Fujifilm: Please Read — A Firmware Update Idea — Fixing C1-C7 on Newer Cameras

I’ve received a bunch of feedback from Fujifilm photographers over the last few years about one specific thing, and I have never had a good answer to it. But just today I received a note from Fred Miranda with an excellent idea on how Fujifim could possibly fix the issue without too much trouble.

On some X-Trans IV and all X-Trans V cameras, the Custom Settings presets (often called C1-C7) save a lot more than IQ parameters. Focus settings, self timer settings, and even sound settings (and a whole lot more) must be programmed into the Custom Settings. The problem is that if you adjust some parameter because of the situation you are photographing in, the camera will forget this setting and restore whatever is saved into C1-C7 whenever the camera is powered off or goes to sleep.

One example is the focus mode on my Fujifilm X-E4. Since Fujifilm did not include an M/C/S switch, you have to set this within C1-C7. Since I mostly use autofocus lenses, this isn’t typically a problem, but whenever I use a manual focus lens, I need to set it to “M”. Whenever I power the camera Off and then On or change to a different C1-C7 Custom Settings preset, I have to set it back to “M” again. Otherwise, I must reprogram my Custom Settings to be “M” instead of “S” or “C”, and remember to change it back the next time I use an autofocus lens.

Another example is in situations with bright highlights (such as shooting into the sun), I prefer to use DR400 with the Reggie’s Portra Recipe, instead of DR-Auto, which will only choose DR100 or DR200. If I make this change and the camera goes to sleep, when I wake it up, it will be back at DR-Auto, unless I reprogrammed the Custom Settings preset with DR400 (which I’ll have to remember to change back).

There are probably a thousand different examples that I could give, and the specific ones that might annoy you the most might be different than what annoys me, but the larger point is that this is an annoyance for a lot of people. Some learn to “deal with it” (it is what it is) or sometimes they sell their X-Trans V model and return to their older camera. I think it is something that Fujifilm should address, and it might even be an easy fix.

The Custom Settings presets used to not behave this way—in fact, it doesn’t on my X-T30, X-T4 and X100V. C1-C7 used to be just for the IQ settings, which are the Film Simulation Recipe parameters. All the other settings—focus, sound, etc., etc.—were set within the menu. I think this worked well, except that “Base” was confusing (until you realize that it simply means the settings you are currently using). There are advantages and disadvantages to both concepts, so I don’t think simply going back to the old way is the answer. But the new process has some problems, for sure.

Fujifilm’s solution is Auto Update Custom Settings. If you Enable it, when you make a change, the camera will remember that change, and automatically adjust your C1-C7. However, one issue is that if you Enable Auto Update Custom Settings, your C1-C7 will most likely drift out of whack over time, and eventually not resemble what you programmed. This probably works for some, but it isn’t a good option for everyone. I always select Disable.

The proposed solution that Fred Miranda shared with me is a simple firmware update. In the Edit/Save Custom Settings menu, when you select (for example) C1, there are two empty lines: one above Edit/Check, and one below Edit Custom Name. Perhaps at the bottom Fujifilm could add Save IQ Settings Only, with the option to Enable or Disable. It could be default disabled (and, out of the box, the cameras would work the same as they do today), and enabled only if the user wants it to be enabled (what I would choose).

If you Enable Save IQ Settings Only, then all of the other options—AF/MF, Shooting Settings, Wrench, etc.—are greyed out when you program your C1-C7, as you won’t be able to set those within C1-C7. Whatever you have programmed into the Menu when no C1-C7 is selected (a.k.a. “None Selected” or, in the Q-Menu, “A/S/M/P”), is what those settings will be. Basically, it would make your C1-C7 function like it used to, and only be IQ (Recipe) settings.

What’s cool about this is that not only would it give you the choice, but it would give you the choice for each Custom Preset. You could Enable some, and Disable others. It gives you a lot more flexibility with how C1-C7 operates (make it work best for you). This seems like a fairly simple firmware update to create, so it shouldn’t require a lot of resources to implement. An easy fix, as they say, that should make everyone happy.

