Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – “Vintage Cinema”
I recently 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.
This Vintage Cinema Film Simulation Recipe is a Fuji X Weekly App Patron Early-Access recipe, which means if you are an App Patron, you have access to it right now. The Fuji X Weekly App is free, yet becoming a Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Patron 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!
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – “Vintage Cinema”
The Vintage Cinema Film Simulation Recipe, which is the very first Patron Early-Access Recipe for X-Trans V, is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S (and I’m sure the X-S20 when it’s released this spring). I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This recipe is best for sunny daylight conditions, and seems especially well-suited for golden hour photography, but can sometimes produce interesting results in cloudy, shade, and indoor situations, too. I believe this recipe would pair especially well with vintage lenses and probably diffusion filters, but for these pictures I used Fujinon lenses, including the 27mm f/2.8, 35mm f/2, 90mm f/2, and 100-400mm, without any filters.
Example photographs, all camera-made JPEGs using this “Vintage Cinema” Film Simulation Recipe on my Fujifilm X-T5:
Birds of a Feather – Gilbert, AZ – Fujifilm X-T5
Flipped Reflection – Gilbert, AZ – Fujifilm X-T5
Three Ducks in a Lake – Gilbert, AZ – Fujifilm X-T5
Bougainvillea Blooms & Blue – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Beams – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Bush in Bloom – Buckeye, AZ – Fujifilm X-T5
Hanging Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Desert Bunny – Gilbert, AZ – Fujifilm X-T5
Jo on a Dirt Path – Gilbert, AZ – Fujifilm X-T5
Jo on the Patio – Buckeye, AZ – Fujifilm X-T5
Late Autumn Yellow – Buckeye, AZ – Fujifilm X-T5
Leafless Tree – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Do Not Enter When Flooded – Buckeye, AZ – Fujifilm X-T5 – Photo by Jonathan Roesch
Dry Leaves on a Patio Chair – Buckeye, AZ – Fujifilm X-T5
Orange & Blue – Phoenix, AZ – Fujifilm X-T5 – “CineStill 400D v2”
CineStill 400D is a cinematic color negative film meant for C41 processing that’s been around for less than a year. Unlike other cinematic films, the “D” doesn’t apparently stand for “Daylight” (even though it is Daylight balanced), but “Dynamic” because it has a large latitude for push processing. I’ve had a number of requests to create a Film Simulation Recipe that mimics the aesthetic of CineStill 400D. The problem I encountered is that this emulsion has a lot more variance than most films. All films can produce different looks depending on a host of factors, including how shot, developed, and scanned, but CineStill 400D seems especially so. As I understand, this film “scans flat” and some degree of post-processing is necessary, which likely accounts for some of that variance, as each photographer will manipulate the file to their own tastes to produce a final image.
No one recipe will ever come close to replicating all of the possible aesthetics from CineStill 400D, so instead I’m publishing a series of CineStill 400D Film Simulation Recipes, each a facsimile of a different look produced by the film. This recipe—CineStill 400D v2—has less contrast and leans more red/purple than the previous version. I think it is especially well suited for “golden hour” photography, but it is also a good option for overcast, shade, and midday sun. While it is certainly usable for many genres of photography, I particularly appreciate this one for urban and street photography.
This CineStill 400D v2 recipe was a joint effort between myself and Nestor Pool (Instagram, TikTok, Facebook, YouTube). We went back-and-forth on the settings, trying to match some examples of the film. After a few attempts, we decided it was best to focus on the “right feel” for what we wanted than an exact replication of the emulsion, especially since there was so much variance. After more fine-tuning, this is the recipe we created together. Nestor recommends using a 5% Moment CineBloom filter with these settings, although I didn’t do that with these pictures because my filter doesn’t have the right thread size for the lenses I used. It was a real honor to work with Nestor Pool, and I want to give him a special “thank you” for his efforts on this!
City of Grace Tower – Phoenix, AZ – Fujifilm X-T5 – “CineStill 400D”
This CineStill 400D v2 Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and all X-Trans V models—as of this writing, X-T5, X-H2, and X-H2S. Unfortunately, it is not compatible with the X-T3 and X-T30. Those with newer GFX models should be able to use it, too, but the rendering will be slightly different (try it anyway). Click here for CineStill 400D v1.
