Blooms by the Pavilion – Buckeye, AZ – Fujifilm X100V – Kodak Emulsion Recipe
I love this new Kodak Emulsion Film Simulation Recipe, even though it was a happy accident. I was trying to replicate the aesthetic of some Kodak ColorPlus 200 film scans that someone shared with me, but I was unsuccessful; however, in the process of failing, I discovered these settings, which are absolutely great!
Even though this Recipe doesn’t accurately mimic any specific emulsion (as far as I’m aware), it still looks very analog-like, and highly reminiscent of a few different Kodak negative stocks. I bet you could convince some people that you actually shot with film, and not a modern digital camera. While I used my Fujifilm X100V to capture these pictures, if I were to choose an interchangeable-lens model paired with vintage glass, I’m certain it would be even more convincing.
This Kodak Emulsion Film Simulation Recipe is compatible with all “newer” X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II), but not the X-T3 or X-T30. Technically it is compatible with X-Trans V models, but, because X-Trans V renders blue more deeply on some film simulations, it will look slightly different (try it anyway!). I’m sure that you can also use this Recipe on newer GFX cameras; however, I don’t have any personal experience with that, and I’m sure it will render slightly different (again, give it a try, as you might like it).
This Kodak Emulsion Film Simulation Recipe is an App Patron Early-Access Recipe. 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 that 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. 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!
If you are a Fuji X Weekly Patron, it’s available to you right now on the App!
Example photographs, all camera-made JPEGs using this Kodak Emulsion Film Simulation Recipe on my Fujifilm X100V:
Autumn Sun – Buckeye, AZ – Fujifilm X100V
Autumn Tree Leaves on a Shrub – Buckeye, AZ – Fujifilm X100V
Minolta SLR – Buckeye, AZ – Fujifilm X100V
Homework – Buckeye, AZ – Fujifilm X100V – Flash On
Vines Along a Shaded Wall – Buckeye, AZ – Fujifilm X100V
Sunlit Table & Chairs – Buckeye, AZ – Fujifilm X100V
Potted Flowers & Pavilion – Buckeye, AZ – Fujifilm X100V
Flowers at a Neighborhood Park – Buckeye, AZ – Fujifilm X100V
Palm Tree & White Building – Buckeye, AZ – Fujifilm X100V
Hanging Lightbulbs – Buckeye, AZ – Fujifilm X100V
Flag in the Wind – Buckeye, AZ – Fujifilm X100V
Bougainvillea Branch on a Bright Day – Buckeye, AZ – Fujifilm X100V
Yellow Wildflowers in the Desert – Buckeye, AZ – Fujifilm X100V
Yellow Flowers Blooming – Buckeye, AZ – Fujifilm X100V
Tall Saguaro Behind Dead Tree – Buckeye, AZ – Fujifilm X100V
Reaching Saguaro Fingers – Buckeye, AZ – Fujifilm X100V
Damaged Saguaro – Buckeye, AZ – Fujifilm X100V
A Desert Landscape – Buckeye, AZ – Fujifilm X100V
Dirt Road After Rain – Buckeye, AZ – Fujifilm X100V
Eastman Color Negative II 100T, which was also known as ECN-2 Type 5247/7247, was a 100 ASA Tungsten-balanced motion picture film made by Kodak between 1974 and 1983 (although, apparently, it could still be found and was used into the early 1990’s). A lot of iconic movies used this emulsion for at least some shots, including Star Wars, Back to the Future, Raiders of the Lost Ark, and many more. This Film Simulation Recipe is intended to mimic the aesthetic of this film stock that’s long-expired and developed in C41 chemistry after having the Remjet layer removed. In other words, this recipe isn’t intended to look like the film as it’s seen in the movies, but expired film that’s been developed in C41 chemistry instead of the ECN-2 process.
Tungsten film was intended for use in artificial light; for use in daylight, a Color Correction filter would be attached to the lens to adjust the white balance. This “Expired ECN-2 100T” Recipe does not replicate the use of Color Correction filters, and is more like shooting without it. The results can be quite unusual, especially in daylight. But if you are looking for something unusual, maybe this Film Simulation Recipe is for you. I don’t think it will be anyone’s go-to option, but for occasional use, if you want a lomo-like look, give this one a try. Also, it’s pretty decent for nighttime. This Recipe produces a green or yellow cast (depending on the light) when used at night, and a strong teal-ish cast when used in daylight.
The Expired ECN-2 100T Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe; however, it has been replaced by a different Early-Access Recipe, so now everyone can use it. It is compatible with the Fujifilm X-T4, X-S10, X-E4, and X-T30 II cameras, plus fifth-generation models, which are the X-H2s, X-H2, X-T5, X-S20 (yes, the X-S20), and the upcoming X100VI, by selected Color Chrome FX Blue Weak (instead of Strong). I believe it will also work on newer GFX cameras, although I have not tried it myself.
Film Simulation: Eterna Bleach Bypass Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong — Weak for X-Trans V White Balance: 6000K, -9 Red & -6 Blue Highlight: +0.5 Shadow: -1 Color: +1 Sharpness: -3 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Expired ECN-2 100T Film Simulation Recipe on my Fujifilm X-E4:
Saguaro Green – Buckeye, AZ – Fujifilm X-E4
Stop, All Ways – Buckeye, AZ – Fujifilm X-E4
Truck Mirror – Buckeye, AZ – Fujifilm X-E4
Lightning McQueen’s Home – Buckeye, AZ – Fujifilm X-E4
Truck – Buckeye, AZ – Fujifilm X-E4
Texting & Walking – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Over Wall – Buckeye, AZ – Fujifilm X-E4
Shaded Hummingbird Feeder – Buckeye, AZ – Fujifilm X-E4
Sidewalk Chalk & Red Bucket – Buckeye, AZ – Fujifilm X-E4
Red Soccer Ball – Buckeye, AZ – Fujifilm X-E4
Friendly Skeleton – Buckeye, AZ – Fujifilm X-E4
Kodak Instamatic Camera – Buckeye, AZ – Fujifilm X-E4
Example photographs, all camera-made JPEGs captured using this Expired ECN-2 100T Film Simulation Recipe on my Fujifilm X-T5:
Night Board – Tempe, AZ – Fujifilm X-T5
Empty at Night – Tempe, AZ – Fujifilm X-T5
Flag and Lights – Tempe, AZ – Fujifilm X-T5
Plant at Night – Tempe, AZ – Fujifilm X-T5
Closed Door – Tempe, AZ – Fujifilm X-T5
Bokeh Behind Chainlink – Tempe, AZ – Fujifilm X-T5
Lamp & Gated Patio – Litchfield Park, AZ – Fujifilm X-T5
A-Team – Litchfield Park, AZ – Fujifilm X-T5
Blue Barrel – Litchfield Park, AZ – Fujifilm X-T5
Mailbox, Maybe – Litchfield Park, AZ – Fujifilm X-T5
Unlit hanging Bulbs – Litchfield Park, AZ – Fujifilm X-T5
No Teasing – Litchfield Park, AZ – Fujifilm X-T5
Patriotic Equine – Litchfield Park, AZ – Fujifilm X-T5
Find this Film Simulation Recipe and over 300 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
View of the North Rim from the South – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak
I was flipping through the pages of a photo album that my grandma had put together a long time ago, when I saw something interesting. Most of the pictures in this book were captured before I was born, and some when I was very young. I came across a group of color prints that all looked similar. They were warm—very yellowish—with fairly subdued colors, kind of flat-looking, yet with a decent amount of contrast. Blown-out highlights was a commonality among many (but not all) of the prints. A month and year were printed on the border, along with a red fox. Kodak is faintly visible on the back of the paper.
