Fujifilm camera settings | FUJI X WEEKLY

My Fujifilm X-T30 Jeff Davenport Night Recipe

Posted on March 23, 2020 by Ritchie Roesch

Reflected Red – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

I was asked to create a film simulation recipe that mimics the aesthetics of photographer Jeff Davenport. Interestingly enough, Jeff uses Fujifilm cameras (X100F and X-H1). He shoots RAW and has his own post-processing workflow that allows him to create the specific looks that he wants. He has a few different styles, depending on what (and what time) he’s shooting. Jeff has several different photographic series, and each has its own look. My attempt here was to create something in-camera that produces results similar to his night pictures.

This recipe, which I call Jeff Davenport Night, isn’t an exact match to Jeff’s look, but it’s pretty close. His blue tends to lean slightly more towards green, but if I replicate that it throws everything else off. Orange in his pictures tend to turn red, which is something I can’t replicate. I think a lot of how a picture looks (both in Jeff’s case and with these settings) depends on the light in the scene. Results can vary greatly. Jeff might possibly use flash with colored gels, as well (something you could try if you wanted). Anyway, despite not being exact, this recipe is pretty close to recreating his look in-camera on my Fujifilm X-T30.

If you want a recipe that is good for night photography, this is one you should consider, along with my CineStill 800T recipe, because of the Kelvin temperature of the white balance, which goes well with artificial light. You don’t have to use it exclusively after dark, as results can be interesting sometimes when used in daylight. It’s fun to experiment with! For night photography, this will be one of your best options.

Pleiku – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

When I attached my camera to a tripod, I used ISO 1600 or lower. When I did hand-held photography, I used up to ISO 6400. I think if you can take your time and use a tripod, it’s good to use a lower ISO, but you can still get good results with higher ISOs. Because of the use of the Color Chrome Effect, this recipe is intended for X-Trans IV cameras, but feel free to try it on your X-Trans III camera; it will look very similar, but not exactly the same.

PRO Neg. Hi
Dynamic Range: DR400
Highlight: +1
Shadow: +0
Color: +2
Noise Reduction: -4
Sharpness: +1
Grain Effect: Weak
Color Chrome Effect: Strong
White Balance: 2650K, -1 Red & +4 Blue

Example photographs, all camera-made JPEGs using this “Jeff Davenport Night” recipe on my Fujifilm X-T30:

Button – Salt Lake City, UT – Fujifilm X-T30

Unlucky 13 Take Out – Salt Lake City, UT – Fujifilm X-T30

Blue Street – Salt Lake City, UT – Fujifilm X-T30

Blue Buildings – Salt Lake City, UT – Fujifilm X-T30

Blue Lights – Salt Lake City, UT – Fujifilm X-T30

So Much Bicycling – Salt Lake City, UT – Fujifilm X-T30

Red – Salt Lake City, UT – Fujifilm X-T30

Closed Red Umbrellas – Farmington, UT – Fujifilm X-T30

Parked Car at Night – Farmington, UT – Fujifilm X-T30

Night Hotel – Farmington, UT -Fujifilm X-T30

Caution Poles – Farmington, UT – Fujifilm X-T30

Dumpster 204 – Farmington, UT – Fujifilm X-T30

Lights Beyond The Rooftop – Farmington, UT – Fujifilm X-T30

Nighttime Neighborhood – Farmington, UT – Fujifilm X-T30

Francis Peak at Night – Farmington, UT – Fujifilm X-T30

Reach for the Sky – Farmington, UT – Fujifilm X-T30

Illuminated Houses – Farmington, UT – Fujifilm X-T30

Wind Sock – Farmington, UT – Fujifilm X-T30

No Thanks – Salt Lake City, UT – Fujifilm X-T30

Earn Points – Salt Lake City, UT – Fujifilm X-T30

Refining – Salt Lake City, UT – Fujifilm X-T30

Night Walking – Salt Lake City, UT – Fujifilm X-T30

McKay – Salt Lake City, UT – Fujifilm X-T30

Flag & Window – Salt Lake City, UT – Fujifilm X-T30

Illuminated Blue – Salt Lake City, UT – Fujifilm X-T30

Multi-Color Triangle – Salt Lake City, UT – Fujifilm X-T30

Center Street Lamp – Salt Lake City, UT – Fujifilm X-T30

Don’t – Salt Lake City, UT – Fujifilm X-T30

Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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Fujifilm X-T1 Agfa Optima (Provia) Film Simulation Recipe

Posted on March 22, 2020 by Ritchie Roesch

Reeds & Mountain – Farmington, UT – Fujifilm X-T1 “Agfa Optima”

The film simulation recipe in this article is my Agfa Optima recipe, which is compatible with X-Trans III & IV cameras, converted for use on my Fujifilm X-T1. While the X-T1 is an X-Trans II camera, you can also use this recipe on X-Trans I and Bayer sensor cameras. Agfa Optima is a color negative film that was around from the mid-1990’s to the mid-2000’s.

Provia
Dynamic Range: DR100
Highlight: -1 (Medium-Low)
Shadow: +1 (Medium-High)
Color: -2 (Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Daylight, -3 Red & +1 Blue
ISO: Auto, up to ISO 3200

Example photographs, all camera-made JPEGs using this Agfa Optima recipe on my Fujifilm X-T1:

Eggs in a Bowl – Farmington, UT – Fujifilm X-T1

Take a Picture Pronto – Farmington, UT – Fujifilm X-T1

Fruity Cereal – Farmington, UT – Fujifilm X-T1

Stealth Mode – Farmington, UT – Fujifilm X-T1

Suburban Alleyway – Farmington, UT – Fujifilm X-T1

Windows & Shadows – Farmington, UT – Fujifilm X-T1

Pine Tree & Sky – Farmington, UT – Fujifilm X-T1

Green & Fence – Farmington, UT – Fujifilm X-T1

Rural Metal Fence – Farmington, UT – Fujifilm X-T1

Marshland Sky – Farmington, UT – Fujifilm X-T1

See also: Film Simulation Recipes

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My Fujifilm X-T30 Classic Slide Film Simulation Recipe

Posted on March 21, 2020 by Ritchie Roesch

Winter Reeds – Farmington, UT – Fujifilm X-T30 “Classic Slide”

A lot of my film simulation recipes lean towards a warm cast. In the film days, many different films, especially those by Kodak, tended to lean warm. I often used a warming filter for my landscape photography, which made an even more pronounced color cast. This was all very common and normal. But not all films were balanced that way, not even all of Kodak’s. Since films have a specific Kelvin temperature (often “daylight balanced”), the light conditions could create a cool cast even on a warm-toned film. I decided that I needed another film simulation option with a cool color cast, because film isn’t always warm, and sometimes the scene demands something that’s cool.