Film Simulation: Astia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Fluorescent 1, -2 Red & +4 Blue Dynamic Range: DR200 Highlight: -2 Shadow: 0 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “CineStill 400D v2” Film Simulation Recipe on my Fujifilm X-T5:
Hiker, Birdwatcher & Fisherman – Gilbert, AZ – Fujifilm X-T5
Faded Trail Sign – Gilbert, AZ – Fujifilm X-T5
Masonic Walker – Phoenix, AZ – Fujifilm X-T5
Waiting in Yellow – Phoenix, AZ – Fujifilm X-T5
Alleyway Bike – Phoenix, AZ – Fujifilm X-T5
Green Land Rover – Phoenix, AZ – Fujifilm X-T5
No P – Phoenix, AZ – Fujifilm X-T5
Urban Palms – Phoenix, AZ – Fujifilm X-T5
Cross Palms – Phoenix, AZ – Fujifilm X-T5
Closed Church – Phoenix, AZ – Fujifilm X-T5
Building Blue – Phoenix, AZ – Fujifilm X-T5
Orange Reflection – Phoenix, AZ – Fujifilm X-T5
Building Within a Building – Phoenix, AZ – Fujifilm X-T5
Arrogant – Phoenix, AZ – Fujifilm X-T5
Vegan – Phoenix, AZ – Fujifilm X-T5
Haircut – Phoenix, AZ – Fujifilm X-T5
11 – Phoenix, AZ – Fujifilm X-T5
Sidewalk Dog – Phoenix, AZ – Fujifilm X-T5
Boarded Doors – Phoenix, AZ – Fujifilm X-T5
Cars & Closed Church – Phoenix, AZ – Fujifilm X-T5
Urban Skateboarder – Phoenix, AZ – Fujifilm X-T5
Orpheum – Phoenix, AZ – Fujifilm X-T5
Spanish Baroque Tower – Phoenix, AZ – Fujifilm X-T5
Night Beacon – Phoenix, AZ – Fujifilm X-T5
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Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Illumination in the Dark Desert – Buckeye, AZ – Fujifilm X-T5 – “CineStill 400D v1”
CineStill 400D is a cinematic color negative film meant for C41 processing that’s been around for less than a year. Unlike other cinematic films, the “D” doesn’t apparently stand for “Daylight” (even though it is Daylight balanced), but “Dynamic” because it has a large latitude for push processing. I’ve had a number of requests to create a Film Simulation Recipe that mimics the aesthetic of CineStill 400D. The problem I encountered is that this emulsion has a lot more variance than most films. All films can produce different looks depending on a host of factors, including how shot, developed, and scanned, but CineStill 400D seems especially so. As I understand, this film “scans flat” and some degree of post-processing is necessary, which likely accounts for some of that variance, as each photographer will manipulate the file to their own tastes to produce a final image.
No one recipe will ever come close to replicating all of the possible aesthetics from CineStill 400D, so instead I will publish a series of CineStill 400D Film Simulation Recipes, each a facsimile of a different look produced by the film. This recipe—CineStill 400D v1—has more contrast and leans more green/yellow than the other versions that will follow. I think it is especially well suited for sunny daylight conditions, but it is also a good option for dreary overcast days. While it is certainly usable for many genres of photography, I particularly appreciate this one for landscapes.
This CineStill 400D v1 Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II—and all X-Trans V models—as of this writing, X-T5, X-H2, and X-H2S. Unfortunately, it is not compatible with the X-T3 and X-T30. Those with newer GFX models should be able to use it, too, but the rendering will be slightly different (try it anyway). Click here for the CineStill 400D v2 recipe.
Film Simulation: Astia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +3 Shadow: +1 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: -4 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “CineStill 400D v1” Film Simulation Recipe on my Fujifilm X-T5:
Red Pipe – Buckeye, AZ – Fujifilm X-T5
Dreary Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Raindrop on Curled Leaf – Buckeye, AZ – Fujifilm X-T5
Fujifilm X100V on a Wet Table – Buckeye, AZ – Fujifilm X-T5
Autumn Sidewalk – Buckeye, AZ – Fujifilm X-T5
Suburban Bush – Buckeye, AZ – Fujifilm X-T5
Reflection on the Floor – Buckeye, AZ – Fujifilm X-T5
Dog Waste – Buckeye, AZ – Fujifilm X-T5
Stone Blooms – Buckeye, AZ – Fujifilm X-T5
Tree in the Cloudy Desert – Buckeye, AZ – Fujifilm X-T5
Suburban Stop Sign – Buckeye, AZ – Fujifilm X-T5
Joy – Gilbert, AZ – Fujifilm X-T5
Saguaro Storm – Buckeye, AZ – Fujifilm X-T5
Reflecting on Perspective – Buckeye, AZ – Fujifilm X-T5
Evening in the Desert – Buckeye, AZ – Fujifilm X-T5
Cactus Reflected – Buckeye, AZ – Fujifilm X-T5
Light & Clouds on Mountain Ridges – Buckeye, AZ – Fujifilm X-T5
Sunset Clouds – Buckeye, AZ – Fujifilm X-T5
Desert in Shadow & Light – Buckeye, AZ – Fujifilm X-T5
Last Sunlight Pouring Through a Pass – Buckeye, AZ – Fujifilm X-T5
Saguaro Fingers – Buckeye, AZ – Fujifilm X-T5
Dark Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus in Golden Light – Buckeye, AZ – Fujifilm X-T5
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Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Kodak Ultramax 400 is a consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.
Kissed by Light – Buckeye, AZ – Fujifilm X-T5 – “Kodak Ultramax 400”
This Kodak Ultramax 400 Film Simulation Recipe is intended for Fujifilm X-Trans V models, which (as of this writing) include the X-H2, X-H2S, and X-T5 cameras. It’s compatible with newer GFX models too, but will likely render slightly different on those cameras. This recipe is highly versatile—a great option for daylight, overcast, indoor, nighttime, landscapes, portraits, etc.—really, it’s good most any type of photography.