I was very intrigued by the aesthetic of these photographs. There was an obvious resemblance to my 1970’s Summer Film Simulation Recipe, although not quite identical. So I set out to recreate it with my Fujifilm X-T5.
Grand Dome – Grand Canyon NP, AZ – Fujifilm X-T5 – 1971 Kodak
From the clues, I determined that the film was most likely Kodacolor-X, which was a popular color negative film from that era. It required the C-22 development process, which was a predecessor to C-41. The prints likely are a bit discolored and faded due to age, and probably looked slightly different when they were newly made. Many of them were square, and those were likely shot on a Kodak Instamatic camera and on 126 format film; the rectangular pictures are from 35mm film. Most of the prints were developed in 1971, although some had dates in 1972 printed on the border. The red fox indicates that it was developed at Fox Photo, which at the time was a popular one-hour photo lab. Interestingly, in the iconic mall scene in Back to the Future, it’s a Fox Photo that get’s destroyed by the VW van.
I made a scan of one of the prints, and it really messed up the look. I did my best to correct it to closely match the print, and I did get pretty close; however, it’s not 100% identical. I didn’t use this scan, but the prints themselves, to create the 1971 Kodak Film Simulation Recipe. I think you can still get a pretty good idea of what the prints look like from the scan.
A scan of one of the prints from 1971. The kid on the right with the trombone is my dad when he was 15.
The aesthetic that the 1971 Kodak Recipe produces is very similar to Kodacolor-X film printed on Kodak paper in the early-1970’s, and viewed today after aging. The most similar Recipe to this is 1970’s Summer, and I’ve included a comparison at the bottom so that you can see the difference. This Recipe is compatible with fifth-generation X-Trans cameras from Fujifilm, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20), as well as the upcoming X100VI. I’m sure that you can use it on the latest GFX models, too; however, I don’t have any personal experience with that, and it’s likely to render slightly different (try it anyway). This Recipe pairs very well with vintage glass (or inexpensive third-party lenses with character), and is best for sunny daylight scenarios.
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. 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! If you are an App Patron, be sure to look for this new Recipe in the App!
Example photographs, all camera-made JPEGs captured using this 1971 Kodak Film Simulation Recipe on my Fujifilm X-T5:
BM&LP RR 6001 – Williams, AZ – Fujifilm X-T5
Standing at the edge of the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Four Kids at the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Golden Sunlight in the Canyon – Grand Canyon NP, AZ – Fujifilm X-T5
Garden Wall – Buckeye, AZ – Fujifilm X-T5
Last of Autumn – Buckeye, AZ – Fujifilm X-T5
Backlit Backyard Leaves – Buckeye, AZ – Fujifilm X-T5
Leaf Pile – Buckeye, AZ – Fujifilm X-T5
Autumn Tree and Grey Sky – Buckeye, AZ – Fujifilm X-T5
Construction – Buckeye, AZ – Fujifilm X-T5
Old Saguaro Reaching High – Buckeye, AZ – Fujifilm X-T5
Pinyon Pine at the South Rim – Grand Canyon NP, AZ – Fujifilm X-T5
Lookout Store Sign – Grand Canyon NP, AZ – Fujifilm X-T5
Swift – Litchfield Park, AZ – Fujifilm X-T5
No Teasing the Horses – Litchfield Park, AZ – Fujifilm X-T5
Comparison:
1970’s Summer Film Simulation Recipe
1971 Kodak Film Simulation Recipe
1970’s Summer Film Simulation Recipe
1971 Kodak Film Simulation Recipe
Find this Film Simulation Recipe and over 300 more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Morning at the South Rim – Grand Canyon NP, AZ – Fujifilm X100V – McCurry Kodachrome
I received an email from Anders Lindborg back in November, and the subject line read, “The Last Roll.” Anders explained to me that himself and John Sevigny had co-created a Kodachrome 64 Film Simulation Recipe based on Steve McCurry’s last roll of Kodachrome film, which was (as you likely know) famously developed on July 12, 2010, at Dwayne’s Photo in Parsons, Kansas.
Writing this article has been difficult for me, because of John’s passing. But I hope that this is somehow honoring to him. He was an extraordinarily knowledgable photographer who was always eager to help. It’s a humble privilege for me to share with all of you this Recipe that Anders and John co-created.
“The goal was to create a recipe that both looked and behaved like Kodachrome 64,” Anders wrote. “It should also be based on science, not just trying to look like the real thing during very special conditions. Our starting reference were the photos taken by Steve McCurry on the quite-famous last roll of Kodachrome project. We also studied every little detail of the documentary to find out the exact conditions for how the photos were made. Even that was not enough, so we started to hunt down every single Kodachrome 64 photo we could possibly find. Luck was on our side, as we managed to locate a whole bunch that were actually developed by Dwayne’s Photo.”
Anders continued, “After about eight months of testing every single scenario we could come up with, using similar lighting equipment that was used for the last roll project, we started to feel like we had done all that was possible with the given tools. Everything matched our reference photos, and we both got stunning results with every test we made, but we still decided to test it for just a bit longer to make sure we actually had captured the true spirit of this film. John also travelled parts of the USA and South America, shooting nothing but this recipe for color work.”
Kodachrome was first introduced in 1935, and was discontinued in 2009. There are three distinct eras of the film, and Kodachrome 64, which was introduced in 1974, was in the third and final era. Kodachrome was actually a black-and-white film, and the color dyes were added during the development process. Because of this, it is probably the most difficult film to scan, and, if not properly color corrected, will often have a pronounced blue cast. Even a scan that is carefully corrected can lean slightly blue compared to the slide being projected or viewed on a light table. McCurry’s “last roll” slides were scanned by Richard Jackson, who was regarded as a leading expert on Kodachrome scanning.
Kodachrome 64 slides on a light table – Fujifilm X100V – McCurry Kodachrome
There are some differences between this McCurry Kodachrome Recipe and my Kodachrome 64 Recipe, but there are also a lot of similarities. My Recipe is more like Kodachrome as viewed via a slide projector or light table, while the McCurry Kodachrome Recipe is more like quality scans of the film. There’s a comparison of the two Recipes at the very bottom of this article.
Like the actual film, this McCurry Kodachrome Recipe has a narrow dynamic range, and must be carefully exposed. Pay extra attention to the highlights, because they can clip easily. Also, try to keep the ISO as low as practical. I used this Recipe with the ISO all the way to 6400, and it was fine, but for best results that better match the film, don’t go above ISO 1600. McCurry Kodachrome is fully compatible with all X-Trans IV models—including the X-T3 and X-T30; for X-Trans V, blues will render slightly more deeply, so the results will be just a tad different, but feel free to try anyway.