I call this film simulation recipe “Classic Slide” because it has a slide-film aesthetic, in my opinion. I didn’t go about trying to mimic the look of any specific film. I think it’s in the neighborhood of Ektachrome 100G, or Elite Chrome 100, or Provia 100F and 400X, although it’s not an exact match to any of those films. It’s probably a bit closer to Provia than Ektachrome. It has a general color reversal film look, without matching any one in particular.

Indoor Green – Farmington, UT – Fujifilm X-T30 “Classic Slide”

To create this film simulation recipe I began with my Kodachrome 64 recipe. You might notice many similarities. In fact, the white balance shift is the biggest change. I adjusted Sharpness down one notch just because Kodachrome was known as a “sharp” film, and this isn’t Kodachrome, but, in reality, the difference between +1 and +2 is tiny. I also set Color Chrome Effect to Off, which makes it completely compatible with all X-Trans III & IV cameras.

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

Example photographs, all camera-made JPEGs using this Classic Slide film simulation recipe on my Fujifilm X-T30:

Yellow Couch – Layton, UT – Fujifilm X-T30

Chair & Blue Pillow – Farmington, UT – Fujifilm X-T30

Green Leaves Indoors – Layton, UT – Fujifilm X-T30

Dresser Decor – Farmington, UT – Fujifilm X-T30

Laying in the Light – Farmington, UT – Fujifilm X-T30

Blinded by the Light – Farmington, UT – Fujifilm X-T30

Duck out of Water – Farmington, UT – Fujifilm X-T30

Crossing Flags – Farmington, UT – Fujifilm X-T30

Remaining Relic in Disrepair II – Farmington, UT – Fujifilm X-T30

Francis Peak in Evening Light – Farmington, UT – Fujifilm X-T30

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My Fujifilm X-T30 Monochrome Kodachrome Film Simulation Recipe

Posted on March 16, 2020 by Ritchie Roesch

Light on the Wall – Farmington, UT – Fujifilm X-T30 “Monochrome Kodachrome”

Kodachrome was a black-and-white film. No, really, it was! The color dyes were actually added during development. The process to develop Kodachrome color transparencies was complex and toxic. As demand for the film decreased and Kodak experienced financial troubles, both the film and the chemicals to develop it were discontinued. If you still have some undeveloped Kodachrome film sitting around, there’s absolutely no place in the world that can process it; that is, except as black-and-white negatives. It’s true: Kodachrome can be developed to this day as a black-and-white film!

While I think that this recipe does more-or-less mimic the look of Kodachrome developed as black-and-white, that’s not necessarily the intent of it. This recipe began as an experiment by Fuji X Weekly reader Thomas Schwab, who created the Urban Vintage Chrome recipe. He took my Vintage Kodachrome recipe and replaced the Classic Chrome film simulation with Acros, Monochrome and Sepia, and the results were quite interesting! I made a couple of minor adjustments to create this recipe. This is definitely a joint effort, and it wouldn’t exist without Thomas Schwab’s experiments and willingness to share the results. Thank you!

Window & Blinds – Layton, UT – Fujifilm X-T30 “Monochrome Kodachrome”

What I like about this Monochrome Kodachrome film simulation recipe is that it has a great film-like quality to it. This recipe pairs especially well with vintage lenses (I used an Asahi Super-Takumar 28mm for about half of these pictures). Even though it says “Fujifilm X-T30” in the title, it can be used on any X-Trans III & IV camera. You can also use this same recipe with the Monocrome+R film simulation, for a slightly different result.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: -2
Noise Reduction: -4
Sharpening: +1
Grain Effect: Strong
Color Chrome Effect: Off
Toning: 0
White Balance: AWB, 0 Red & +9 Blue
ISO: Auto, ISO 3200 to ISO 12800
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Monochrome Kodachrome film simulation recipe on my Fujifilm X-T30:

Roman – Farmington, UT – Fujifilm X-T30

Cleaning Cart – Farmington, UT – Fujifilm X-T30

Fake Potted Plant – Farmington, UT – Fujifilm X-T30

Tree Shadow on a Brick Wall – Farmington, UT – Fujifilm X-T30

Small Bridge – Farmington, UT – Fujifilm X-T30

Rural Road – Farmington, UT – Fujifilm X-T30

Monochrome Mountain Landscape – Farmington, UT – Fujifilm X-T30

B&W Reeds – Farmington, UT – Fujifilm X-T30

Tennis Swing – Farmington, UT – Fujifilm X-T30

Engaged In Television – Farmington, UT – Fujifilm X-T30

Little Jo – Farmington, UT – Fujifilm X-T30

Hand Washing – Farmington, UT – Fujifilm X-T30

Faceless – Farmington, UT – Fujifilm X-T30

Muffins – Farmington, UT – Fujifilm X-T30

Pronto! – Farmington, UT – Fujifilm X-T30

Daylight Balanced – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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12 New Film Simulation Recipes in 2020, And Counting…

Posted on March 10, 2020 by Ritchie Roesch

So far this year I have published 12 new film simulation recipes: six for “newer” Fujifilm cameras, such as my X-T30, and six for “older” models, such as my X-T1. Actually, one article contained three different recipes, so technically we’re up to 14. Yet there will be more! I have several ideas and aesthetics that I am working on. 2020 might be the biggest year yet for film simulation recipes!