Now I don’t know if it would work with the PASM models, like the X-H2s, X-H2, X-S20, X-S10, or X-M5. The concept might need to be modified or completely nixed for those cameras, I’m not sure (I don’t own any, personally). But for the X-E4, X-T30 II, X-T5, X100VI, and X-T50, it should work like a charm. The X-T5, X-T50, and X100VI might be a good starting point. And it should definitely be implemented in future cameras—there’s plenty of time to bring this to whatever is in the pipeline.

I want to thank Fred for sharing this idea with me. I hope that Fujifilm reads this, and, if they do, takes it into consideration. This would improve the experience for many on the newer models, and I think it will prove itself worthwhile in the long run.

Xpro — Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe

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.

Why Film Simulation Recipes are BETTER than default Film Simulations

Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100VFujicolor Superia 100

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.

Provia

Default Provia/Std

Velvia

Default Velvia

Astia

Default Astia

Classic Chrome

Default Classic Chrome

PRO Neg. Hi

Default PRO Neg. Hi

PRO Neg. Std

Default PRO Neg. Std

Classic Negative

Default Classic Negative

Nostalgic Neg.

Default Nostalgic Neg.

Eterna

Default Eterna

Eterna Bleach Bypass

Default Eterna Bleach Bypass

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.

Helping You Decide Which Film Simulation Recipes to Choose

Golden Autumn Trees – Flagstaff, AZ – Fujifilm X100V – Kodak Ektar 100 Recipe

There are over 300 Film Simulation Recipes on this website and the Fuji X Weekly App. Having so many options to choose from is great, because no matter your style there’s bound to be at least one that you love, and different Recipes are sometimes best in specific situations. The only problem with having all these options is that sometimes it’s hard to know which ones to choose. There can be a paralysis of choice, or, at the very least, it can seem overwhelming.

But not to worry, I’m here to help! Over the last year I’ve been publishing articles to help with this specific problem—to be a guide of sorts through the many Recipes. There’s no comprehensive list (nor should there be, I think) of when to use each option, because whether or not a particular Recipe is great for a specific scenario is subjective. I might like one, but you might dislike it. However, I can provide some direction—something that I have been attempting to do over the last 12 months.

The problem with my method, though, is that it’s easy for my articles on this subject to get lost in the shuffle. So I thought it would be helpful to round them up, and put them into one place. That’s the intention of this article.

First up is my Which Film Simulation Recipe, When? series. If you only open one article, that’s the one to choose. I think it’s probably the most helpful out of all of them in this post. You might appreciate many of the others, too, so I would encourage you to click on more than one article to read, especially if the number of Film Simulation Recipes feels overwhelming to you, or you’re just not sure where to begin. I hope this helps with that, and you’ll have a little more confidence choosing some to program into your camera.

Evening Charge – Santa Rosa, NM – Fujifilm X-E4 – Kodak Portra 400 v2 Recipe

Which Film Simulation Recipe, When?
Part 1 (X-Trans IV)
Part 2 (X-T3 & X-T30)
Part 3 (X-Trans III)
Part 4 (X-Trans II)
Part 5 (X-Trans V)
Summer Edition (X-Trans IV)

Working – Salt Lake City, UT – Fujifilm X-E4 – Kodak Vision3 250D Recipe

Elevating Your Street Photography with Fujifilm Film Simulation Recipes + 5 Recipes to Try Today!

More Than Double Wide – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

Using Film Simulation Recipes to Recreate Vintage Looks — 10 Recipes to Try Today!

Motel – Panguitch, UT – Fujifilm X100V – Kodak Tri-X 400 Recipe

Five Film Simulation Recipes Every Social Media Influencer Should Try on Their Fujifilm X100V

Abandoned & Trashed – North Salt Lake, UT – Fujifilm X100V – Fujicolor Reala 100 Recipe

Try These 5 Fujifilm Film Simulation Recipes Today for a Color Negative Film Look

Ghosts of the Past – Ogden, UT – Fujifilm XF10 – Classic Chrome Recipe

Try These 3 Film Simulation Recipes, No Matter Your Fujifilm Camera (almost, anyway) + When To Use Them!