Film Simulation: Classic Chrome Grain Effect: Strong, Large Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -5 Blue Dynamic Range: DR-Auto Highlight: +1 Shadow: +1 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Ultramax 400” Film Simulation Recipe on my Fujifilm X-T5:
Watching Firecrackers – Buckeye, AZ – Fujifilm X-T5
Red, Fire & Blue – Buckeye, AZ – Fujifilm X-T5
Sparkler – Buckeye, AZ – Fujifilm X-T5
Dressed for the Holiday – Buckeye, AZ – Fujifilm X-T5
Mango – Buckeye, AZ – Fujifilm X-T5
Days – Buckeye, AZ – Fujifilm X-T5
Rainy Day Window – Buckeye, AZ – Fujifilm X-T5
Happiness and Wondering – Gilbert, AZ – Fujifilm X-T5
Wet Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Sunny Day Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lakeside Saguaro – Buckeye, AZ – Fujifilm X-T5
Cactus Bird – Buckeye, AZ – Fujifilm X-T5
Cactus on a Hill – Buckeye, AZ – Fujifilm X-T5
Rocks Among Clouds – Buckeye, AZ – Fujifilm X-T5
Victory Mountain – Buckeye, AZ – Fujifilm X-T5
Desert Ridge with Lifting Clouds – Buckeye, AZ – Fujifilm X-T5
Blue Sky Moon – Buckeye, AZ – Fujifilm X-T5
Dusk Sky – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
This Vintage Bronze Film Simulation Recipe was an accident. It came about when Fuji X Weekly reader Dan Allen was first trying Anders Lindborg‘s Ilford FP4 Plus 125 recipe, and he accidentally selected the Eterna Bleach Bypass film sim instead of Monochrome. The results were pretty interesting, with a vintage alternative-process aesthetic—which I happened to really like—so I decided to make it an official recipe.
The Eterna Bleach Bypass film simulation is intended to replicate the look of motion picture film that has had the bleach step reduced or skipped. With this Vintage Bronze Film Simulation Recipe, there are some similarities to that (Michael Radford’s 1984 comes to mind), but it also reminds me a little of Kodak ColorPlus film cross-processed in E6 chemistry. Obviously, it’s not modeled after any specific film or process, so any similarities are simply happy accidents. I don’t think this recipe is necessarily a close facsimile to bleach-bypassed motion picture film or cross-processed ColorPlus, and not really an exact match to anything that I have seen, but it’s in the general neighborhood of those alternative-process aesthetics. I think an argument could be made that Kodacolor that’s faded a little is also somewhat similar.
Paperflowers – Buckeye, AZ – Fujifilm X-T5 – “Vintage Bronze”
Because of the blue color rendering difference between X-Trans IV and V, this Vintage Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. You can use it on those X-Trans IV cameras with Eterna Bleach Bypass, but the rendering will be slightly different (give it a try anyway). I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain.
Film Simulation: Eterna Bleach Bypass Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, +6 Red & -8 Blue Dynamic Range: DR200 Highlight: 0 Shadow: -1 Color: 0 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to 0 (typically)
Example photographs, all camera-made JPEGs using this “Vintage Bronze” Film Simulation Recipe on my Fujifilm X-T5:
Sunset Over White Truck – Surprise, AZ – Fujifilm X-T5
Ford Wagon – Surprise, AZ – Fujifilm X-T5
5 & 6 – Surprise, AZ – Fujifilm X-T5
Cart Lock – Avondale, AZ – Fujifilm X-T5
Bus – Goodyear, AZ – Fujifilm X-T5
Jon in December – Surprise, AZ – Fujifilm X-T5
Johanna & Lens Flare – Buckeye, AZ – Fujifilm X-T5
Outdoor Lightbulbs – Buckeye, AZ – Fujifilm X-T5
Projector – Surprise, AZ – Fujifilm X-T5
Abstract Snow – Surprise, AZ – Fujifilm X-T5
Christmas Song – Surprise, AZ – Fujifilm X-T5
Winter Guitar – Surprise, AZ – Fujifilm X-T5
A Gift For You – Buckeye, AZ – Fujifilm X-T5
Joy, Unsure – Goodyear, AZ – Fujifilm X-T5
Reading the Paper in December – Goodyear, AZ – Fujifilm X-T5
Sprinkled Donut – Goodyear, AZ – Fujifilm X-T5
Softdrinks – Buckeye, AZ – Fujifilm X-T5
Rudolph – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Many Fujifilm photographers use Film Simulation Recipes, which are JPEG camera settings that produce a specific look (often based on classic film stocks) straight-out-of-camera, no editing required. I have published over 250 Film Simulation Recipes on this website, which can also be found on the Fuji X Weekly App for easy access on the go. Using recipes on Fujifilm cameras is a great way to streamline your workflow while still getting great results that appear as though you post-processed or perhaps even shot with film.
Some advantages of using recipes on Fujifilm cameras are simplicity (quickly and easily achieve a desired aesthetic with little or no editing), authenticity (film-like quality that doesn’t appear heavily manipulated), consistency (a single recipe over a series of pictures produces a cohesive visual style), and productivity (not editing pictures saves a lot of time). Because there are so many recipes to choose from, it can be difficult to know which recipe to use when; perhaps none of them are precisely what you are looking for, or you are just feeling adventurous, so you want try your hand at crafting your very own Film Simulation Recipe.