Film Simulation: Classic Chrome Dynamic Range: DR100 Grain Effect: Weak, Small — Weak for X-T3/X-T30 Color Chrome Effect: Strong Color Chrome FX Blue: Off — N/A for X-T3/X-T30 White Balance: 5900K, -1 Red & +4 Blue Highlight: 0 Shadow: 0 Color: +2 Sharpness: -2 High ISO NR: -2 Clarity: 0 — N/A for X-T3/X-T30 ISO: Auto, up to ISO 1600 Exposure Compensation: -1/3 to +1/3 (typically)
Example photos, all camera made JPEGs using this McCurry Kodachrome Film Simulation Recipe on my Fujifilm X-T30:
Siblings Playing Video Games – Buckeye, AZ – Fujifilm X-T30
Little Palms in a Pot – Buckeye, AZ – Fujifilm X-T30
Promenade – Buckeye, AZ – Fujifilm X-T30
Broken Haircut Chair – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Below Window – Buckeye, AZ – Fujifilm X-T30
Bougainvillea & Stucco – Buckeye, AZ – Fujifilm X-T30
Blossom Along Sidewalk – Buckeye, AZ – Fujifilm X-T30
Sunny Day Along Suburban Wall – Buckeye, AZ – Fujifilm X-T30
Suburban Desert Sunset – Buckeye, AZ – Fujifilm X100V
Sunset Over Desert Brush – Buckeye, AZ – Fujifilm X100V
Golden Coast Blossoms – Laguna Beach, CA – Fujifilm X100V
Comparison:
Kodachrome 64 Film Simulation Recipe (Fujifilm X-E4)
McCurry Kodachrome Film Simulation Recipe (Fujifilm X-E4)
Kodachrome 64 Film Simulation Recipe (Fujifilm X-E4)
McCurry Kodachrome Film Simulation Recipe (Fujifilm X-E4)
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Which Film Simulation Recipes are the most versatile? What makes a particular Recipe especially versatile, anyway? What does White Balance have to do with any of it? These are questions that I get asked pretty regularly, so I thought I would answer them today.
Let’s start with White Balance, including White Balance Shift. In the analog days, with a few exceptions, film was either Daylight-balanced or Tungsten-balanced. Daylight-balanced film, as you can imagine, was intended for use in sunny daytime scenarios, with a Kelvin temperature around 5500-5600K. Tungsten film was intended for artificial light scenarios, with a Kelvin temperature around 3200K. Because film was made for one of two specific light situations, you had three basic options for use outside of those scenarios: 1) accept the results for what they are, 2) use Color Correction Filters to adjust the Kelvin temperature to more closely match the light, or 3) use lighting equipment to artificially make the light match the film.
Digital cameras have a large number of White Balance options, which, when combined with WB fine-tuning (Fujifilm calls it WB Shift), can match the precise light that you are photographing in. If the White Balance is exactly correct for the light, things that are pure white in real life will appear pure white in the photograph, no color tint. But, just because the White Balance is technically correct, doesn’t mean that it is artistically correct. Nobody said that the White Balance must always be spot-on accurate—maybe you don’t want it to be, for aesthetic reasons. In fact, in the film days, it was quite common for the Kelvin temperature to be a mismatch for the light, at least a little. Kodak—the most popular film maker—was known for making emulsions with a warm color cast. In other words, achieving a perfectly accurate White Balance, which wasn’t particularly common until somewhat recently, might not be desirable. However, in the digital age with Auto White Balance, we’re often used to having a highly accurate White Balance in our photographs, and seeing it not spot-on accurate can perhaps be a bit unnerving, especially if it is pretty far off.
Many of the Fuji X Weekly Film Simulation Recipes are facsimiles of actual film stocks, and often that means using a fixed White Balance. Unless you have Color Correction Filters or are artificially lighting the scene to match the White Balance (both of which are unlikely), if the scene’s light is a mismatch for the Recipe, you can get undesirable results sometimes (just like with film). My best advice is to use a Film Simulation Recipe that is a match for the scene. For example, Fluorescent Night might be a better choice for nighttime photography than 1970’s Summer, since the former is more like Tungsten-balanced and the latter is more like Daylight-balanced. Sometimes the best Recipe for a particular light situation might be obvious, and other times it might not be, and trial-and-error is necessary to figure it out—my Which Film Simulation Recipe, When? series is intended to help out with this.
Not all of the Recipes use a fixed White Balance; instead, some call for Auto White Balance. Newer Fujifilm cameras actually have three AWB options: Auto White Priority, Auto, and Auto Ambience Priority. White Priority leans cooler in artificial light than standard Auto, while Ambience Priority leans a little warmer in artificial light. All three AWB options are intended to produce reasonably accurate White Balances in all light situations. Because of this, Recipes that use AWB tend to be a lot more versatile than Recipes with a fixed White Balance, since you can use them in all sorts of light situations, and not just one. This is much less film-like, but perhaps can be equated to carrying a bunch of different Color Correction Filters with you all of the time. The easiest way to find my Film Simulation Recipes that use AWB is to Filter By White Balance (available to App Patrons) in the Fuji X Weekly App.
White Balance and WB Shift are probably the largest factor in determining the versatility of a particular Recipe, but it’s far from the only factor. Film Simulation, Dynamic Range, Highlight and Shadow, Color, etc., all play a role. One Recipe that uses AWB might be more versatile than another that also uses AWB, and some Recipes that use a fixed White Balance can be surprisingly versatile. However, what one person likes might be different from another, since each person has their own unique tastes. I might like a particular Recipe for a specific scenario, but you might dislike it for that exact same situation.
The pictures in this article were all captured with Film Simulation Recipes that use AWB and that I find to be especially versatile. Use them anytime of the day or night, in any light situation, and for any subject. If you want a versatile option to program into your Fujifilm camera, those are ones to consider. But they are far from the only versatile Recipes, and they might not be the best, either. If one of them stands out to you, I definitely invite you to try it.
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
There are certain Film Simulation Recipes that are great for regular use. Maybe they’re not completely versatile, and cannot be used effectively in all situations, but they’re good for a lot of photographs. There are other Recipes that are good only for certain instances, such as night photography. There are also some Film Simulation Recipes that I would categorize as fun. They’re not necessarily intended to be used often, they’re not necessarily versatile, and they’re not necessarily even meant for specific scenarios. They’re just for fun, when you want results that are a little different.
While I have included five of these fun Recipes below, I have published a lot more than just five of them. These are ones that I have personally used within the last couple of weeks. I thought if I used them and appreciated the results, perhaps you would like to try them, too. Overall, there are probably a couple dozen Recipes (maybe even more than that) that could be included in this category. Perhaps it’s unfair to say that these are the only fun ones, because in my opinion all of the Recipes are fun, but these are just for fun, if that makes sense.
The five fun Recipes below are not in any particular order. I invite you to try them today!
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Cold Morning at the South Rim – Grand Canyon NP, AZ – Fujifilm X100V – Fujicolor C200 v2
The original Fujicolor C200 Film Simulation Recipe is great! This isn’t intended to replace that Recipe—there’s no need to replace it, since it’s excellent—but instead provide an alternative option for those looking for something slightly different. One film can produce many different looks, depending on a host of factors, including how it was shot, developed, and printed or scanned. In this case, a Fuji X Weekly reader wanted a Recipe that more closely matched his particular Fujicolor C200 scans. Oh, and it needed to be compatible with the Fujifilm X100V and X-Pro3, which the original version is not.
Fujifilm introduced Fujicolor C200 in 1990 as a low-budget, consumer-grade color negative film. I’ve shot a few rolls of it over the years, although it was never my go-to option. Fujifilm gave it a small refresh in 2017. Sadly, in late 2021, Fujifilm began selling rebranded Kodak Gold 200 as Fujicolor C200. Even though C200 is a cheap color film, it has a cult-like following, and many people enjoy its aesthetic and choose it over more expensive emulsions.
Bougainvillea Peeking over Wall – Buckeye, AZ – Fujifilm X100V – Fujicolor C200 v2
This Fujicolor C200 v2 Film Simulation Recipe is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. With the exception of the X-T3 and X-T30, it is fully compatible with X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For fifth generation models, simply set Color Chrome FX Blue to Weak instead of Strong.