Spiderwebs – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues Recipe

5 Film Simulation Recipes every Fujifilm X-T5 Photographer Should Try

Sentinel & Merced – Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe

The 10 Best Film Simulation Recipes on the Fuji X Weekly App

Garden Spiderweb – Buckeye, AZ – Fujifilm X-E4 – GAF 500 Recipe

7 Film Simulation Recipes for Ultra-High-ISO Photography

Evening Hoop – Farmington, UT – Fujifilm X-E4 – Muted Color Recipe

7 Fujifilm Film Simulation Recipes for Photographing Basketball Hoops

Backlit Lupine – Sun City, AZ – Fujifilm X-T5 – Thommy’s Ektachrome Recipe

Fujifilm Recipes for Spring Flower Photography

Night Statue – Jackson Hole, WY – Fujifilm X100V – Serr’s 500T Recipe

10 Must Try Film Simulation Recipes for Night Photography

Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – Emulsion ’86 Recipe

Top 7 Best Nostalgic Neg. Film Simulation Recipes for Fujifilm X-Trans V Cameras

Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2 Recipe

8 Fujifilm Film Simulation Recipes for Those Hot Summer Nights

Argus 520 Camera – Buckeye, AZ – Fujifilm X100V – Kodak Max 800 Recipe

Getting that ’90’s Film Look with Fujifilm Cameras

Arizona Barn – Sedona, Arizona – Fujifilm X-T5 – Vibrant Arizona Recipe

The First 7 Film Simulation Recipes to try on your Fujifilm X-Trans V camera

Autumn Aspen – Big Arm, MT – Fujifilm X100V – Vintage Vibes Recipe

10 Vintage Film Simulation Recipes You Should Try!

Rose Budding – Buckeye, AZ – Fujifilm X-T5 – Kodachrome Blue Recipe

5 Amazing Film Simulation Recipes (that few are using…)

Coastal Sunset Colors – Laguna Beach, CA – Fujifilm X100V – Reggie’s Portra Recipe

Comparing 6 Kodak Portra Film Simulation Recipes

Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace Recipe

Five Fantastic Film Simulation Recipes that are Versatile

Autumn in a Mountain Meadow – Flagstaff, AZ – Fujifilm X100V – Fujicolor Superia 100

I used THESE 7 Film Simulation Recipes for Fall Colors on my Fujifilm X100V

First Dance – Laguna Beach, CA – Fujifilm X100V – Fujicolor NPS 160 Pulled Recipe

Using Fujifilm Film Simulation Recipes for Wedding Photography

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.

Help Support Fuji X Weekly!

Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.

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5 Amazing Film Simulation Recipes (that few are using…)

Vintage Cinema Recipe

There are some very popular Film Simulation Recipes that it seems like everyone is using, or has at least tried, on their Fujifilm cameras. Kodak Portra 400, Kodak Portra 400 v2, Reggie’s Portra, Kodachrome 64, Vintage Kodachrome, Vibrant Arizona, Reala Ace, Fujicolor Reala 100, Pacific Blues, and Kodak Tri-X 400 are currently the 10 most popular (based on article page views this month). Those particular Recipes are a lot of people’s favorites! But there are others that are less popular and, obviously, much less frequently used.

With over 300 Film Simulation Recipes on the Fuji X Weekly App, there are bound to be some that are underutilized. Several are intended for very specific scenarios and aren’t especially versatile, so it’s understandable why those are chosen less often than others. Some might just get lost in the crowd; perhaps my sample pictures weren’t strong enough to demonstrate the Recipe’s potential. There’s a group, however, that should be more popular than they are, but are underutilized because they’re not yet available to everyone. These are the Fuji X Weekly App Patron Early-Access Recipes.

My Film Simulation Recipes are free, and the Fuji X Weekly App is free; however, there’s a real expense to all of this, and I do want a little reward for all of my efforts. The best way to support this website is to become a Patron subscriber to my Apps (aside from the Fuji X Weekly App, there’s also the Ricoh Recipes App and the RitchieCam App). As a reward for supporting Fuji X Weekly, the Patron subscription unlocks the best App experience.

