

*Winter Grass* – Layton, UT – Fujifilm GFX-50S

*Frozen March Water* – Layton, UT – Fujifilm GFX-50S

*Cold Marsh* – Farmington, UT – Fujifilm GFX-50S

*Reed & Snow* – Farmington, UT – Fujifilm GFX-50S

*Snow Day Girl* – Farmington, UT – Fujifilm GFX-50S

*Sled Hill Photography* – Farmington, UT – Fujifilm GFX-50S

*Needle Snow* – Farmington, UT – Fujifilm GFX-50S

*Winter Pine* – Farmington, UT – Fujifilm GFX-50S

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Fujifilm X100V Film Simulation Recipe: Ilford Ortho Plus 80

Posted on January 24, 2021 by Ritchie Roesch

*760* – Farmington, UT – Fujifilm X100V – “Ilford Ortho Plus 80”

Many years ago I used to develop my own black-and-white film. It required removing the film from the cassette, winding it around a developing reel, and placing the reel into a developing canister—all in complete darkness! It was very tricky. If you didn’t get the film wound onto the reel quite right, it could ruin the film during development. When people think of darkrooms, they often think of dipping photosensitive papers into tubs of chemicals in dim amber light. This red light is called a safelight, and it’s safe for photographic paper, but not safe for undeveloped photographic film—that’s why you have to get the film from the cassette to the canister in complete darkness.

Ilford Ortho Plus 80 film is different, as it’s orthochromatic, which means it’s sensitive to blue and green light but not red, making it possible to transfer the film from the cassette to the canister under a safelight. This film was introduced in 2019, so it hasn’t been around very long. It produces sharp, fine-grain images that are fairly contrasty for a low-ISO film, and reds will be rendered dark. I’ve never used this film myself, so I relied on pictures I found on the internet to create this recipe. With film, how it’s shot, developed, and printed or scanned can have a big impact on how it looks, and that’s certainly a challenge for creating a facsimile on Fujifilm cameras, but I think this one is pretty close from the pictures I’ve seen. It also seems to be in the neighborhood of Washi S 50.

*Monochrome Country* – Salt Lake City, UT – Fujifilm X100V – “Ilford Ortho Plus 80

I set Monochromatic Color (Toning) to WC +1 because many of the examples that I found had some warm toning (not sure if it’s in-software after scanning or from toned prints or both), but it’s completely optional, you can set WC to 0 if you prefer. This recipe is intended for newer X-Trans IV cameras, such as the Fujifilm X100V, X-T4, X-Pro3 and X-S10, and isn’t compatible with other cameras; however, if you disregard Clarity you can achieve something similar on the X-T3 and X-T30, but it won’t be exactly the same (feel free to try).

Monochrome+G
Dynamic Range: DR400
Highlight: +2
Shadow: +3
Noise Reduction: -4
Sharpening: +2
Clarity: -2
Toning: WC +1, MG 0
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7000K, -5 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Ilford Ortho Plus 80 film simulation recipe on my Fujifilm X100V:

*Thorns of Nature* – Farmington, UT – Fujifilm X100V

*Monochrome Berries* – Farmington, UT – Fujifilm X100V

*Icy River* – Farmington, UT – Fujifilm X100V

*Zipping* – Farmington, UT – Fujifilm X100V

*Playground Boy* – Farmington, UT – Fujifilm X100V

*Silhouette Playground* – Farmington, UT – Fujifilm X100V

*Canvas Moon* – Farmington, UT – Fujifilm X100V

*Cat & Salmon* – Salt Lake City, UT – Fujifilm X100V

*Fedex Delivery* – Farmington, UT – Fujifilm X100V

*Locked Box* – Farmington, UT – Fujifilm X100V

*Emotion Through Glass* – Farmington, UT – Fujifilm X100V

*Tablet Play* – Farmington, UT – Fujifilm X100V

*Arizona Film* – Farmington, UT – Fujifilm X100V

Fujifilm X100V Film Simulation Recipe: Classic Monochrome

Posted on January 11, 2021 by Ritchie Roesch

*Signs, Poles & Wires* – Farmington, UT – Fujifilm X100V – “Classic Monochrome”

For some reason, black-and-white film simulation recipes aren’t as popular as color, but Fujifilm cameras are capable of some great monochrome images straight-out-of-camera. This new “Classic Monochrome” recipe was made by Thomas Schwab (B&W Instagram), who has created several of the film simulation recipes on this website and collaborated on several others. He’s a friend of this blog, and I’m honored that he allows me to share his recipes here!

Thomas said that he started with one of the Ilford recipes, and this evolved from that. It’s called “Classic Monochrome” because it has a great old-school B&W print feel. The only change that I added was Toning, which is optional, but it seems to look nice with these settings. This recipe has quickly become one of my favorite black-and-white options! It’s most similar to Dramatic Monochrome, so if you like that recipe you’ll like this one, too. Thank you, Thomas!

*Suburban Garages* – Farmington, UT – Fujifilm X100V – “Classic Monochrome”

This recipe is contrasty and clean. It reminds me of Agfapan 25 printed using a high-contrast filter (maybe a #4, or even split-filtered). It’s not intended to look like it, but that’s what it reminds me of. It does have a limited dynamic range, and it’s easy to clip highlights, so the exposure should be carefully considered, or perhaps try DR-Auto if you are concerned. It’s compatible (as of this writing) with the Fujifilm X100V, X-T4, X-Pro3 and X-S10 cameras.

Monochrome (+Y, +R, +G)
Dynamic Range: DR100
Highlight: +4
Shadow: +2
Noise Reduction: -4
Sharpening: +1
Clarity: +4
Toning: WC +1, MG 0
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 12800
Exposure Compensation: -1/3 to +1/3 (typically)

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