A lot of people don’t have an interest in creating recipes; instead, they want one that’s already been perfected and matches their style. For most people, a Film Simulation Recipe currently exists that works well for them, it’s just a matter of figuring out which one (or ones, as it could be several, situationally dependent). Or maybe you enjoy trying them all! There’s no singular approach to using recipes with your Fujifilm camera.
Those who do want to try to make their very own recipe—because they haven’t found “the one” yet, or because they want a look that’s unique to them, or because they’re feeling creative and adventurous—might not know how to do it or even where to start. This article is intended to help with that. I will walk you through the process of crafting a Film Simulation Recipe, so that you know how to make your own.
Don’t Climb on the Bikes – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Each Film Simulation Recipe has its own origin story. Very rarely did two come about the exact same way. Most, however, begin with an aesthetic idea—what look do I want the recipe to resemble? A lot of times it’s a specific film stock, usually specific images from a certain film. One film can usually produce many different looks depending on a whole host of factors, including (but not limited to) how it was shot, developed and scanned. I study pictures to get a good sense of what the aesthetic is, so that I can recreate it as closely as possible on my Fujifilm camera. It’s never a perfect facsimile because the tools on the camera are limited, film and digital behave divergently, and one film can produce many looks; however, I surprise myself sometimes just how close one recipe can come to the aesthetic I was trying to mimic. There’s a lot of trial-and-error involved. A lot of testing. But the beginning is almost always an idea or inspiration. For the Film Simulation Recipe example in this article—Emulsion ’86—the origin was the pilot episode of Little House on the Prairie. I was really attracted to the cinematography, and wanted to recreate the look.
Once you know the aesthetic that you want to achieve, the next step is figuring out a base starting point—the Film Simulation. I decided the film simulation that most closely matched the cinematography was Nostalgic Neg., which is only found on the newest cameras, including the Fujifilm X-T5. Eterna is similar, too, but I felt not vibrant enough or warm enough in the shadows—it could also be a good starting point, and I considered using it, but opted for Nostalgic Neg. instead. Each film simulation produces a different look, so you want to find the best base film simulation for your recipe. If you want to learn more about the various film simulations, there is a video by Vistek that’s definitely worth watching (click here).
Once you have the base figured out, it’s time to fine-tune it to achieve your desired look. There are a lot of different settings, some of which are only available on the newer models. We’ll only briefly discuss each, because I don’t want to get bogged down in the details. I’ll link to an article or video for the settings, in case you need further explanations. You can find these settings in the IQ Menu subset and in Edit/Save Custom Settings. If you are unsure of how to program a Film Simulation Recipe into your Fujifilm camera, click here and here.
– Dynamic Range. Choose either DR-Auto (the camera will choose either DR100 or DR200), DR100, DR200, or DR400 (note: D-Range Priority or HDR can be used in lieu of a DR setting, and can also be considered). The Dynamic Range settings are primarily for protecting highlights, but affect the luminosity curve. DR100 protects highlights from clipping the least, while DR400 protects the highlights from clipping the most; however, DR400 requires a higher ISO and produces a lower-contrast image. Click here, here, here, here, and here to learn more. For my recipe, I wanted to protect highlights the most because I planned to expose the image more, so I chose DR400. – Grain. Only X-Trans III and newer cameras have a faux Grain option (Off, Weak, or Strong), and only the X-Pro3 and newer have the option for Grain Size (Small or Large). The Acros film simulation is the only one with built-in grain (the faux Grain options can be used in addition to the built-in Acros grain). High-ISO digital noise on Fujifilm cameras can produce a film-grain-like effect, too, and is something else to be considered. Click here, here, here, and here to learn more. For this recipe, I decided I like Grain set to Strong/Small after testing a couple options. – Color Chrome Effect and Color Chrome FX Blue. These settings deepen the tonality of certain colors (renders them darker) so that they retain more details when they are especially vibrant. For each, the options are Off, Weak, or Strong. For more information, click here, here, and here. I chose Color Chrome Effect set to Strong (for darker reds) and Color Chrome FX Blue set to Off (for lighter blues).