Nostalgic Emulsion Recipe

What, exactly, does “the best App experience” mean? For one, Filtering is unlocked. Want to see only the Recipes that are fully compatible with your specific camera model? Want to display only Recipes that use a certain film simulation, white balance type, or dynamic range setting? That’s the Filter feature, and it’s available to Patrons. Another is Favoriting. There are five different colored stars that can be used to organize Recipes into categories. For example, you can use red stars for Recipes that you found to be good options for portraits, yellow for golden hour, green for landscapes, etc.. Or, yellow stars for what is currently in C1-C7, blue for what you want to try next, green for ones you tried and liked, and red for ones you tried and didn’t like. You can use these however it makes the most sense for you, but only if you are a Patron. Oh, and if you’ve made your own custom Film Simulation Recipe, you can use blank Recipe cards to add them to your App.

Another perk of being a Fuji X Weekly App Patron is that you get early access to some new Film Simulation Recipes. These Early-Access Recipes will become available to everyone in time (as they are replaced by new ones), but for now only Patron subscribers can view them. Some aren’t publicly available for everyone for a short time—usually at least a few months—and others stay as Early-Access Recipes for a year or more. For example, Eterna Bleach Bypass was a Patron Early-Access Recipe for over a year, and just two days ago it became freely available to everyone after it was replaced by Expired Kodak Vision2 250D. Currently, there are 14 Early-Access Recipes in the Fuji X Weekly App.

Because not everyone can use these Early-Access Recipes, they’re not nearly as popular as the ones that are available free to everyone. Only App Patrons can use them. Some of these Recipes are really good, though, deserving of much greater attention than they’ve received. This article is simply shining a spotlight on five of them. If you are a Patron, I invite you to find them in the App and give them a try. If you are not a Patron, I ask that you consider supporting this website by becoming a Patron subscriber, which will in turn give you access to them. If you don’t have the Fuji X Weekly App on your phone, download it for free today!

Kodak Royal Gold 400

Kodak Royal Gold 400 Recipe

Royal Gold 400 was introduced by Kodak in 1994 as a replacement to the original Kodak Ektar 400 film (which is a little different from the Ektar that came later). The Royal Gold line, which also came in ISO 100 and 200 versions, was marketed as a “step up” from Kodak Gold, with finer grain and more vibrant colors. It was more-or-less an updated Ektar emulsion that was renamed for marketing reasons (Gold sold a lot more than Ektar). In the early 2000’s Royal Gold was replaced by the High Definition/Royal Supra line.

This Film Simulation Recipe wasn’t initially intended to replicate Royal Gold, but simply began as an attempt to achieve a “memory color” aesthetic of photographic prints from the 1990’s and early 2000’s; I wasn’t concerned about the specific films or processes. After shooting with this Recipe and reviewing the results, I was reminded of Kodak Royal Gold 400 film… sometimes. Of course, one film can produce many different aesthetics, depending on (among other things) how it was shot, developed, scanned and/or printed. Royal Gold 400 didn’t always or even usually look like this, but sometimes it did, and I found some examples in a photo-box and online that were quite similar—I’m not sure why, but my suspicion is that the film was mishandled, either from being stored improperly (possibly exposed to too much heat) or waiting too long to develop after exposing. Film can be finicky, but that serendipity is something that makes it special.

Kodak Royal Gold 400 Recipe
Kodak Royal Gold 400 Recipe
Kodak Royal Gold 400 Recipe
Kodak Royal Gold 400 Recipe

1981 Kodak

1981 Kodak Recipe

The 1981 Kodak Film Simulation Recipe was modeled after some old family pictures found in a photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were.

I thought that the aesthetic was interesting, so I began to develop a Recipe inspired by these photographs. It took a couple of days, and a few compromises, but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper—the reason why I call this Recipe 1981 Kodak.

1981 Kodak Recipe
1981 Kodak Recipe
1981 Kodak Recipe
1981 Kodak Recipe

Vintage Cinema

Vintage Cinema Recipe

I binge-watched a number of classic movies from the 1950’s, and I was really inspired by their picture aesthetics. After some research, I discovered that Kodak ECN 5248 25T motion picture film was used in several of these flicks. The problem, of course, with trying to replicate the look of a motion picture film stock is that not only is the aesthetic dependent on the usual factors of how shot and developed, but also on the lighting and filters used, which can be different movie-to-movie and even scene-to-scene. Instead of attempting to mimic the look of any particular movie or cinema film stock, I wanted to create a certain feel or mood—a “memory color” reminiscent of color movies from the 1950’s.