One of these days I hope to have the new Classic Negative and Bleach Bypass film simulations available to use. I think both, but especially Classic Negative, have the potential to be great starting points for new recipes. I’m not “upgrading” my camera right now, though, as there’s not really a need to, so unfortunately that will have to wait until Fujifilm makes those available to the X-T30 via firmware updates (which may or may not happen), or I buy a new model sometime down the road (it won’t be soon).

Which of the recipes below are your favorites? Are you using any of them right now? Is there one that you haven’t yet used but are planning to soon? Even though I have five listed under “X-Trans IV” you can still use them with X-Trans III cameras. You just don’t have Color Chrome Effect, which doesn’t make a big difference, so the results will be quite similar.

X-Trans IV

Analog Color

Cut Strawberries – Farmington, UT – Fujifilm X-T30

Vintage Color Fade

Young Boy with an Old Camera – Farmington, UT – Fujifilm X-T30

Bleach Bypass

Instamatic Mourning – Farmington, UT – Fujifilm X-T30

Dramatic Monochrome

Shadow Ware – Farmington, UT – Fujifilm X-T30

Split-Toned B&W

Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30

X-Trans III & IV

Fujicolor Pro 400H Overexposed

I Will Always Love You – Farmington, UT – Fujifilm X-T30

X-Trans II

Kodachrome 64

Suburban Silver Lining – Farmington, UT – Fujifilm X-T1

Kodachrome II

The Wetlands of Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Kodacolor

Man In Red – Farmington, UT – Fujifilm X-T1

Classic Chrome

Praying the Order is Right – Salt Lake City, UT – Fujifilm X-T1

X-Trans I & II

Ektachrome 100SW

Windows & Reflections – Salt Lake City, UT – Fujifilm X-T1

Velvia

Pink Penguin – Salt Lake City, UT – Fujifilm X-T1

Monochrome

Rebuilt 24 – Farmington, UT – Fujifilm X-T1

Faded Monochrome

Thought – Farmington, UT – Fujifilm X-T1

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My Fujifilm X-T30 Analog Color Film Simulation Recipe

Posted on March 8, 2020 by Ritchie Roesch

Pentax – Farmington, UT – Fujifilm X-T30 “Analog Color”

Sometimes accidents are happy, such as with this film simulation recipe, which I call Analog Color. I was attempting to make a recipe that mimics the looks of Kodak Portra 400 that’s been overexposed, but I was unsuccessful (at least for now); however, in the process I accidentally created this one. It was a mistake, but I liked how it looked, so I shot a bunch of pictures with it. This recipe reminds me of Fujicolor C200 or Agfa Vista 200, or perhaps even Kodak Gold 200. It’s in the neighborhood of ColorPlus 200, as well. But, it doesn’t exactly resemble any of those films perfectly. What I appreciate about this Analog Color film simulation is that it has a film-like quality to it, with a real color negative aesthetic, even if it’s not an exact match to any film that I’m aware of.

How this film simulation recipe looks depends on the light. This is true of all the recipes that don’t use auto white balance, but it seems especially so with this particular recipe. It can have a warm cast sometimes and cool cast other times, or even occasionally both a cool and warm cast within the same image. Perhaps this is one of the things that make it appear film-like. I do think that there’s something special about this recipe.

Route Running – Farmington, UT – Fujifilm X-T30 “Analog Color”

I like Color set to -1, but feel free to play around with that. If you want something more saturated, increase Color to 0 or +1. If you don’t like grain, set it to Weak or off. If you like lots of grain, keep the ISO high, perhaps no lower than ISO 1600. I think that this recipe will pair well with vintage lenses, and that’s something else you can experiment with.

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

Example photographs, all straight-out-of-camera JPEGs captured using my Fujifilm X-T30 Analog Color film simulation recipe:

Red Window – Monument Valley, AZ – Fujifilm X-T30

Cut Strawberries – Farmington, UT – Fujifilm X-T30

Joshua Smiling – Farmington, UT – Fujifilm X-T30

Girl in a Blue Sweater – Farmington, UT – Fujifilm X-T30

Living Room Bass Pro – Farmington, UT – Fujifilm X-T30

Backlit Jon – Farmington, UT – Fujifilm X-T30

Succulent on a Shelf – Farmington, UT – Fujifilm X-T30

Time’s Fun When You’re Having Flies – Farmington, UT – Fujifilm X-T30

46 Minutes to Ogden – Farmington, UT – Fujifilm X-T30

Empty Seats – Farmington, UT – Fujifilm X-T30

The Bags We Carry – Farmington, UT – Fujifilm X-T30

No Storage – Farmington, UT – Fujifilm X-T30

Rain God Mesa – Monument Valley, AZ – Fujifilm X-T30

Tree In The Dirt – Monument Valley, AZ – Fujifilm X-T30

Monument Valley Afternoon – Monument Valley, AZ – Fujifilm X-T30

Monument Valley After Sunset – Monument Valley, AZ – Fujifilm X-T30

See also: Film Simulation Recipes

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My Fujifilm X-T30 Fujicolor Pro 400H Overexposed Film Simulation Recipe

Posted on February 26, 2020 by Ritchie Roesch

I Will Always Love You – Farmington, UT – Fujifilm X-T30 “Fujicolor Pro 400H Overexposed”

Fujifilm introduced Fujicolor Pro 400H in 2004 and it’s been a popular film ever since. Photographers often overexpose this film by as many as four stops. When overexposed, the film turns from a somewhat ordinary high-ISO (that’s what the “H” stands for in the name) portrait film into something almost magical. Colors become vibrant and pastel. The exact look of overexposed Pro 400H varies, depending on how much overexposed, how developed, and how printed or scanned. The effect can range from subtle to pronounced. I have been trying for some time now to create a film simulation recipe that mimics the aesthetic of overexposed Pro 400H, and, despite creating a Fujicolor Pro 400H film simulation recipe already, achieving an overexposed look has eluded me.