Pink Blossom Bush – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
– White Balance and Shift. This is an important tool for altering the aesthetic of the base film simulation. First, it’s important to understand that most color films were either Daylight balanced (around 5500K) or Tungsten balanced (around 3200K), so if you want to mimic film, choosing a similar white balance is a good option. You can significantly manipulate the cast using white balance and shift together. Unfortunately, cameras older than the X-Pro3 cannot save a WB Shift within C1-C7 Custom Settings Presets. Click here, here, and here to learn more. After much experimenting, I landed on Daylight White Balance with a Shift of +2 Red & -1 Blue. – Highlight and Shadow. This is found within Tone Curve on newer cameras. Highlight and Shadow is what adjusts the luminosity curve. -2 is the least (least highlight, least shadows), and +4 (or +2 on older models) is the most (strongest highlights, deepest shadows). This also highly affects contrast. To learn more, click here and here. I set Highlight to -2 to soften them and protect them from clipping, and I set Shadow to +2 to deepen shadows and increase contrast. – Color. This sets the vibrancy, from -4 (least vibrant) to +4 (most vibrant). For more information, click here. I wanted more highly saturated colors, so I went with +4. – Sharpness and Noise Reduction. Choose between -4 and +4 (-2 and +2 on older models). On newer cameras, Noise Reduction is renamed High ISO NR, but it’s the same thing. I typically (but not always) stay within -2 and +2 Sharpness (-1 and +1 on older models). I feel that Fujifilm’s Noise Reduction is too strong, so I like to use a minus setting. Click here, here, and here to learn more. I set Sharpness to -2 and Noise Reduction to -4 for this new recipe. – Clarity. This is a micro-contrast adjustment, either more (+1 to +5) or less (-1 to -5), with 0 being Off. Using a minus Clarity setting is similar to using a diffusion filter. Clarity does slow down the camera, as there is a “Storing” pause after each exposure, and continuous shooting modes (CL and CH) disable this setting. Only the X-Pro3 and newer models have Clarity. Click here and here for more information. I wanted a softer look, so I set Clarity to -3.
There are two other important parts of a recipe. First, you have to decide the maximum (and maybe minimum) ISO. I like to use Auto-ISO the majority of the time. For color photography, I feel most Fujifilm cameras do well up to ISO 6400, but that’s just my personal tolerance. You might want to top it out at ISO 3200 or ISO 12800, or whatever you prefer. To learn more, click here, here, and here. For this recipe I set Auto-ISO to be up to ISO 6400. Finally, you have to decide how much Exposure Compensation you typically want. Do you want brighter or darker results? This works hand-in-hand with the luminosity curve you’ve created with DR, Highlight, and Shadow. A word of caution is that each exposure should be judged individually, and typical exposure compensation is merely a starting point, and not a rule. Click here and here to learn more. For my recipe, I wanted a brighter picture, so I usually increase the exposure over what the meter says, typically by +2/3 to +1-1/3 stop.
The very last step is to give your new Film Simulation Recipe a name. Even though the pilot episode of Little House on the Prairie was the initial inspiration for my recipe, after visiting Balboa Park in San Diego, I had a change of perspective. You see, Balboa Park has hosted two different World Expositions (in 1915 and 1935)—remnants of which are still prominent to this day—which reminded me of my own World’s Fair experience: when I was six years old, my family and I went to Expo ’86 in Vancouver, Canada. I found many old pictures of that event—personal, in books, and online—and this recipe was highly reminiscent of some of those photographs. This Film Simulation Recipe produces a nostalgic analog aesthetic that is similar to some pictures from the mid-1980’s (presumably primarily Kodak emulsions, but I’m not certain), so I named it Emulsion ’86.
If you like your recipe creation, consider sharing it with the Fujifilm community so that others can use it, too. If you don’t have a place to share it, the Fuji X Weekly Community Recipes page is for you!
Old California Architecture – San Diego, CA – Fujifilm X-T5 – “Emulsion ’86”
This Emulsion ’86 Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This recipe does well for both sunny daylight and rainy overcast photography.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -1 Blue Dynamic Range: DR400 Highlight: -2 Shadow: +2 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1-1/3 (typically)
Example photographs, all camera-made JPEGs using this “Emulsion ’86” Film Simulation Recipe on my Fujifilm X-T5:
Bobcat on the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Rainy Day at the Beach – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
No Lifeguard on Duty – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
Two Surfers Walking – Oceanside, CA – Fujifilm X-T5 – “Emulsion ’86”
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The story doesn’t end there. Recently, Fuji X Weekly reader Dan Allen wanted to help create an Ilford FP4 Plus 125 recipe, and he purchased some rolls of the film to shoot side-by-side with his Fujifilm camera. When he told me this, I sent him Anders’ recipe to try. After he did his experiment, Dan shared with me the results, which were quite fascinating. It turns out that Dan’s Ilford frames and his Fujifilm digital pictures (using Anders’ recipe) looked similar, but the Ilford frames had less contrast, with softer highlights and shadows, so I made a few small modifications to Anders’ recipe to better match Dan’s pictures. Of course, one film can have many different looks, depending on how it was shot, developed, printed, and/or scanned. “This particular film stock,” Anders told me, “is highly tunable, ranging from super clean to ultra gritty.” No single recipe will ever recreate every possible aesthetic from the film.
“Just like the real thing,” Anders explained to me, “a slight underexposure protects the highlights and improves contrast. Centered around the upper half of the grayscale, this recipe ranges from soft and dreamy to sharp and almost graphic with pencil-like lines. It will almost never go entirely black and is great for shadow details.” Ilford originally introduced FP4 Plus 125 way back in 1968, and in 2014 they improved the emulsion, which is what’s currently available.
Bougainvillea Grey – Buckeye, AZ – Fujifilm X-T5 – “Ilford FP4 Plus 125”
If you want to use Anders Lindborg’s recipe as he created it, set Dynamic Range to DR100, Highlight to 0, and Shadow to -1. He says that you can “really go crazy” with Clarity and Grain—try Clarity anywhere from -2 to +4, with Grain Weak/Small when using less Clarity (for a cleaner look) and Grain Strong/Large when using more Clarity (for a grittier look). Also, feel free to use the different faux filter options (+Ye, +R, +G) with this recipe.