Vintage Cinema Recipe
Vintage Cinema Recipe
Vintage Cinema Recipe
Vintage Cinema Recipe

Kodachrome Blue

Kodachrome Blue Recipe

Kodak made Kodachrome color-reversal (slide) film from 1935 through 2009. There are three era’s of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era has its own look; the second and third eras are probably the most similar. Kodachrome is actually a B&W film, with color dyes added during development. It was a unique and complicated process. Because of how the film works, it’s the most difficult emulsion to scan, often producing a blue cast that doesn’t exist when viewing the slides through a projector or on a light table.

Professional labs will have a profile to color-correct Kodachrome scans, but even that’s not usually a 100% match. As it used to be said, “There’s nothing like projected Kodachrome!” If the scans aren’t carefully corrected, the results are often significantly more blue than the slides. The feeling that all the world’s a sunny day (as Paul Simon sang) is completely gone. Once you know what to look for, it’s easy to spot these incorrectly color corrected Kodachrome images, and they’re prevalent. This Recipe mimics those too-blue scans of Kodachrome film.

Kodachrome Blue Recipe
Kodachrome Blue Recipe
Kodachrome Blue Recipe
Kodachrome Blue Recipe

Nostalgic Emulsion

Nostalgic Emulsion Recipe

This Nostalgic Emulsion Recipe was a collaboration between myself and my 15-year-old daughter, Joy. She wanted a certain look, which she described as “dark with deep greens” and similar to some music videos, including Daylight by David Kushner. “That’s the aesthetic I want to make,” she told me, while stopping on a forested scene.

I really like the moody and nostalgic feeling that this Film Simulation Recipe produces. It has a retro negative film look, maybe along the lines of Fujicolor Super HQ or Agfa XRG or something like that, but not exactly like any specific emulsion. You can expect dark shadows and a cool cast that leans green. I think it works best when there’s a lot of lush vegetation, and is good for toning down an overly warm scene.

Nostalgic Emulsion Recipe
Nostalgic Emulsion Recipe
Nostalgic Emulsion Recipe
Nostalgic Emulsion Recipe

How To Save 8 Custom Presets on Fujifilm Cameras (+ No Need To Adjust WB Shift)

Friendly Neighborhood Bougainvillea – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”

For those with Fujifilm X-Trans cameras that are older than the X-Pro3, you cannot save a White Balance Shift within the C1-C7 Custom Presets. This means that you have to remember to adjust the WB Shift whenever you switch Custom Presets, which is inconvenient to say the least. However, I discovered a method (which I’ve shared before) that allows you to switch between your C1-C7 Custom Presets without having to adjust the WB Shift, and most of you can even have eight presets instead of seven!

Those with an X-Pro3 or newer model don’t have to worry about this, but for those with “older” cameras (X-Trans I, X-Trans II, and X-Trans III, plus the X-T3 & X-T30… Bayer models don’t have Custom Presets), this method can dramatically improve the shooting experience. In this article I will explain in a practical way how to do this on your X-Trans camera. This will be a “game-changer” for some of you!

Note: This was a Creative Collective article, but now it is available to everyone.

The concept of this is simple: while Fujifilm X-Trans cameras (older than the X-Pro3) don’t have the ability to save White Balance Shifts within the Custom Presets, the camera will remember one WB Shift for each White Balance type. For example, if you go to the White Balance Menu and enter in a Shift for Daylight, and a different Shift for Auto, and a different Shift for Kelvin, the camera will remember those. So if each of your Custom Presets uses a different White Balance type (or if two recipes use the same WB & WB Shift), there’s no need to adjust the WB Shift when changing Custom Presets.

If you are a regular reader of this website you probably know this already. This is not new news. Maybe you tried it and loved it. Perhaps you tried it and it just didn’t work out well for you. It could be that you read it but didn’t really know exactly how to do it so you never tried it. Some of you might be hearing about this for the first time. Whatever the case, I’m hoping that by providing a more practical explanation, some of you will give this a try because it really does improve the shooting experience.

I use the Filter by White Balance feature in the Fuji X Weekly App to assist in this, because it’s so much easier than going through each Film Simulation Recipe individually. It’s a great tool that I use frequently, and I hope that you find it useful, too.