Example photographs, all camera-made JPEGs using this Fujicolor C200 v2 Film Simulation Recipe on my Fujifilm X100V and Fujifilm X-E4:
Main Street – Buckeye, AZ – Fujifilm X-E4
Dim Light & Neon Reflections – Tempe, AZ – Fujifilm X100V
Coffee Shop Christmas Tree – Phoenix, AZ – Fujifilm X100V
Backlit Potted Palm – Buckeye, AZ – Fujifilm X100V
Afternoon Jo – Buckeye, AZ – Fujifilm X100V
Sitting on a Backyard Bench – Buckeye, AZ – Fujifilm X100V
Swinging Seat – Litchfield Park, AZ – Fujifilm X100V
Potted Blossoms – Litchfield Park, AZ – Fujifilm X100V
Artificial Flowers – Litchfield Park, AZ – Fujifilm X100V
AC – Litchfield Park, AZ – Fujifilm X100V
The Grinch that Stole a Golf Cart – Buckeye, AZ – Fujifilm X100V
Autumn Path – Buckeye, AZ – Fujifilm X100V
Autumn Canopy – Buckeye, AZ – Fujifilm X100V
Bird on a Cross – Litchfield Park, AZ – Fujifilm X100V
Icy Morning at the Rim – Grand Canyon NP, AZ – Fujifilm X100V
Canyon Between the Pines – Grand Canyon NP, AZ – Fujifilm X100V
Morning Shadows – Grand Canyon NP, AZ – Fujifilm X100V
Comparison:
Original Fujicolor C200 Film Simulation Recipe (Fujifilm X-E4)
This new Fujicolor C200 v2 Film Simulation Recipe (Fujifilm X-E4)
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Bell Tower – Litchfield Park, AZ – Fujifilm X-E4 – Vintage Print Recipe
This Film Simulation Recipe began when my wife suggested that I should try to emulate a certain look that she had found. I wasn’t successful, but in my efforts I discovered these settings, which I thought looked interesting nonetheless. They remind me of vintage color prints—not from any specific film or process, but just my “memory color” (as Fujifilm puts it) of some old prints that I’ve seen in the past. It has almost a classic magazine quality to it, or even a bit of a post-card resemblance. Whatever it may or may not look like, it definitely has a vintage-like aesthetic that some of you might really appreciate.
Most of these pictures were captured using manual vintage lenses, including—actually, mainly—a Helios 44-2. I also used a 5% CineBloom or 10% CineBloom filter with about half of them. I did this to help achieve an analog aesthetic. The use of vintage glass and diffusion filters aren’t required for this recipe, but you are certainly welcome to do so if you want—I think they help a little to take the digital edge off of the pictures.
This Vintage Print Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For use on fifth-generation models, set Color Chrome FX Blue to Weak (instead of Strong), because those cameras render blue more deeply on certain film simulations. Those with newer GFX cameras can use it, too; however, it will render slightly differently. This was a Fuji X Weekly App Patron Early-Access Recipe, but has been replaced by a different Recipe, so now it’s available to everyone.
Film Simulation: Classic Negative Dynamic Range: DR200 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Daylight, +3 Red & -6 Blue Highlight: +2 Shadow: -2 Color: -4 Sharpness: -4 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Vintage Print” Film Simulation Recipe on my Fujifilm X-E4:
Pops of Bougainvillea Red – Buckeye, AZ – Fujifilm X-E4
Growing Bougainvillea – Buckeye, AZ – Fujifilm X-E4
Joshua at a Stucco Wall – Buckeye, AZ – Fujifilm X-E4
Big Storm Looming in the Background – Buckeye, AZ – Fujifilm X-E4
Lake, House – Litchfield Park, AZ – Fujifilm X-E4
Jon is Happy – Litchfield Park, AZ – Fujifilm X-E4
Labyrinth Church – Litchfield Park, AZ – Fujifilm X-E4
Saguaro & Dust – Buckeye, AZ – Fujifilm X-E4
Twin Saguaros – Buckeye, AZ – Fujifilm X-E4
Saguaro as Seen Through a Saguaro – Buckeye, AZ – Fujifilm X-E4
Teddy Bear Cholla – Buckeye, AZ – Fujifilm X-E4
Desert Spikes – Buckeye, AZ – Fujifilm X-E4
Desert Barrel – Buckeye, AZ – Fujifilm X-E4
Trumpets Down – Buckeye, AZ – Fujifilm X-E4
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-E4
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The list of Film Simulation Recipes below are my “Essential 7” for X-Trans I cameras, which are the X-Pro1, X-E1, and X-M1 (the X-M1 doesn’t have the PRO Neg. Hi and PRO Neg. Std film sims, so it is a bit more limited; it doesn’t have C1-C7, either). If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
Arched Window – Ogden, UT – Fujifilm X-Pro1 – Kodachrome I
A couple of important side notes here. First, this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Also, X-Trans I models cannot save a White Balance Shift within the C1-C7 Custom Presets. You can only save one WB Shift per White Balance type, which means you’ll have to remember to adjust the WB Shift each time you change Recipes. Since X-Trans I was excluded from the Which Film Simulation Recipe, When? series, I decided to take WB Shift into account for this article, and choose Recipes with a variety of WB types. This will make the user experience more enjoyable, but it does exclude some Recipes that might be preferable over others, since I’m avoiding multiple Recipes with the same WB type. For the 7th Recipe, use Daylight/Fine instead of Auto; by doing so, you’ll still get a similar result, and, since the two Daylight WB Recipes share the same WB Shift, you’ll be good to go.
The Essential 7 Film Simulation Recipes to program into your X-Trans I camera first:
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The list of Film Simulation Recipes below are my “Essential 7” for X-Trans II cameras, which are the X100S, X100T, X-T1, X-T10, X-E2, X-E2s, X70, X20, X30, XQ1, and XQ2. A few of the older models—X100S, X20, and XQ1—don’t have Classic Chrome, so I have a set of Recipes at the bottom that exclude the Classic Chrome film simulation. To complicate it more, I don’t believe that either of the XQ models have PRO Neg. Hi or PRO Neg. Std (but they also don’t have C1-C7). If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
A couple of important side notes here. First, this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?article for a more comprehensive group of options for various use cases. Also, X-Trans II models cannot save a White Balance Shift within the C1-C7 Custom Presets. You can only save one WB Shift per White Balance type, which means you’ll have to remember to adjust the WB Shift each time you change Recipes. The suggestions below do not take this into account; however, the Which Film Simulation Recipe, When? article does, so be sure to read it.
The Essential 7 Film Simulation Recipes to program into your X-Trans II camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The list of Film Simulation Recipes below are my “Essential 7” for X-Trans IV cameras (except for the X-T3 and X-T30, which will be found in Part 3). If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
An important side note here: this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases—such as sunny daylight—so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?article (this one, too) for a more comprehensive group of options for various use cases.
This list is for X-Trans IV cameras (except for the X-T3 & X-T30), which include the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. The X-S20’s exclusion is a bit controversial because it has an X-Trans IV sensor paired with the X-Trans V processor, but since it seems to render more similar to X-Trans V than X-Trans IV, and has the X-Trans V JPEG options, it’s not in this list, but with the X-Trans V cameras.
The Essential 7 Film Simulation Recipes to program into your X-Trans IV camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
This is Part 1 of what will be a series of articles on this topic. I actually attempted to do this back in the summer, but got sidetracked, and never made it beyond the first post. So those with an X-Trans V camera get a little bonus. My hope is to make it all the way through X-Trans I, so if you have an older model, don’t worry—we’ll get to your camera soon.
The list of Film Simulation Recipes below are my “Essential 7” for X-Trans V cameras. If you are not sure which Recipes to program into your C1-C7 Custom Presets, these are my suggestions for you to begin with. These are the ones that you must try, in my opinion. You might love all of them, you might only appreciate some of them, or you might not like any of them. Each person has their own styles and tastes, and there’s no one single Recipe that’s universally loved by everyone (although a few seem close). Still, give these seven a try—keep the ones you like, and replace the ones that you don’t.