I had read that one of the films that was the inspiration for the PRO Neg. Hi film simulation was Pro 400H. I tried and tried using that film simulation, and even PRO Neg. Std and Astia, to get the look that I was after, but I just couldn’t get it right. Yesterday, following some inspiration, as I was playing around with the Provia film simulation, I created a look that I thought might work. It was close! A few adjustments here and there, and this Fujicolor Pro 400H Overexposed film simulation recipe was born, and I spent the afternoon shooting a bunch of exposures with it. I just couldn’t believe that I finally did it!

Green Sky – Farmington, UT – Fujifilm X-T30 “Fujicolor Pro 400H Overexposed”

Something that I went back and forth on with this recipe is the shadows. I feel like +4 is too much sometimes, and +3 is too little sometimes. I ended up choosing +4, but I think +3 would be just as acceptable. You might try some shots with +4 and some with +3 and decide which you like better. Perhaps use +4 in low-contrast scenes and +3 in high-contrast scenes. I also debated on Color, settling on +1, which might be too high. You might consider setting Color to 0 if you think it’s too saturated. Even though I created this on my Fujifilm X-T30, it’s fully compatible with all X-Trans III and IV cameras.

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

Example photographs, all straight-out-of-camera JPEGs captured using my Fujifilm X-T30 Fujicolor Pro 400H Overexposed film simulation recipe:

Annoyed – Farmington, UT – Fujifilm X-T30 “Fujicolor Pro 400H Overexposed”

Happy – Farmington, UT – Fujifilm X-T30

Reading – Farmington, UT – Fujifilm X-T30

Markers – Farmington, UT – Fujifilm X-T30

Lego Car – Farmington, UT – Fujifilm X-T30

Ocean of Books – Farmington, UT – Fujifilm X-T30

Suburban Sky – Farmington, UT – Fujifilm X-T30

Neighborhood – Farmington, UT – Fujifilm X-T30

Tree Trunk Between Shrubs – Farmington, UT – Fujifilm X-T30

Liquid Obscurity – Farmington, UT – Fujifilm X-T30

Evening Windows – Farmington, UT – Fujifilm X-T30

Closed Umbrella – Farmington, UT – Fujifilm X-T30

Raining In The Pool – Farmington, UT – Fujifilm X-T30

Observing – Farmington, UT – Fujifilm X-T30

Outdoor Mall – Farmington, UT – Fujifilm X-T30

String of Lights – Farmington, UT – Fujifilm X-T30

Disconnected – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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My Fujifilm X-T30 Vintage Color Fade Film Simulation Recipe

Posted on February 25, 2020 by Ritchie Roesch

Young Boy With An Old Camera – Farmington, UT – Fujifilm X-T30 “Vintage Color Fade”

Two days ago I posted my “Bleach Bypass” film simulation recipe, and yesterday I posted my Split-Toned B&W recipe. Today’s film simulation recipe takes elements from both of those to produce a look that reminds me of something found on Nik Analog Efex. I call it Vintage Color Fade. It’s actually similar to my Faded Color recipe, but with modifications, producing a different result. This recipe definitely has a vintage analog aesthetic to it, with some very interesting results. It’s quite amazing that you can do this in-camera!

My Vintage Color Fade film simulation recipe requires the use of the double exposure feature of your camera. You make the first exposure using the settings under “Exposure 1” below. Then, before capturing the second image, switch to the settings found under “Exposure 2″ below. The only difference between the two sets of settings is the film simulation and the B&W tone, so it’s pretty easy to switch between them. The first exposure is of the scene that you want to capture, and the second exposure is of a piece of paper, which I prefer to be out-of-focus. The paper that I used was a medium-blue 8.5″ x 11” construction paper, the same paper that I used in the Split-Toned B&W recipe. The color of the paper doesn’t matter, but whatever it is should be medium-grey in black-and-white. How bright the second exposure is will determine how faded the picture will appear.

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

Exposure 2
Acros
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Tone: +6 (warm)
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, -5 Red & +5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -3 (typically)

Example photographs, all camera-made JPEGs using this Vintage Color Fade film simulation recipe on my Fujifilm X-T30:

Love You Always – Farmington, UT – Fujifilm X-T30

Indoor Potted Plant – Farmington, UT – Fujifilm X-T30

Fisher Price Phone – Farmington, UT – Fujifilm X-T30

Young Film Photographer – Farmington, UT – Fujifilm X-T30

Josh – Farmington, UT – Fujifilm X-T30

Girl Reading – Farmington, UT – Fujifilm X-T30

A Good Book – Farmington, UT – Fujifilm X-T30

Black Bike – Farmington, UT – Fujifilm X-T30

Down Stairs – Farmington, UT – Fujifilm X-T30

Honey Buckets – Farmington, UT – Fujifilm X-T30

UTA Train – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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My Fujifilm X-T30 Split-Toned B&W Film Simulation Recipe

Posted on February 24, 2020 by Ritchie Roesch

Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30 “Split-Toned B&W”

While creating my “Bleach Bypass” film simulation recipe, which requires double exposures, I also discovered how to split-tone black-and-white pictures in-camera using double exposures. Split toning was originally a darkroom technique where one would give their black-and-white print a bath in two different toning chemicals, which resulted in shadows and highlights having two different colors. There are many different ways to split tone and many different potential results. This Split-Toned B&W recipe loosely mimics the aesthetic of ferrocyanide toning (blue) with diluted sepia (reddish-brown). You can get similar results very easily with software, but it’s fun to achieve a split tone effect straight out of camera.

For this recipe, you’ll capture the first exposure as normal. I find that increasing the exposure by 1/3 to 2/3 stop over what you might normally do produces better results. For the second exposure, photograph blue paper. I used an 8.5″ x 11″ medium-blue construction paper for my pictures. I like to purposefully make the second exposure out of focus, although I’m not sure that it matters much if you do. You can control the strength of the blue tone by how bright the second exposure is. The darker the exposure, the less blue there will be and the less faded the picture will appear. The brighter the exposure, the more blue there will be and the more faded the picture will appear. It’s fun to experiment with this, because you can vary the look significantly by how you expose the second image. If you want the highlights to be warmer, simply increase the tone of the first exposure to be more warm, or even use the Sepia film simulation instead of Acros. You could use a different color paper, or even use a cool tone instead of warm on the first exposure, if you wanted. You could really play around with this and come up with all sots of different looks.