On my Fujifilm X70, which is an X-Trans II camera, I have eight Film Simulation Recipes available to me through the C1-C7 Custom Presets. Yes, eight! We will get to that eighth one in a moment, but for now, let’s take a look at my C1-C7.

C1 — Kodachrome II

Engine 703 – Buckeye, AZ – Fujifilm X70 – “Kodachrome II”

In the top-spot is my Kodachrome II recipe, which utilizes Auto White Balance. Since it uses Auto, we can scratch that off our list of White Balance types for the other six slots. There are currently 10 X-Trans II recipes that use Auto WB, so if Kodachrome II isn’t your favorite, there are nine others that you could choose instead. Personally, Kodachrome II is a favorite, so it happily occupies C1 on my Fujifilm X70.

Bull Shark – Buckeye, AZ – Fujifilm X70 – “Kodachrome II”
Pavillion – Buckeye, AZ – Fujifilm X70 – “Kodachrome II”
Clock Tower – Buckeye, AZ – Fujifilm X70 – “Kodachrome II”

C2 — Kodak Portra 160

Roof, Sky & Trees – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”

Next, in the C2 slot, is the Kodak Portra 160 recipe, which utilizes Daylight White Balance. For some reason, Fujifilm calls this “Fine” and not Daylight on the older cameras—I think because of a poor translation from Japanese to English—but it is in fact Daylight, and is marked by the sunny icon. For X-Trans II there are seven recipes that use Daylight, so if you don’t prefer this one there are six others to choose from.

Six O’Clock Palms – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
Greenhand Club – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”
Airplane on a Stormy Day – Buckeye, AZ – Fujifilm X70 – “Kodak Portra 160”

C3 — Kodak Color Negative

Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”

The next Custom Preset I have programmed into my Fujifilm X70 is the Kodak Color Negative recipe, which calls for the Incandescent White Balance. While this recipe is new (I published it a week ago), it has quickly become a top-favorite of mine for X-Trans II.

Backyard Trike – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”
Mary, Jesus & Stinky Pete – Surprise, AZ – Fujifilm X70 – “Kodak Color Negative”
Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”

C4 — Fujichrome Slide

Watching the Boat Float of Death – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

In the fourth spot is my Fujichrome Slide recipe, which uses the Fluorescent 1 White Balance. While the first three Custom Presets produce a Kodak-like aesthetic due to their use of Classic Chrome, this one delivers a little different look for when I want to change it up. If this recipe isn’t your cup of tea, perhaps consider Provia Negative as an alternative.

Illuminated Pool Noodles – Goodyear, AZ – Fujifilm X70 – “Fujichrome Slide”
Fisherboy – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”
Tree & Home Reflection – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”

C5 — Lomography Color 100

Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”

Another non-Kodak-like recipe is next, and occupies C5 on my X70: Lomography Color 100. This recipe uses the Shade White Balance. If you don’t like this one, consider Yosemite Velvia as an alternative.

Bougainvillea Hiding – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
Arizona Suburb Landscape – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
Shasta – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”

C6 — CineStill 800T

Illuminate the Dark – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”

In spot six is my CineStill 800T recipe, which uses a Kelvin White Balance. This is probably my favorite X-Trans II recipe, but because it’s best for night situations I don’t always get to use it. If this one isn’t your favorite, there are six other recipes that use a Kelvin White Balance that you could choose instead.

Dusk Blossom – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”
Dusk Rose – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”
Night Light – Buckeye, AZ – Fujifilm X70 – “CineStill 800T”

C7 — Monochrome Red

Station Wagon – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”

In the last and final Custom Preset slot is my Monochrome Red recipe, which just so happens to share the same exact White Balance and WB Shift as Fujichrome Slide, which sits in C4. Because these two recipes share the same White Balance and Shift, they can both be in C1-C7 at the same time.

Water Fountain – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”
Sunlit Flowers – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
Fishing Pole on Dock – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”

C8 — Ektachrome 100SW

Stop Then Go – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW

I know what you’re thinking: there is no C8—there’s only C1-C7—so how is this possible? Easy! You see, the only difference between the Kodachrome II recipe, which is in C1, and my Ektachrome 100SW recipe, is the film simulation; Kodachrome II uses Classic Chrome while Ektachrome 100SW uses Velvia, and otherwise these two recipes are identical. So if I set my X70 to C1, then change the film simulation to Velvia (using a customized button on the D-Pad), then I have quick access to this recipe. So, yeah, it’s completely possible to have eight recipes, as if there were eight Custom Presets—amazing!