Left the Lights On – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night
An important side note here: this list isn’t necessarily made up of versatile Recipes. Like film, most Film Simulation Recipes have specific use cases, such as sunny daylight, so not all of these option will be good for night photography, for example, or perhaps other situations. Be sure to visit my Which Film Simulation Recipe, When?for a more comprehensive list of options for various use cases.
This list is specifically for X-Trans V cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, and X-S20. The X-S20 is a bit controversial to be included here because it has an X-Trans IV sensor paired with the X-Trans V processor, but since it seems to render more similar to X-Trans V than X-Trans IV, and has the X-Trans V JPEG options, it is included in this list. Also, use this list for the upcoming X100V successor, once it comes out (in February or March, most likely). Next up in this series is X-Trans IV.
The Essential 7 Film Simulation Recipes to program into your X-Trans V camera first:
Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Interestingly, photographer Chuck Abbott addressed this very question in the September 1955 issue of Arizona Highways magazine, in an article called You’ve Got to Go Back to Get the Good Ones. For those unaware, Arizona Highways has a long history of great photography. It was the first nationally circulated magazine to have an all-color issue (way back in December of 1946). Ansel Adams was a regular contributor, as was Barry Goldwater. Chuck Abbott and his wife Esther Henderson were both long-time contributors. To this day, Arizona Highways is a great place to discover excellent photography, and I often find inspiration within its pages.
“‘Oh, Mr. Abbott,'” Chuck wrote in 1955, explaining a question that he had been asked often, “‘how do you get such good pictures? I was there and mine didn’t turn out at all well.'” He was asked the same question that The Guardian and PetaPixel put forward; however, Chuck’s answer was different than theirs. While there are a thousand ways that the question could be answered, I believe that the most profound was stated back in 1955 by Chuck Abbott.
“My answer is invariably the same,” Chuck said. “You’ll have to go back and try another day, another light, another season.” He continued, “Meanwhile, I am mentally recalling that ‘good’ picture; was it really good, couldn’t it have been better, and shouldn’t I go back again and do it over?”
Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100
“For that’s the trouble with this picture business,” Chuck added, “there is so little satisfaction in it! You are always beset with the haunting thought that every picture could be improved, if not by you, then by someone, sometime; so you end up traveling in a circle, periodically returning to do a better, or at least a different, interpretation of the subject. Perfection, of course, is the goal.”
He goes on in the article to provide some practical advice, which applies much more to photographers of a bygone era than today. For example, there’s no need to rely on friends in a certain region to obtain a weather report. You also don’t need to worry about burning through film, unless, of course, you’re shooting with film instead of digital. But a little while later Chuck states, “Providence, equipment, legwork and viewpoint; to me these are the four indispensables in picture-making. You may get fair results with lesser combinations but you can’t click completely without all four.”
Pacific Poppies – Montaña de Oro SP, CA – Fujifilm X-E4 – Pacific Blues
And that’s the answer: you need a bit of luck, quality camera gear (which most equipment nowadays is), do some research before heading out, and find good compositions; when that fails or even when it succeeds, do it again another day, in a different light, during a different season. Then your photos of famous places will look good. That’s the advice Chuck Abbott gave, and I think it is just as true today as the day it was published in Arizona Highways.
In the comments section of the PetaPixel article, someone stated, “Those fantastic examples didn’t come straight out of camera looking like that. It takes work and skill to coax what our eyes see at a scenic place from what the camera saw at the same place.” While the sample pictures in the article were indeed most likely edited, I disagree that RAW editing is any sort of prerequisite to great photographs. In fact, all of my pictures in this article are unedited camera-made JPEGs using my Film Simulation Recipes. So it is, in fact, completely possible to have pictures “come straight out of camera looking like that.” You can make the camera “see” what our eyes (or our mind’s eyes) see at a scenic place (or any place) if you want to, and Fujifilm cameras plus my Recipes make it easy. The hard part is up to you: returning to places you’ve already been to capture a better, or at least different, interpretation of the subject.
As I was contemplating how I might approach the use of this Recipe on my X-T5, a Fuji X Weekly reader suggested that I should modify it by using the Nostalgic Neg. film simulation instead of Eterna. Because there are some similarities between those two film sims, there is potential for crossover. Sure enough, with the right modifications, I was able to recreate the look and feel of the Kodak Vision3 250D Recipe using Nostalgic Neg.; however, it’s not an identical rendering, especially the shadows, which are a little warmer. There are other small differences, too. As you know, one film can have many different looks depending on how it was shot, developed, and scanned or printed, so you could consider this v2 version of Kodak Vision3 250D to be a divergent (yet still similar) aesthetic that replicates a different handling of the film.
If you have a camera with the Nostalgic Neg. film simulation, I invite you to try this new Kodak Vision3 250D v2 Film Simulation Recipe! You should also try the version that uses Eterna, too, and see which one you like better. While the “v1” Recipe has been my favorite for years, I think I like this new v2 version just a little more. It definitely produces an analog-like look that is easy to appreciate.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Fluorescent 1, -5 Red & 0 Blue Highlight: +4 Shadow: +3 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D v2 Film Simulation Recipe on my Fujifilm X-T5:
Public Telephone – Scottsdale, AZ – Fujifilm X-T5
Spinning Carousel – Scottsdale, AZ – Fujifilm X-T5
Snack Stop – Scottsdale, AZ – Fujifilm X-T5
Nighttime at Circle K – Surprise, AZ – Fujifilm X-T5
Joyful – Buckeye, AZ – Fujifilm X-T5
Urban Bougainvillea – Phoenix, AZ – Fujifilm X-T5
Little Plant in a Courtyard – Phoenix, AZ – Fujifilm X-T5
Sitting & Waiting – Phoenix, AZ – Fujifilm X-T5
Outdoor Dining – Phoenix, AZ – Fujifilm X-T5
Vines & Concrete – Phoenix, AZ – Fujifilm X-T5
Reflected Light on a Tall Building – Phoenix, AZ – Fujifilm X-T5
In Step – Phoenix, AZ – Fujifilm X-T5
High Rise Condo – Phoenix, AZ – Fujifilm X-T5
Constructing a Tall Building – Phoenix, AZ – Fujifilm X-T5
Jon – Buckeye, AZ – Fujifilm X-T5 – Photo by Amanda Roesch
95 LED Shoes – Phoenix, AZ – Fujifilm X-T5
Parking Garage – Phoenix, AZ – Fujifilm X-T5
Urban Vine – Phoenix, AZ – Fujifilm X-T5
Level 2 – Phoenix, AZ – Fujifilm X-T5
No Left Turn – Phoenix, AZ – Fujifilm X-T5
Holiday Guitarist – Phoenix, AZ – Fujifilm X-T5
Cranes & Palms – Phoenix, AZ – Fujifilm X-T5
Layton – Phoenix, AZ – Fujifilm X-T5
Electric Construction – Phoenix, AZ – Fujifilm X-T5
Apartment Patio – Phoenix, AZ – Fujifilm X-T5
Autumn Rooftop – Buckeye, AZ – Fujifilm X-T5
Gazebo Roof – Buckeye, AZ – Fujifilm X-T5
Rainbows & Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Veiling Palm – Buckeye, AZ – Fujifilm X-T5
Pink Blossoming Flowers – Buckeye, AZ – Fujifilm X-T5
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Left the Lights On – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
I wanted to create a Film Simulation Recipe for my Fujifilm X-T5 camera that would produce a certain look when shot under fluorescent lights at night. Now there are different varieties of fluorescent lightbulbs, and the kelvin temperature can vary quite significantly between them. It’s also not uncommon to find fluorescent lights mixed with other nearby light sources. In other words, results will very depending on the exact light situation. Sometimes this Recipe will produce warm results, and sometimes cool. While not modeled after any specific emulsion, this Recipe is similar to using a Tungsten-balanced film—perhaps something similar to Fujicolor NPL 160T or Kodak Portra 100T, although it’s not exactly like either of those. This Recipe gives you one more option for nighttime photography.