The Ilford FP4 Plus 125 Film Simulation Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2S, and newer X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II. If you have an X100V or X-Pro3, you can use Anders’ unmodified version (explained above); for the X-T3, X-T30, plus X-Trans III, additionally ignore Clarity and Grain size. This recipe is especially well suited for mid-to-high contrast scenes, paying careful attention to the highlights so as to not clip them.
Film Simulation: Monochrome Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, +6 Red & -8 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: -1.5 Monochromatic Color: 0 WC & 0 MG Sharpness: 0 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1 to -1/3 (typically)
Example photographs, all camera-made JPEGs using this “Ilford FP4 Plus 125” Film Simulation Recipe on my Fujifilm X-T5:
Projector Light – Surprise, AZ – Fujifilm X-T5
Fog Lights – Surprise, AZ – Fujifilm X-T5
Disco Ball – Surprise, AZ – Fujifilm X-T5
Christmas Concert – Surprise, AZ – Fujifilm X-T5
Light Lines – Surprise, AZ – Fujifilm X-T5
Window Shade Pull – Buckeye, AZ – Fujifilm X-T5
Window Light on a Small Rug – Buckeye, AZ – Fujifilm X-T5
Call it a Fuji X Weekly Holiday – Buckeye, AZ – Fujifilm X-T5
Christmas Gift – Buckeye, AZ – Fujifilm X-T5
Legos for Christmas – Buckeye, AZ – Fujifilm X-T5
Was a Rose – Buckeye, AZ – Fujifilm X-T5
Backlit Petunia – Goodyear, AZ – Fujifilm X-T5
Dark Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Lizard on a Wall – Buckeye, AZ – Fujifilm X-T5
Block Wall – Buckeye, AZ – Fujifilm X-T5
Gate – Buckeye, AZ – Fujifilm X-T5
Joy – Goodyear, AZ – Fujifilm X-T5
Waiting by the Pool – Goodyear, AZ – Fujifilm X-T5
Butcher – Avondale, AZ – Fujifilm X-T5
Tamale TV – Avondale, AZ – Fujifilm X-T5
Reading the Morning Paper – Goodyear, AZ – Fujifilm X-T5
Coffee Sugar – Goodyear, AZ – Fujifilm X-T5
Hydrant Top – Buckeye, AZ – Fujifilm X-T5
Geometric – Buckeye, AZ – Fujifilm X-T5
Suburban Rooftop – Buckeye, AZ – Fujifilm X-T5
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This recipe began as an attempt to mimic my “Nostalgic Negative” Film Simulation Recipe for X-Trans IV cameras using the new Nostalgic Neg. film simulation instead of Classic Chrome. I made that recipe before any camera with Nostalgic Neg. had even been released, when there weren’t very many samples available, and little information had been given about it. I observed “something along the lines of Eterna gradation, [with] the Classic Chrome color palette (however, with a warm shift)….” I also stated that it would “likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation….” Turns out that I was right about both.
I set out to see how close I could get to that X-Trans IV Nostalgic Negative recipe using Nostalgic Neg, on my X-T5. I was hoping that I could get a close match, but unfortunately I was only able to get it to be about 90% similar. Even though it wasn’t an exact match, I still liked the aesthetic. From there I gave it a couple of small tweaks to make it look better (but less like the X-Trans IV recipe), and that’s how this Kodak Negative recipe came to be.
To my eyes, without digging too deeply into samples (just “memory color”), this recipe is reminiscent of Kodak Ektar 100. Maybe +4 Color isn’t quite high enough to mimic Ektar film, but there are definitely some similarities between this recipe and the film. I didn’t set out to recreate Ektar, so I’m not worried that it’s not an exact match. There’s certainly a vibrant Kodak color negative film vibe to this recipe; if not Ektar, then maybe Royal Gold 100 or Gold 100 or something along those lines.