Buckeye Fire Dept. – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”
Green Trees & Blue Sky – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”
Palm Structure – Buckeye, AZ – Fujifilm X70 – “Ektachrome 100SW”

So this is all well and good for X-Trans II, but what about X-Trans I? What about X-Trans III? What about the X-T3 and X-T30? Is it possible to do something similar on those cameras? Absolutely!

For X-Trans I, consider these seven recipes:
Kodachrome II (Auto)
Ektachrome (Daylight)
Superia Xtra 400 (Shade)
Color Negative Film (Kelvin)
Vivid Color (Fluorescent 1)
Monochrome (Incandescent)
Ektachrome 100SW (this is an X-Trans II recipe, so it will render a little different; it uses the same White Balance & WB Shift as Kodachrome II)

For X-Trans III, consider these eight recipes:

Kodachrome II (Auto)
Kodak Gold 200 (Daylight)
Porto 200 (Shade)
Kodacolor (Kelvin)
Ektachrome E100GX (Fluorescent 2)
Fujicolor NPL 160 Tungsten (Fluorescent 3)
Analog Monochrome (Incandescent)
Kodak Ektachrome 100SW (this is a bonus 8th recipe that’s identical to Kodachrome II other than the film simulation)

For the X-T3 & X-T30, consider these eight recipes:

Kodachrome II (Auto)
Kodachrome 64 (Daylight)
Lomography Color 100 (Shade)
Jeff Davenport Night (Kelvin)
Kodak Vision3 250D (Fluorescent 1)
Negative Print (Fluorescent 3)
Analog Monochrome (Incandescent)
Kodak Ektachrome 100SW (this is a bonus 8th recipe that’s identical to Kodachrome II other than the film simulation)

There are, of course, so many different combinations that you could do—this is just an idea to get you started. The easiest method to find Film Simulation Recipes that use different White Balance types is via the Filter by White Balance feature of the Fuji X Weekly App. I think, once you program your C1-C7 presets like this, you’re going to find that the shooting experience is much improved, because the hassle of remembering to adjust the WB Shift whenever you switch to a different Custom Preset is gone. For some of you, this is a game-changer.

How do you get a bonus 8th recipe on the X-Pro3 and newer cameras? Set the Kodak Portra 400 v2 recipe to be one of your C1-C7 Custom Presets, and simply change the film simulation from Classic Chrome to Classic Negative to turn it into the Vintage Vibes recipe. Mic dropped.

How To Add Film Simulation Recipes To Your Fujifilm Camera

I’ve published over 100 film simulation recipes for Fujifilm X cameras, but I’ve never explained how to program them—the practical side of entering the data into the gear. How do you add a recipe to your camera? If you don’t know how, this article is for you!

Most Fujifilm cameras allow you to store up to seven custom presets; however, some only allow you to have one. There are some variations between models and generations, but no matter your Fujifilm X camera, you should be able to program a recipe by the end of this article, because it’s actually pretty simple. I think it’s always a good idea to read the manual—Fujifilm has all of them available online, and a Google search will bring up your model’s manual quickly. It’s important to really familiarize yourself with your gear to get the most out of it.

Most of the settings that a film simulation recipe requires you to adjust are found in the IQ Menu set, which you access by pressing the Menu button on the camera. Things like Film Simulation, Highlight, Shadow, Color, Dynamic Range, etc., etc., are found in this menu. For those who have a model that can’t save custom presets (such as the Fujifilm X-T200), this is where you can enter in the required parameters of a recipe. You might find many of these settings in the Q-Menu, as well, or through various other buttons on your camera, but they’re pretty much all in one place in the IQ Menu. White Balance Shift is adjusted within the White Balance submenu.