Exposure 1
Acros
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Tone: +6 (warm)
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

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

Example photographs, all camera-made JPEGs using this Split-Toned B&W film simulation recipe on my Fujifilm X-T30:

Open Blinds – Farmington, UT – Fujifilm X-T30

Ocean – Farmington, UT – Fujifilm X-T30

White Faux Blooms – Farmington, UT – Fujifilm X-T30

Monochrome Floral Arrangement – Farmington, UT – Fujifilm X-T30

Lily Bloom – Farmington, UT – Fujifilm X-T30

Throw Pillows – Farmington, UT – Fujifilm X-T30

Dirt Play – Farmington, UT – Fujifilm X-T30

Girl In The Sunlight – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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My Fujifilm X-T30 “Bleach Bypass” Film Simulation Recipe

Posted on February 24, 2020 by Ritchie Roesch

Instamatic Morning – Farmington, UT – Fujifilm X-T30 “Bleach Bypass”

The upcoming Fujifilm X-T4 will have a new film simulation: Bleach Bypass. This new film simulation might eventually come to other X-Trans IV cameras, such as the X-T30, X-T3, X-Pro3 and X100V, but it might not, as Fujifilm has yet to add Classic Negative to the X-T3 and X-T30. It would certainly be nice if Fujifilm gave those of us with “older” X-Trans IV cameras the new film simulations. Even if they never do, you are in luck, as I have created a film simulation recipe to mimic the look of bleach bypass!

Bleach bypass is a darkroom technique where you skip or limit the bleach during development of color film, which causes it to retain the silver. Results will vary greatly depending on the film used and exactly how you develop it, but generally speaking what you get with bleach bypass is a high-contrast, low-saturation, grainy picture that appears as if a black-and-white and color picture were combined together. This technique is more common for motion picture film than still photography, but some people do bleach bypass with C-41 film.

I experimented with the techniques that I used for this film simulation back in June of last year. Much came out of those experiments, including both the Faded Color and Faded Monochrome film simulation recipes, as well as in-camera texturing. I created something similar to this recipe, but gave up on it before completing it. Last week Fuji X Weekly reader James Clinich reached out to me to share some experiments he had been doing, which turned out to be very similar to what I had done back in June. This rekindled my interest, and with inspiration drawn from James, I made this “Bleach Bypass” film simulation recipe.

Car’s 3 & 4 – Farmington, UT – Fujifilm X-T30 “Bleach Bypass”

This film simulation recipe requires the use of the double exposure feature of your camera. You will need a tripod, and there can’t be any movement in the scene. You have to make two identical exposures, one in color and one in black-and-white. After the first exposure is made, you must change the film simulation before making the second exposure. You can have both sets of settings programmed into the custom menu as separate presets, and toggle between them, or just change the film simulation, making sure that the tone is set correctly when making the Acros exposure. It’s a bit tricky and limited, but the results are nice. If you don’t want to do double exposures, but want something that will produce similar results to this recipe, try my Dramatic Classic Chrome recipe except set color to -4. That’s about as close as you can get. Otherwise, if you want to create a bleach bypass look in-camera, this recipe is your best option.

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

Exposure 2
Acros
Dynamic Range: DR200
Highlight: +3
Shadow: +4
Tone: +2 (warm)
Color Chrome Effect: Strong
Grain: Strong
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, -1 Red & +3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

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

Pillows – Farmington, UT – Fujifilm X-T30

Window Robot – Farmington, UT – Fujifilm X-T30

Illuminated Faux Flowers – Farmington, UT – Fujifilm X-T30

Pronto! – Farmington, UT – Fujifilm X-T30

Touch of Green – Farmington, UT – Fujifilm X-T30

Rooftops & Mountaintops – Farmington, UT – Fujifilm X-T30

Tracks Under The Bridge – Farmington, UT – Fujifilm X-T30

Do Not Cross Tracks – Farmington, UT – Fujifilm X-T30

Locked Box & Escape Route – Farmington, UT – Fujifilm X-T30

Empty Walking Bridge – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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Fujifilm X-T1 (X-Trans II) Ektachrome 100SW Film Simulation Recipe

Posted on February 17, 2020 by Ritchie Roesch

Windows & Reflections – Salt Lake City, UT – Fujifilm X-T1 “Ektachrome 100SW”

What I love about my Ektachrome 100SW film simulation recipe is that it reminds me of a film that I used to use. Just like the original Ektachrome 100SW recipe, which is compatible with X-Trans III & IV cameras, this recipe is identical to my Kodachrome II recipe, except that it uses Velvia instead of Classic Chrome. This version of Ektachrome 100SW is compatible with X-Trans I & II cameras, as well as Fujifilm Bayer cameras.

Velvia
Dynamic Range: DR200
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto up to ISO 3200

Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Ektachrome 100SW film simulation recipe:

Instamatic – Farmington, UT – Fujifilm X-T1

Throw Pillow – Farmington, UT – Fujifilm X-T1

Striped Pillow – Farmington, UT – Fujifilm X-T1

Indoor Decor Near a Window – Farmington, UT – Fujifilm X-T1

Grass & Concrete – Farmington, UT – Fujifilm X-T1

Little Steps – Farmington, UT – Fujifilm X-T1

February Forest – Layton, UT – Fujifilm X-T1

Lizard – Salt Lake City, UT – Fujifilm X-T1

Penguins On A Rock – Salt Lake City, UT – Fujifilm X-T1

Swimming Penguins – Salt Lake City, UT – Fujifilm X-T1

Coral Fish – Salt Lake City, UT – Fujifilm X-T1

See also: Film Simulation Recipes

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My Fujifilm X-T1 (X-Trans II) Kodacolor Film Simulation Recipe