Looking Through the Stone – Buckeye, AZ – Fujifilm X-T5 – “Kodak Negative”
This Kodak Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. This Kodak Negative recipe is especially well-suited for golden hour photography, but can also be used during most other light situations.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -4 Blue Dynamic Range: DR400 Highlight: -0.5 Shadow: +2.5 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Negative” Film Simulation Recipe on my Fujifilm X-T5:
Church Dome – Litchfield Park, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Water & Reflection – Litchfield Park, AZ – Fujifilm X-T5
Lake Lamp – Litchfield Park, AZ – Fujifilm X-T5
Pond at Last Light – Buckeye, AZ – Fujifilm X-T5
Disappearing Desert Light – Buckeye, AZ – Fujifilm X-T5
Approaching Dusk at Pond – Buckeye, AZ – Fujifilm X-T5
Pond Water – Buckeye, AZ – Fujifilm X-T5
Palm Tree Moon – Litchfield Park, AZ – Fujifilm X-T5
Media Center – Buckeye, AZ – Fujifilm X-T5
Golden Triangle – Buckeye, AZ – Fujifilm X-T5
Golden Leaves – Litchfield Park, AZ – Fujifilm X-T5
Tree Top Clouds – Buckeye, AZ – Fujifilm X-T5
Lakeside Townhomes – Litchfield Park, AZ – Fujifilm X-T5
Soft Shrub – Buckeye, AZ – Fujifilm X-T5
Three Oranges – Litchfield Park, AZ – Fujifilm X-T5
Me Photographing Me – Litchfield Park, AZ – Fujifilm X-T5
Observing the Lake for Fish – Litchfield Park, AZ – Fujifilm X-T5
Worn Wood – Litchfield Park, AZ – Fujifilm X-T5
Pier Leg – Litchfield Park, AZ – Fujifilm X-T5
Lantana – Litchfield Park, AZ – Fujifilm X-T5
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109 – Farmington, UT – Fujifilm X-Pro1 – “Color Analog”
For this Film Simulation Recipe I didn’t attempt to model any specific film; instead, I wanted a low-saturation, low-to-mid contrast recipe that would remind me of color negative film. I wanted it to be warm, but not overly warm. After several tries, I landed on some settings that I liked. While I didn’t have any film in mind when I created this recipe, it is vaguely reminiscent of Kodak Portra 160 NC, which was a “neutral color” (low-saturation) version of Portra film that was around from 1998 to 2010, when it was discontinued. It’s not an exact match to that film, but is simply by chance in the neighborhood of it. As Lefty Gomez famously said, “I’d rather be lucky than good.”
This recipe is a good daylight and golden hour option, and does alright in overcast conditions, too. If I were to suggest C1-C7 Custom Presets for the X-Pro1, this is one that I would include. I would also consider Color Negative Film, either Kodachrome I or Kodachrome II, Vivid Color, Superia Xtra 400, and Monochrome. I know that’s only six (not seven), but you wouldn’t have to remember to change the White Balance Shift when switching presets because each of these calls for a different White Balance type—you could pick one other recipe (but you’ll just have to remember to switch the shift when changing presets) or leave the seventh spot empty.
This Color Analog recipe was an Early-Access Recipe on the Fuji X Weekly App, and Patrons have had access to it since April. It’s been replaced by a different Early-Access Recipe (look for that one in the App!), so now this Color Analog recipe is available to everyone! It’s compatible the Fujifilm X-Pro1 and X-E1 cameras, but not the X-M1 because that camera doesn’t have PRO Neg. Std for some reason. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different.
PRO Neg. Std Dynamic Range: DR200 Highlight: -1 (Medium-Soft) Shadow: +1 (Medium-Hard) Color: -2 (Low) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, -1 Red & -4 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Color Analog” Film Simulation Recipe on my Fujifilm X-Pro1:
Daffodil Garden – Farmington, UT – Fujifilm X-Pro1
Daylight Pines – Bountiful, UT – Fujifilm X-Pro1
Pear Blossom Sky – Farmington, UT – Fujifilm X-Pro1
Creek Rocks – Bountiful, UT – Fujifilm X-Pro1
Newly Bloomed – Bountiful, UT – Fujifilm X-Pro1
White Fruit Tree Blossoms – Bountiful, UT – Fujifilm X-Pro1
Round & Red – Bountiful, UT – Fujifilm X-Pro1
Aperture Artifact Apparition – Bountiful, UT – Fujifilm X-Pro1
Sunlight Through Tree Branches – Bountiful, UT – Fujifilm X-Pro1
Suspended Sun – Bountiful, UT – Fujifilm X-Pro1
Reflection Structure – Farmington, UT – Fujifilm X-Pro1
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Bougainvillea Day – Buckeye, AZ – Fujifilm X-M1 – “Reminiscent Print”
This Film Simulation Recipe came about as an experiment after reading that film photographers weren’t meant to like the Provia film simulation because they’d find it to be too hard. So, I thought, maybe that’s true, and perhaps I can make it less hard and more, something that film photographers might find to be “just right” (as Fujifilm put it). It took some trial-and-error, but I do believe that I have succeeded! This is a much, much better “standard” setting than default Provia, and, if you have a background in film photography, you’ll appreciate this recipe.
I find this new recipe to be reminiscent of cheap color negative film shot in point-‘n’-shoot cameras and printed at a one-hour lab, probably on Fujicolor Crystal Archive paper. It’s not intended to resemble that, but to me it does. I’m reminded of the 4″ x 6″ prints from 20+ years ago that are sitting in a box in the closet, or are carefully arranged in a photo album at my parent’s house. That’s why I call it Reminiscent Print.
Classic Car Denim – Goodyear, AZ – Fujifilm X-M1 – “Reminiscent Print”
This new Reminiscent Print Patron Early-Access recipe is compatible the Fujifilm X-Pro1, X-E1, and X-M1 cameras. Those with X-Trans II and Bayer cameras can also use it, although the results will be just a little different. If you are a Fuji X Weekly App Patron, it’s available to you right now on the App!
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!