What I found myself enjoying more than I thought I would is using this Fluorescent Night Film Simulation Recipe during the day. It has an obvious cool cast with pronounced blues. Still, I was pleasantly surprised that this Recipe is halfway decent for daylight use. If you are looking for a retro film-like aesthetic that isn’t warm, Fluorescent Night might be a good option for your daylight photography.
A Visit with Santa – Buckeye, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
This Fluorescent Night Film Simulation Recipe is compatible with all Fujifilm fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20). You should also be able to use this on newer GFX models, but the results will likely be slightly different (try it anyway). For nighttime use, I most often selected -2/3 or -1/3 exposure compensation, and for daylight I most often used +1/3 or +2/3; however, “typical exposure compensation” is only meant as a starting point, and each exposure should be judged individually.
Film Simulation: Nostalgic Neg. Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Fluorescent 2, -8 Red & -1 Blue Highlight: -1 Shadow: -1.5 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fluorescent Night Film Simulation Recipe on my Fujifilm X-T5:
Happy Girl – Buckeye, AZ – Fujifilm X-T5
Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Along Stucco Wall – Buckeye, AZ – Fujifilm X-T5
Sidewalk Potted Plant – Buckeye, AZ – Fujifilm X-T5
Potted Palm Tree – Buckeye, AZ – Fujifilm X-T5
Hairstyle Chair – Buckeye, AZ – Fujifilm X-T5
Christmas Tree & Letters to Santa – Buckeye, AZ – Fujifilm X-T5
Illuminated Door at Abandoned Building – Buckeye, AZ – Fujifilm X-T5
Broken Window – Buckeye, AZ – Fujifilm X-T5
Birria – Surprise, AZ – Fujifilm X-T5
Circle K Gas Station – Surprise, AZ – Fujifilm X-T5
Christmas Star – Buckeye, AZ – Fujifilm X-T5
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In early 2023, Artificial Intelligence burst onto the Film Simulation Recipe scene, and, at the request of photographers across the world, AI began creating all sorts of camera settings to emulate all sorts of different aesthetics for Fujifilm models. I was on the leading edge of this, and in March published Using AI to Create Film Simulation Recipes, which included the ChatGPT-created Urban Dreams Recipe.
I didn’t stop there. In April I published a YouTube video (which you’ll find below) entitled Kodachrome X Fujifilm Recipe made by ChatGPT vs Fuji X Weekly Kodachrome II. I don’t publish very many YouTube videos (only three in 2023); however, I felt this topic was important enough to dedicate a video to it. Shortly thereafter, also in April, I published a companion article called Can AI Make a Fujifilm Recipe?, which included the ChatGPT-created Kodak Ektachrome E100VS v1 Recipe (along with the non-AI v2).
I didn’t quit there—not even close! In June, on the SOOC Live broadcasts, Fujifilm X-Photography Nathalie Boucry and myself chatted twice (for about three hours in total) about ChatGPT Film Simulation Recipes. If you’re curious about this topic, that’s probably the most informative discussion you’ll find. I’ve included both of those videos below.
Also in June, as a companion piece for those two SOOC Live episodes, I published an article entitled Shooting with ChatGPT AI Fujifilm Film Simulation Recipes. That article included two more AI-made Recipes: Soft Blue Classic and Vivid Summer Glow. I’ve published a total of four ChatGPT Film Simulation Recipes on this website. I think two are pretty good, and two are very mediocre—only the two that are “good” are in the Fuji X Weekly App.
While I’ve published four AI-made Recipes, I’ve asked ChatGPT to create probably close to 50 (using multiple accounts). Most of them weren’t good, so they never saw the light of day. I’ve talked about all of this before, but just to quickly rehash, here are some of the big issues with using ChatGPT to create Film Simulation Recipes for Fujifilm cameras:
AI will always give you an answer, but whether that answer has any value is another question entirely.
AI can’t see, and doesn’t know how the various camera settings translate to real-world use. It can only attempt to match descriptions.
If you ask it to create the same Recipe—using the same exact wording—on multiple accounts, you will get multiple answers, often quite divergent from each other.
I’ve never experienced an instance where all of the required Recipe parameters were included in the first try. Each time, I’ve had to identify the missing camera settings, and ask AI to add those to the Recipe.
AI will sometimes include nonexistent or nonsensical settings.
ChatGPT is very predictable, and will not usually stray outside of certain box. Ask it to make enough of these, and the box is easily identifiable.
ChatGPT doesn’t cite its sources, even when asked. It definitely operates unethically, and probably (in my opinion) illegally—eventually courts will make various rulings as they hear different lawsuits.
So why bring this up again? First, I’ve had several people over the last month comment that ChatGPT is a wonderful resource for Fujifilm Film Simulation Recipes. I strongly disagree with that for the reasons mentioned above, and I thought it worthwhile to discuss those reasons again for those who might be unaware. Second, someone asked if Google’s Bard AI was any better than ChatGPT at creating Film Simulation Recipes. I wasn’t sure, so I spent some time over Thanksgiving putting it to the test. So let’s find out!
Captured with the AI-made Soft Blue Classic Film Simulation Recipe on my Fujifilm X100V.
The first question I asked Bard was, “Make me a Film Simulation Recipe for my Fujifilm X-T5 that mimics the aesthetic of Kodachrome 64 film.” Well, I could tell very quickly that this wasn’t going to work out well, as the first setting it gave was the Acros film simulation. It included the nonsensical setting of Color +2 (you cannot select Color when using Acros). The settings that Bard failed to provide were Dynamic Range, White Balance Shift, Color Chrome Effect (although it did give Color Chrome FX Blue), and Clarity. I assume that it would have also missed Grain size, but it said to set Grain to Off.
Obviously that “Kodachrome 64 Recipe” will not look anything like actual Kodachrome 64 slides, even if it did somehow make sense. I asked Bard to cite its sources, and to my surprise it did! It gave me (broken) links to my website, including these articles: Kodachrome 64, Kodachrome 25, and Monochrome Kodachrome. Apparently, Bard has been trained using Fuji X Weekly (or to search for it… Bard is a Google product after all), but it’s not very good at it. In my opinion, AI should provide a bibliography of its sources upfront without being asked. Even Wikipedia does that, and apparently it’s not a reliable enough source for serious work. Bard will cite its sources when asked, which is better than nothing, while ChatGPT won’t even do that. If Wikipedia can’t be taken seriously, than AI should be taken even less so. It’s super sketchy that AI doesn’t cite it’s sources, but at least Bard will do so when prompted to.
I asked Bard to tell me why it chose the settings that it did. This demonstrates very clearly that trying to match descriptions of camera settings with descriptions of the film is an unrealistic method for achieving accurate approximations of various looks. For example, “Acros is a black and white film simulation that provides a good starting point for replicating Kodachrome’s tonal range and contrast.” And, “Kodachrome had a tendency to lift shadows, creating a slightly brighter and more open appearance. Raising the shadow setting by 0.5 replicates this effect.” And, “Kodachrome had a subtle ability to retain detail in highlights, preventing them from becoming blown out. Lowering the highlight setting by -1 helps achieve this result.” If you know even a little about Kodachrome 64 film and Fujifilm camera settings, you should have no issues identifying the problems there.
Bard’s “Kermit the Frog juggling Elmo Recipe” is not a good choice for portraits.