Posted on February 3, 2020 by Ritchie Roesch

Man in Red – Farmington, UT – Fujifilm X-T1 – “Kodacolor”

Yesterday I published my Kodachrome 64 recipe for X-Trans II cameras, such as my Fujifilm X-T1, and today I will share with you my Kodacolor recipe for X-Trans II! Because this Kodacolor recipe requires the Classic Chrome film simulation, those with X-Trans I cameras can’t use it, but those with X-Trans II or Bayer sensor cameras can. While I got the overall aesthetic pretty darn close to the original Kodacolor recipe for X-Trans III and IV, the one thing that I wish I could change is the grain. Newer Fujifilm cameras have faux grain options, but older ones don’t. If you want to mimic the grain in-camera, your best option is to use a higher ISO, such as 3200 or 6400, and let the digital noise act as faux grain. Otherwise, I’m quite pleased with how this Kodacolor film simulation recipe turned out.

Classic Chrome
Dynamic Range: DR400
Highlight: +1 (Medium-High)
Shadow: +1 (Medium-High)
Color: -2 (Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: 6300K, -3 Red & -2 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Kodacolor recipe on my Fujifilm X-T1:

Front Runner – Farmington, UT – Fujifilm X-T1

Fro – Farmington, UT – Fujifilm X-T1

Cross at Crosswalks – Farmington, UT – Fujifilm X-T1

Look Both Ways – Farmington, UT – Fujifilm X-T1

Pipe – Farmington, UT – Fujifilm X-T1

Rusty Shadows – Farmington, UT – Fujifilm X-T1

Stop by the Rack – Farmington, UT – Fujifilm X-T1

Nord’s Stop – Farmington, UT – Fujifilm X-T1

Mall Across the Mud – Farmington, UT – Fujifilm X-T1

Pond Among Reeds – Farmington Bay, UT – Fujifilm X-T1

Grass on the Water – Farmington Bay, UT – Fujifilm X-T1

Lake Reflection – Farmington Bay, UT – Fujifilm X-T1

Antelope Island Beyond Farmington Bay – Farmington Bay, UT – Fujifilm X-T1

Camera Shelf – Farmington, UT – Fujifilm X-T1

Green is Good for My Soul – Farmington, UT – Fujifilm X-T1

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10 Most Popular Film Simulation Recipes of 2019

Posted on January 2, 2020 by Ritchie Roesch

Shot on a Fujifilm X-T30 using my Vintage Kodachrome film simulation recipe.

It’s the new year, and that means reviewing last year, and making “top lists” of everything under the sun from the previous 12 months on this blog. Most popular posts. Top favorite pictures. You get the idea. That’s what I’ve done in the past, and besides, everyone else is doing it. Actually, this article will be the only one on Fuji X Weekly this January. Well, I’m not promising, as I reserve the right to change my mind, but for now, my only top list will be this post, where I will share the most popular film simulation recipes for Fujifilm cameras from 2019.

I determined which film simulation recipes were the most popular by the number of page views each one received last year. Which article was seen the most during 2019 is what determines the popularity for the purpose of this post. That doesn’t mean more people are using it or more images were captured with it, just that more people viewed the recipe. Also, not every film simulation recipe was around the whole year. Some were made not very long ago and are at a strong disadvantage to make this list.

I was surprised by how many views a few of these film simulation recipes had. The top five were expected, but some of the others were not. Let me know in the comments which one is your favorite! Also, let me know which recipe that didn’t make this list is your favorite. I hope that your holidays were wonderful. May 2020 be a fantastic year for you!

#10. Cinestill 800T
#9. X100F “Eterna”
#8. Ektar 100
#7. Eterna
#6. Fujicolor Superia 800
#5. Kodachrome 64
#4. Kodak Portra 400
#3. Classic Chrome
#2. Vintage Kodachrome
#1. Kodachrome II

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Fujifilm Grain Settings

Posted on December 6, 2019 by Ritchie Roesch

Blue Winter Sky – South Weber, UT – Fujifilm X-T30

Many of my film simulation recipes call for faux grain, in order to achieve a more analog aesthetic. The picture above was captured using my Kodachrome 64 recipe, which requires Grain set to Weak. Fujifilm cameras with X-Trans III or IV sensors have a faux grain option, which can be set to Off, Weak or Strong (the X-Pro3 has additional grain options). The Acros film simulation has built-in grain that increases as the ISO increases. I have often said that X-Trans digital noise is also grain-like in appearance. But all of this is hard to see, especially when viewed at web sizes, so it can be tough to know exactly what the different settings are doing to pictures. I thought it would be helpful to take a closer look at the grain on Fujifilm cameras. For this post I used a Fujifilm X-T30.

Let’s take a closer look at Blue Winter Sky, the picture at the top of this article. Here are some crops:

ISO 640, Grain Off.

Grain Weak

Grain Strong

You likely can see the grain in the bottom crop, which has Grain set to Strong, but the middle one with Grain set to Weak is a little more difficult to notice. It’s subtly there, but the difference between Grain Off and Grain Weak isn’t huge by any stretch, and you have to look very closely to find it. Even Grain Strong isn’t particularly obvious, but it’s certainly noticeable upon close inspection.

Let’s look at some massive crops from another picture:

ISO 640, Grain Off

Grain Weak

Grain Strong

This example is a little bit deeper of a crop, and so it’s also a little easier to spot the differences in grain. Still, there’s not a huge distinction between Grain set to Off and Grain set to Weak. Grain set to Strong stands out from the others, but again it’s still not especially obvious.

Can you spot the difference between Grain set to Weak and Grain set to Strong in the two images below?

ISO 400, Grain Weak

ISO 400, Grain Strong

ISO 400, Grain Weak

ISO 400, Grain Strong

I think if you study the crops above long enough, you can see that the bottom one has a stronger grain, but just barely. It’s not obvious whatsoever, even when viewed this closely.

Can you spot the differences between the two crops below?