For those with cameras that can save seven custom presets (which most Fujifilm cameras are able to), you can program these custom presets with different film simulation recipes. Find “Edit/Save Custom Settings” in the IQ Menu, or, more quickly, press the Q button to open the Q Menu, then press and hold the Q button, and the Edit/Save Custom Settings submenu will appear. Again, there’s some variations between models, but this should work with most Fujifilm cameras. Once there, select the custom slot you want to use, enter the parameters that the recipe requires, and hit the Back button to save. Many cameras, but not all, have the option to name the custom preset.

Only the latest models, the X-Pro3 and newer, allow you to save the White Balance Shift with a custom preset. For most cameras, you’ll have to manually adjust the WB Shift each time that you change recipes. Exposure Compensation (which is a suggested starting point and not a hard-and-fast rule) can’t be stored, either. For those with cameras that can name presets, one option is to use a recipe name format to remind yourself what these settings should be, so that you know what to set them to.

Once you have everything set, then you can access the seven custom presets through the Q button. Changing between recipes becomes quick and easy! My X100V can save the WB Shift, which is great; however, my other cameras cannot, so on those models I have a button custom set to quickly access White Balance. That way I can easily adjust the shift, since I have to manually adjust that parameter each time I change recipes.

You should now be well on your way to setting up a film simulation recipe on your camera. Once you’ve done it a couple of times, the process will become quick for you. That first time or two, where you’re not really sure how to do it, is the hardest, but with experience it becomes easy.

Recipe Custom Name Format

An issue that many people have found with the different film simulation recipes is knowing what to adjust the White Balance Shift to, as well as knowing what the exposure compensation should be, when changing recipes. Only the newest Fujifilm cameras (the X-Pro3 and newer) have the ability to save the WB Shift with the custom presets; unfortunately, most Fujifilm cameras cannot save WB Shift with custom presets, and that’s a problem when switching between different recipes. Since the camera can’t save certain settings, people have come up with different solutions to help remember what those settings should be. One of those solutions is to put the WB Shift into the custom preset name. Not all Fujifilm cameras have the ability to name the custom settings, but many of them do.

Fuji X Weekly reader Randy Kirk took this name solution to a new level! He designed an abbreviation format for recipe names as a solution to the problem, which he explains below.

“The format translates, from left to right, as follows:
Film Recipe Name, WB mode (auto, daylight, etc), WB Offset, exposure compensation, and finally ISO or misc notes.”

“I use these abbreviations for White Balance:
AU: Auto
TN: Tungsten
C1: Custom 1, etc
F1: Fluorescent 1
KV: Kelvin
CL: Cloud
… and so on. Most can also be abbreviated to one letter if I run out of space to type.”

Below are some examples.

Kodachrome 64 is named: K64 DY+2r-5b +2/3~ 
Translation: “Kodachrome 64, Daylight White Balance with a +2 Red & -5 Blue shift, exposure comp +2/3, plus or minus 1/3 of a stop. The squiggle after the fraction translates to ‘more or less’ and takes less space than typing the full range listed in the recipe.”

Portra 160 is named: P160 DY~+4r-5b +1~
Translation: “Here, the squiggle after DY lets me know I can mess around with the White Balance, and the exposure compensation translates to +2/3 to +1 1/3 stop.”

Tri-X 400 is named: TriX C1+9r-9B +2/3~ 1600+
Translation: “White balance is Custom 1, exposure compensation is +1/3 to +1 stop, and ISO 1600 and up is recommended.”

“Last, here’s one that condenses my cheat notes for two recipes into one preset name:
K2/E100 A+3r-4b +1/3+ C/V
It looks funky, but translates to:
Kodachrome II / Ektachrome 100SW, Auto WB (abbreviated to A), WB Shift, Exposure Comp +1/3 to +2/3 stop.. and the last note indicates Classic Chrome (for Kodachrome II) or Velvia (for E100SW).” 

“A plus sign *after* the exposure compensation indicates another 1/3 stop ‘up’ (for a range of +1/3 to +2/3). Or if a recipe calls for an exposure range of minus 1/3 to minus 2/3 stop, then it would simply read ‘-1/3-‘.”

If you are having trouble remembering what adjustments that you need to make to your camera when you switch between recipes, this system of abbreviations with your custom recipe names might be just what you need. I know that this will be helpful to many of you. Thank you, Randy Kirk, for designing these abbreviations and sharing them!