I didn’t stop with that one Recipe. I asked Bard to make many more. After a number of tries, I began to ask it for ridiculous Recipes, just to see what it would do. Make me a Film Simulation Recipe that mimics Kermit the Frog juggling Elmo. Make me a Film Simulation Recipe that mimics the look of digesting rotten apples that are crawling with spiders. Make me a Film Simulation Recipe that mimics the aesthetic of comedian Brian Regan hitchhiking across the Delaware River during the Clone Wars. In each case—instead of responding with “you are nuts” or “that makes no sense”—it provided me with a Recipe. It always will. For the Brian Regan Recipe, it tells me, in order to capture the essence of his adventure, I should photograph him on a rural road next to a river bank with some fog. Sounds intriguing, but there’s a problem.
You see, Bard has a bigger tendency than even ChatGPT to include nonexistent settings. Some of these are Color Chrome FX Red (which, arguably, could be just Color Chrome Effect), Color Chrome FX Green, Grain Effect Medium, WB Shift +1, and Image Enhancement On. This is in addition to the missing settings that are required for a Recipe but weren’t included, and the occasional nonsensical ones (like Color +2 with Acros). Sometimes it’s hard to make sense of what Bard provides when asked to make a Recipe.
For those wondering about Color Chrome FX Green, Bard had this to say: Color Chrome FX Green increases saturation and vibrancy of green pixels and slightly lifts green shadows for a more balanced tonal range. Use sparingly, as a subtle application of Color Chrome FX Green can produce pleasing results. Excessive use may make the image appear unnatural. Of course, there is no such thing as Color Chrome FX Green, but even if there was, it wouldn’t work as described by Bard.
The conclusion of this whole article is that ChatGPT and Bard are not good resources for Film Simulation Recipes for Fujifilm cameras. They are both capable of making Recipes (they will always give you one if you ask), but whether or not those Recipes are worth using or resemble what they’re supposed to is another story entirely. A broken clock is correct twice each day, and sometimes you can get a good Recipe by chance when using AI, but most often that won’t be the case. However, because these chatbots tend to stay within a box and don’t often stray outside of it, the Recipes that they make are often not terrible, they’re usually okay-ish. But you have to put up with the missing, nonexistent, and nonsensical settings. And you have to be alright with the unethical nature of it. My personal advice, if you want a Recipe that is more likely to give you good results, is to look no further than my website.
Someone said that AI will usually do a better job than a complete novice, but never as good as an expert. I agree with that assessment. I think if you ask ChatGPT or Bard enough times for Film Simulation Recipes, you are bound to get some that are trash, a bunch that are so-so, and a couple that are actually good. You could probably have as much luck rolling dice or throwing darts to create Recipes. That’s just the way it is. However, the technology is advancing rather quickly, and it’s only a matter of time before AI will be able to analyze pictures, have a good understanding of Fujifilm camera settings, and be able to approximate an accurate replication of picture aesthetics with the available JPEG settings. We’re not there yet, though. There’s a significant gap. I don’t doubt that the technology will get there eventually, perhaps in another five or ten years.
That will put me out of business. I understand that day is eventually coming, and that’s ok. It is what it is, as they say. The sad thing is that AI is using my own words and work against me. The more I publish, the more resources OpenAI and Google have to train their AI. It’s a type of theft. I do think that the courts will eventually rule that much of what they’ve done doesn’t qualifying as “fair use” under the law, but the damage will already have been done, and folks like me wont be compensated a dime for it. That’s the way life goes sometimes. The big guy walks all over the little guy. But, when life throws you punches, bob and weave (I’ve heard that quote attributed to Joe Frazier, but I’m not certain), which simply means that I have to evolve. As Bob Dylan sang, the times, they are a changin’. They always have been, and always will be. That’s why I spent so much time this year exploring the topic of AI Film Simulation Recipes. I had to know where Fuji X Weekly stands in all of it. This website has evolved a whole bunch since its launch in 2017, and it will continue to do so in the coming months and years. I appreciate all of those who have come along for the ride, and I look forward to seeing where this Fuji X Weekly thing goes as the future unfolds. If anything, it will be an interesting adventure, perhaps like Brian Regan’s hitchhiking escapades along the foggy Delaware River during the Clone Wars.
Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe
This is a long-overdue adaptation of the X-T3/X-T30 Kodak Vision3 250D Film Simulation Recipe for use on “newer” X-Trans IV cameras. Kodak Vision3 250D is one of my favorite Recipes, but it’s only compatible with the Fujifilm X-T3 and X-T30; however, I’ve been using it on my X100V and X-E4 occasionally for years. It’s not hard to adapt X-T3/X-T30 or X-Trans III Recipes for use on newer models by simply selecting a Grain size (Small or Large), setting Color Chrome FX Blue (and Color Chrome Effect for X-Trans III Recipes) to Off, and Clarity to 0. In the case of this Recipe, I prefer Clarity set to -2 and not 0, but it’s acceptable either way.
Vision3 250D is a medium-speed daylight-balanced color motion picture film introduced by Kodak in 2009. It was a replacement for the similar (yet slightly inferior) Vision2 250D. Vison3 250D can be developed in ECN-2 chemistry or C-41. There is a lot of variation in how the film can look depending on a host of factors—especially how shot, developed, and scanned—but I’ve always been impressed with how closely this Recipe mimics some of the aesthetics produces by the emulsion.
This Kodak Vision3 250D Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth-generation models, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), you can use this Recipe, but blue will render more deeply, so it will look slightly different.
Film Simulation: Eterna Dynamic Range: DR100 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Fluorescent 1, -3 Red & -1 Blue Highlight: +3 Shadow: +4 Color: +3 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation Recipe on my Fujifilm X-E4:
MartAnne’s – Flagstaff, AZ – Fujifilm X-E4
Dancing Joy – Salt Lake City, UT – Fujifilm X-E4
No Fun – Salt Lake City, UT – Fujifilm X-E4
Urban Daisies – Salt Lake City, UT – Fujifilm X-E4
Boat on Lake Hamilton – Hot Springs, AR – Fujifilm X-E4
Rainy Rose – Buckeye, AZ – Fujifilm X-E4
Willow – Bountiful, UT – Fujifilm X-E4
Afternoon Joy – Buckeye, AZ – Fujifilm X-E4
Desert Creek – Buckeye, AZ – Fujifilm X-E4
Arizona Date Palm – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Palm Trunk – Buckeye, AZ – Fujifilm X-E4
Potted Flower Blooms – Buckeye, AZ – Fujifilm X-E4
Park Gazebo – Buckeye, AZ – Fujifilm X-E4
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Suburban Abstract – Buckeye, AZ – Fujifilm X-H1 – “Xpro”
This Xpro Film Simulation Recipe came about after some experiments with white balance and shifts. It went through several iterations before I settled on these settings. The results remind me of cross-processed Fujichrome Sensia or perhaps Elite Chrome. Cross processing film (also called Xpro) is developing it in chemistry that it wasn’t intended to be developed in, most commonly color slide film (E6) in color negative film (C41) chemistry. Different films can give different results when cross processed. I have several other cross-process inspired Film Simulation Recipes (here, here, here, and here); this one is simply a little different aesthetic.
This was a Patron Early-Access Film Simulation Recipe in the Fuji X Weekly App, available to App Patrons for over a year. It’s been replaced by a different Early-Access Recipe, so now it’s available to everyone. It’s not one that you’ll want to use all of the time, but occasionally for a different look it is great. It’s more of a “fun” Recipe. If you are a Fuji X Weekly App Patron, be sure to look for the new Early-Access Recipe!
Storm – Buckeye, AZ – Fujifilm X-H1 – “Xpro”
This Xpro Film Simulation Recipe is fully compatible with X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1, plus the X-T3 and X-T30. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe can also be used on the “older” GFX models (50R and 50S), but will render slightly differently.