49164523017_72c0b48c36_c

49163950843_69e7be88d0_c

The top image is ISO 400 with Grain set to Weak. The bottom is ISO 6400 with grain set to Strong. You could probably tell that the top image is slightly cleaner and crisper, but it is very subtle, and not something you’d ever notice without closely comparing crops side-by-side.

Now let’s take a look at some Acros crops. Can you spot the differences?

ISO 400, Grain Weak

ISO 400, Grain Strong

ISO 6400, Grain Strong

ISO 6400, Grain Weak

There’s not much to notice, but there’s (once again) a subtle difference between ISO 400 with Grain set to Weak and ISO 6400 with Grain set to Strong, and you’re not likely to spot it without closely comparing crops. In real life, nobody does that.

The conclusion is that the faux grain options on Fujifilm cameras aren’t especially obvious without a close study. Grain Strong stands out much more than Grain Weak, but neither are particularly noticeable without a close inspection. Even the difference between ISO 400 and ISO 6400 (with or without grain) isn’t all that big, especially if you aren’t viewing the pictures large. The more you crop, the more you zoom into the image, or the larger you print, the more you’ll notice the differences. For internet viewing, you’ll have a tough time even noticing. It’s perfectly fine to set Grain to Off if you don’t like it. I personally enjoy seeing the grain, even if it’s not immediately apparent, because I first learned photography in the film era and I love grain. I look forward to someday trying out the new grain options that Fujifilm has included on the X-Pro3, and I hope it’s added to the X-T30 via a firmware update, but in the meantime I’m happy to use the faux grain that’s currently available to me in my camera.

Comparing “Classic Negative” and “Color Negative” Film Simulation Recipes

Posted on November 15, 2019 by Ritchie Roesch

Someone asked me what the differences are between my “Classic Negative” film simulation recipe and my “Color Negative” film simulation recipe. They’re pretty similar, but they’re not exactly identical. I thought it would be helpful to see them side-by-side, so I applied my “Color Negative” recipe using the in-camera RAW converter on my Fujifilm X-T30 to a few recent exposures that I had captured using my “Classic Negative” recipe. Check them out:

“Classic Negative”

“Color Negative”

“Classic Negative”

“Color Negative”

“Classic Negative”

“Color Negative”

“Classic Negative”

“Color Negative”

As you can see, while they’re quite similar, the “Color Negative” recipe is more saturated, has a tad more contrast, and is a little warmer with a bit more red. The “Classic Negative” recipe is slightly more bland, but with a nice vintage negative-film aesthetic. So which film simulation recipe do you like better, “Classic Negative” or “Color Negative”? Let me know in the comments!

My Fujifilm “Classic Negative” Film Simulation Recipe (For X-Trans III)

Posted on November 7, 2019 by Ritchie Roesch

November Morning – South Weber, UT – Fujifilm X-T20 – “Classic Negative”

The Fujifilm X-Pro3 has a new film simulation: Classic Negative. This film simulation is supposed to mimic the look of Superia film. The Classic Negative film simulation is expected to make its way to the X-T3 and X-T30 via a firmware update at some point in the near future, but for now the X-Pro3, which is still a couple weeks out from shipping, is the only camera with it. I’ve already had a number of requests for a film simulation recipe that resembles Classic Negative, despite it being so new.

To be clear, I have absolutely zero experience with the Classic Negative film simulation. There’s only a small sampling of examples that I could find online. I have used Superia film before, but sometimes the film simulations aren’t exact matches to the film they’re supposed to look like. From what I can tell, in this case Fujifilm did a decent job of creating a film simulation that resembles the film.

Classic Negative is actually a little different than other film simulations. Fujifilm has increased the color contrast in it compared to other film simulations. How it renders the picture depends on the lighting and exposure. The darker the light, the lower the saturation, while the brighter the light, the stronger the saturation. In addition, warm colors seem to be a little more vibrant, and cool colors appear a little less so. Highlights seem to have a creamy quality to them, while blacks look a tad faded. This is unlike any other option Fujifilm has given us, so you can imagine creating a film simulation recipe that mimics this is very difficult.

Fujifilm X-Pro3 Blog

According to Fujifilm, this new film simulation has the second-most contrast out of all of them, only behind Velvia, while the saturation is in the range of PRO Neg. Std. I found it difficult to create a high-contrast look that doesn’t blow out highlights or create blocked shadows. I also found it difficult to recreate the look of warm and slightly vibrant skin tones while also creating cool and dull shadows, as you can only get one right. I tried to find a happy middle ground that’s not very far off on anything and generally provides a similar aesthetic. I hope that I succeeded, although I’m not completely confident in that I did.

I didn’t initially intend to share this recipe until I had a chance to see Classic Negative for myself. When the Eterna film simulation came out, I created a recipe for it for my camera that didn’t have it. Some time later, once I had a chance to shoot with Eterna, I realized that my recipe wasn’t as close as I thought or hoped it would be. I’m guessing this one might turn out to be the same. However, a Fuji X Weekly reader urged me to share it, even if it might turn out to be wrong, as some people might like it anyway. I hope that you do like it, whether or not it is completely accurate to the real Classic Negative film simulation.

PRO Neg. Std
Dynamic Range: DR400
Highlight: +3
Shadow: +2
Color: -3
Noise Reduction: -4
Sharpening: +1
Grain Effect: Weak
Color Chrome Effect: Off or N/A
White Balance: 6700K, -2 Red & +7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs made using this “Classic Negative” film simulation recipe:

Smile of Joy – South Weber, UT – Fujifilm X-T30

November Red Shed – South Weber, UT – Fujifilm X-T30

Dormant Neighborhood Tree – South Weber, UT – Fujifilm X-T30

Icy Leaf – South Weber, UT – Fujifilm X-T30

Brown Cottonwood Leaf – South Weber, UT – Fujifilm X-T20

Brown Eye Boy – South Weber, UT – Fujifilm X-T20

Mixed Use Crate – South Weber, UT – Fujifilm X-T30

Backyard Winter – South Weber, UT – Fujifilm X-T30

Brown Leaf Pile – South Weber, UT – Fujifilm X-T30

Suburban House – South Weber, UT – Fujifilm X-T30

My White Balance Shift Solution

Posted on November 6, 2019 by Ritchie Roesch

As you know, my film simulation recipes rely heavily on white balance shifts. Unfortunately, you cannot save white balance shifts with custom presets. You can only save one white balance shift for each white balance type in the White Balance Menu. In other words, whatever shift you set for auto white balance will be applied to all custom presets that use auto white balance. If all of your C1-C7 presets in the Q menu use the same white balance, one white balance shift will be applied to all of them. For many people, this means that whenever you change recipes you’re also having to adjust the white balance shift, which is a pain sometimes.