Classic Chrome Dynamic Range: DR400 Highlight: -1 Shadow: +3 Color: +4 Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30) Sharpness: -1 Noise Reduction: -4 Grain: Weak White Balance: 3400K, -6 Red & -9 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Xpro Film Simulation Recipe on my Fujifilm X-H1 and X-T30:
Associated Fence – Buckeye, AZ – Fujifilm X-T30
Green – Buckeye, AZ – Fujifilm X-T30
Structured Abstract – Buckeye, AZ – Fujifilm X-T30
Roof & Fence Lines – Buckeye, AZ – Fujifilm X-T30
Tile Roof – Buckeye, AZ – Fujifilm X-T30
Cactus Hotels – Buckeye, AZ – Fujifilm X-H1
Barrel Cactus – Buckeye, AZ – Fujifilm X-H1
Secret Garden Gate – Buckeye, AZ – Fujifilm X-H1
Don’t, This Way – Buckeye, AZ – Fujifilm X-H1
Light Bulb – Buckeye, AZ – Fujifilm X-H1
Closed Window – Buckeye, AZ – Fujifilm X-H1
Pigeon Pipe – Buckeye, AZ – Fujifilm X-H1
Pergola in the Rain – Buckeye, AZ – Fujifilm X-H1
Arizona Architecture – Buckeye, AZ – Fujifilm X-H1
Hanging Blossoms – Buckeye, AZ – Fujifilm X-H1
Dark Flowers – Buckeye, AZ – Fujifilm X-H1
Light Pink with Green – Buckeye, AZ – Fujifilm X-H1
Find this Film Simulation Recipe and over 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Small Clouds Above the Roof – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
This Film Simulation Recipe is one that I’ve been working on and have had programmed into my Fujifilm X-T30 for some time now. It’s been through a lot of iterations, with small tweaks here and there over the last several months, before I landed on the final settings. The idea was to create a generic Kodak-ish color negative film aesthetic, perhaps something similar to ColorPlus 200 or Pro Image 100. While I did look at both of those emulsions a number of times during the development of this Recipe, I didn’t set out to strictly emulate either of them. I think there can be similarities at times to those two film stocks, but generally speaking this Recipe isn’t a replication of either. I hope that makes sense. I do think it does a good job at producing a generic color negative film aesthetic that is by-and-large Kodak-like, with occasional similarities to both ColorPlus 200 and Pro Image 100.
Pro Neg is a Fuji X Weekly App Patron Early-Access Recipe. 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. 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!
Beautiful Bougainvillea Blooms – Buckeye, AZ – Fujifilm X-T30 – Pro Neg Recipe
This Pro Neg Film Simulation Recipe is compatible with the Fujifilm X-T3 & X-T30, plus all X-Trans III cameras, which are the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1. For newer cameras, you’ll have to decide on a Grain size (Small or Large), set Color Chrome FX Blue to Off, and Clarity to 0. This Recipe can also be used on the “older” GFX models (50R and 50S), but will render slightly differently.
Find the Pro Neg Recipe in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.
Example photographs, all camera-made JPEGs captured using this Pro Neg Film Simulation Recipe on my Fujifilm X-T30:
Empty Schoolyard – Buckeye, AZ – Fujifilm X-T30
Backyard Wall View – Buckeye, AZ – Fujifilm X-T30
Hidden Triangle – Buckeye, AZ – Fujifilm X-T30
Gila River Hat – Buckeye, AZ – Fujifilm X-T30
Tree by Field 4 – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Petals – Buckeye, AZ – Fujifilm X-T30
Little Cloud Between the Trees – Buckeye, AZ – Fujifilm X-T30
Twin Palms – Buckeye, AZ – Fujifilm X-T30
Palm Behind Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-T30
Suburban Colors – Buckeye, AZ – Fujifilm X-T30
Bougainvillea in the Sky – Buckeye, AZ – Fujifilm X-T30
Basketball Hoop at Dusk – Buckeye, AZ – Fujifilm X-T30
Hoop & Tree – Buckeye, AZ – Fujifilm X-T30
Court Cycle – Buckeye, AZ – Fujifilm X-T30
Dusk Saguaro – Buckeye, AZ – Fujifilm X-T30
One Fallen, One Standing – Buckeye, AZ – Fujifilm X-T30
Window Reflection – Buckeye, AZ – Fujifilm X-T30
Yellow Trumpet – Buckeye, AZ – Fujifilm X-T30
Backyard Rose Blossom – Buckeye, AZ – Fujifilm X-T30
I get asked sometimes a very fair question: why use Film Simulation Recipes when Fujifilm’s factory-default film simulations are just so darn good?
Fujifilm has, in my opinion, the best JPEG output of any brand. Their film simulations are significantly influenced by Fujifilm’s vast experience with analog film, and it should not surprise anyone that they look good without any modifications. However, Fujifilm does provide a number of tools to customize and fine-tune the straight-out-of-camera results, which I believe makes them even better.
For those who don’t know, Film Simulation Recipes are settings for Fujifilm cameras that produce certain aesthetics, often modeled after classic film emulsions. I have published over 300 of them, which you can find on this website and the Fuji X Weekly App. Recipes are intended to be shot as JPEGs (or RAW+JPEG, if you prefer), and produce out-of-camera pictures that don’t require any editing, or perhaps minimal post-processing if you like. They appear as though they were edited, or even film-like. This saves a lot of time, hassle, and possibly money. It opens up photography to those who don’t know how to RAW edit, or don’t have the desire to learn, or maybe don’t even have access to editing software. This also makes photography more enjoyable to folks (like me) who have RAW-edited for years but don’t care much for it, and would rather be doing other things (like capturing more pictures!).
Golden Light in Abandoned House – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100
Many photographers who own a Fujifilm camera never dive into the menu to adjust the JPEG parameters. They keep it on Provia/STD and at factory defaults, which is 0, Off, or Auto. Or maybe they try the other film simulations, but they still keep everything else set to the default settings. It’s completely understandable. The results are already good, and, besides, the options can seem overwhelming and confusing. Film Simulation Recipes, which takes the guesswork out of the various options, improve upon the standard film sims, but also provide some variety. If you only ever use the default options, you are limited to (for example) a maximum of 10 looks for color photography (11 if you have the latest GFX model with Reala Ace), but there are over 300 Film Simulation Recipes, so (depending on your camera model) you could have hundreds to choose from. You can find the Recipes that produce aesthetics that best match your style and taste.
This is in no way intended to put down factory-default film simulations, or those who use them. My intention is to simply compare a default film sim photograph with a Film Simulation Recipe. Maybe you like the non-Recipe picture better, and that’s ok if you do. There are so many other Recipes to choose from, and I bet at least one would produce a look that you like more than the default film sim—for example, there are 80 Recipes in the Fuji X Weekly App that use Classic Chrome, so if you don’t like the Recipe I chose for this article, there are 79 others that could possibly be a better match for you.
Some Film Simulation Recipes are drastically divergent from the default film simulations, and some are only subtly altered. Many are intended for certain light situations (sunny daylight or artificial light, for example), while Auto White Balance is the factory standard. There’s no one single “right” Recipe or even a perfect film simulation. What matters is finding what works best for you and your photography. That could be a collection of Film Simulation Recipes, it could be a default film sim, or it might be shooting RAW and editing with the software of your choice, or any combination thereof or something different entirely. There’s no right or wrong way. For me, it’s shooting straight-out-of-camera JPEGs using Film Simulation Recipes.
Below are examples of factory-default film simulations compared to Film Simulation Recipes.
Find these Film Simulation Recipes and about 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