The Fujifilm X-Pro3 doesn’t have this problem from what I’ve heard. You can save unique white balance shifts with each preset in the Q menu. You can set it and forget it! There’s a decent chance that this ability will be added to the X-T3 and X-T30 via a firmware update at some point, but right now the X-Pro3 is the only camera that can do this. There’s an outside chance that X-Trans III cameras could also be given this feature, but most likely not. Don’t fret! I do have a solution. There’s a simple work-around that might make things much easier for you.

The issue is that only one white balance shift can be saved per white balance, but in that statement lies the answer! What you need are presets that use different white balances. Or you can have presets that use the same white balance and the same white balance shift. What do I mean?

So you have custom slots C1 through C7, right? Maybe you use all seven of them for color. Or maybe you set aside one or two for black-and-white, in which case white balance and white balance shift may or may not be important. For each color preset you simply use a film simulation recipe with a different white balance. If each recipe uses a different white balance, then you can set the shift for that recipe and you’re good to go. It will always be set to that unless you decided to change it.

48962516186_17ac58aa5a_c

For example, you could have Kodachrome II, which uses auto white balance, set to C1, Kodacolor, which uses a kelvin white balance, set to C2, Kodachrome 64, which uses daylight white balance, set to C3, Lomography Color 100, which uses cloudy/shade white balance, set to C4, Color Negative, which uses fluorescent 1 white balance, set to C5, Fujichrome Sensia, which uses flurescent 2 white balance, set to C6, and Portra 400, which uses a custom white balance, set to C7. If you did that, since each recipe uses a different white balance, you wouldn’t have to adjust the white balance shift when going between different presets. Also, there a few recipes that share the same white balance and white balance shift as others, such as Kodachrome II and Ektachrome 100SW, so you could use both of those and never have to change the shift.

To make things easy for you, I’ve organized the color film simulation recipes by white balance. Choose one from each until all of your available presets are filled. It’s pretty simple. Unfortunately, you might not be able to use all of your favorite recipes, depending on exactly what the white balance and white balance shifts are. But I hope that you find enough options you like to fill your available presets.

Film Simulation Recipes that use AWB
Film Simulation Recipes that use Kelvin
Film Simulation Recipes that use other White Balances

Since I set up my custom presets this way on my camera, it’s made a world of difference to me. It’s so much easier moving between recipes! The user experience has been greatly improved. I hope that you find this just as useful as I did.

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Film Simulation Recipes That Use Other White Balances

Posted on November 2, 2019 by Ritchie Roesch

Film

I’ve made a list of all my film simulation recipes that use a white balance other than auto or kelvin. Previously I organized them by dynamic range setting, so that they could be seen in a different arrangement. Now I’m doing it by white balance. The film simulation recipes below all use a white balance other than auto or kelvin. Just in case it’s helpful, I’ve also included the required white balance shift.

Daylight:

Kodachrome 64 (+2R, -5B)

Cloudy/Shade:

Lomography Color 100 (-3R, +7B)

Fluorescent 1:

Color Negative (-2R, +4B)

Fluorescent 2:

Fujichrome Sensia 100 (-1R, -3B)

Custom:

Portra 400 (+2R, -5B)

Film Simulation Recipes That Use Kelvin White Balance

Posted on November 2, 2019 by Ritchie Roesch

Film

I’ve made a list of all my film simulation recipes that use a white balance with a specific Kelvin temperature. Previously I organized them by dynamic range setting, so that they could be seen in a different arrangement. Now I’m doing it by white balance. The film simulation recipes below all use a kelvin white balance. Just in case it’s helpful, I’ve also included the required white balance shift.

Kodacolor (-1R, -4B)
Eterna Low-Contrast (-3R, +3B)
Elite Chrome 200 (+4R, -8B)
Urban Vintage Chrome (-1R, -3B)
Fujicolor 100 Industrial (+8R, -8B)
Redscle (+9R, 0B)
Cinestill 800T (no shift)
“Classic Negative” (-2R, +7B)

Film Simulation Recipes That Use Auto White Balance

Posted on November 2, 2019 by Ritchie Roesch

Fujifilm Film Simulation Blog

I’ve made a list of all my film simulation recipes that use auto white balance. Previously I organized them by dynamic range setting, so that they could be seen in a different arrangement. Now I’m doing it by white balance. The film simulation recipes below all use auto white balance. Just in case it’s helpful, I’ve also included the required white balance shift.

X-T30 Eterna (+5R, -5B)
Expired Eterna (+5R, +5B)
Faded Color (shift variable)
“Warm Contrast” (-2R, -4B)
X-T30 Velvia (+1R, -1B)
X100F Velvia (+1R, -1B)
Classic Chrome (+1R, -1B)
Dramatic Classic Chrome (+1R, -1B)
Astia(no shift)
PRO Neg. Hi (no shift)
Vintage Kodachrome (+2R, -4B)
Fujicolor Superia 800 (-2R, -3B)
“Eterna” (+2R, +2B)
Ektar 100 (+3R, -2B)
Cross Process (-3R, -8B)
Kodachrome II (+3R, -4B)
Ektachrome 100SW (+3R, -4B)
Vintage Agfacolor(-3R, -4B)
Aged Color (+5R, -3B)
Fujicolor Pro 400H (+2R, +1B)
Agfa Optima 200 (-1R, -1B)