Example photographs, all camera-made JPEGs captured using this “Reminiscent Print” Film Simulation Recipe on my Fujifilm X-M1:
Pier Post – Litchfield Park, AZ – Fujifilm X-M1– Photo by Jonathan Roesch
Light & Water – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Fine Morning for Fishing – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Line in the Lake – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Pier Reflections – Litchfield Park, AZ – Fujifilm X-M1 – Photo by Jonathan Roesch
Better Days Behind – Litchfield Park, AZ – Fujifilm X-M1
Church Bells – Litchfield Park, AZ – Fujifilm X-M1
Unlit Canopy – Buckeye, AZ – Fujifilm X-M1
Red Bougainvillea Blossoms – Buckeye, AZ – Fujifilm X-M1
Backyard Bougainvillea – Buckeye, AZ – Fujifilm X-M1
Autumn Orange – Litchfield Park, AZ – Fujifilm X-M1
Oranges – Litchfield Park, AZ – Fujifilm X-M1
Bucket Blossom – Buckeye, AZ – Fujifilm X-M1
Pink Rose Bud – Buckeye, AZ – Fujifilm X-M1
Peace & Minecraft – Buckeye, AZ – Fujifilm X-M1
Ball Toss – Buckeye, AZ – Fujifilm X-M1
All the World’s a Stage – Buckeye, AZ – Fujifilm X-M1
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Swath of Red – Buckeye, AZ – Fujifilm X-T5 – “Kodak Portra 400 v2”
This is a simple update to the Kodak Portra 400 v2 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Chrome. For this recipe, simply setting Color Chrome FX Blue from Weak to Off makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.
Kodak Portra 400 is a popular professional-grade color negative film introduced in 1998. There’s been a number of revisions and improvements to the emulsion over the years, so the Portra that’s available today is slightly different than the original Portra from roughly 25 years ago. As the name suggests, it’s intended for portraitures, but is also a popular option for many other genres of photography. One film can have several different aesthetics depending on many factors, and this particular Film Simulation Recipe is modeled after the Kodak Portra 400 pictures from a specific photographer. It’s one of my absolute favorite recipes for daylight and especially golden hour photography, and it does pretty well in several other light conditions; however, it’s probably not the best option for indoor artificial light, unless you want especially warm pictures.
This Kodak Portra 400 v2 Film Simulation Recipe is intended for Fujifilm X-Trans V models. It’s compatible with newer GFX cameras too, but will likely render slightly different. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodak Portra 400 v2 recipe for those models (click here). If you have an X-T3 or X-T30, try the version for those cameras (click here).
Film Simulation: Classic Chrome Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 5200K, +1 Red & -6 Blue Dynamic Range: DR400 Highlight: 0 Shadow: -2 Color: +2 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” Film Simulation Recipe on my Fujifilm X-T5:
Christmas Angel – Buckeye, AZ – Fujifilm X-T5
Nativity – Buckeye, AZ – Fujifilm X-T5
Happy Holidays – Buckeye, AZ – Fujifilm X-T5
Lemons – Buckeye, AZ – Fujifilm X-T5
Changing Seasons – Buckeye, AZ – Fujifilm X-T5
Leaves on the Concrete – Buckeye, AZ – Fujifilm X-T5
GCR – Williams, AZ – Fujifilm X-T5
Lighted Cupola – Williams, AZ – Fujifilm X-T5
Sisters – Williams, AZ – Fujifilm X-T5
Brothers – Buckeye, AZ – Fujifilm X-T5
December Fog – Buckeye, AZ – Fujifilm X-T5
Multi-Arm Saguaro – Buckeye, AZ – Fujifilm X-T5
Saguaro Mist – Buckeye, AZ – Fujifilm X-T5
Wall Cage – Buckeye, AZ – Fujifilm X-T5
Super Star – Glendale. AZ – Fujifilm X-T5
I Believe – Avondale, AZ – Fujifilm X-T5
Standing in the Sun – Avondale, AZ – Fujifilm X-T5
Untidy Palm – Palo Verde, AZ – Fujifilm X-T5
Misty Desert Hills – Buckeye, AZ – Fujifilm X-T5
It Was All Yellow – Buckeye, AZ – Fujifilm X-T5
Small Pop of Color – Buckeye, AZ – Fujifilm X-T5
Clouds & Brown Trees – Buckeye, AZ – Fujifilm X-T5
Golden Neighborhood – Buckeye, AZ – Fujifilm X-T5
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I purchased the Fujifilm X-T5 specifically to try the Nostalgic Neg. film simulation, then, after using it, I discovered Nostalgic Neg. has a lot in common with Eterna. I initially stated that the new film simulation is as if Classic Chrome and Eterna had a baby—it has some similarities to both—but it is more like Eterna than Classic Chrome. If a Nostalgic Neg. recipe calls for minus Color, it’s possible to fairly closely approximate it with Eterna. One difference is that Nostalgic Neg. has more warmth and vibrancy in the shadows, which is unique to the new film simulation, but otherwise you can get pretty close.
This Film Simulation Recipe is a facsimile of Timeless Negative for X-Trans V cameras, using Eterna instead of the Nostalgic Neg., as only the latest cameras have the new film simulation. I think many of you are going to like it because it produces very lovely images in a variety of situations. It’s great for daylight, nighttime, golden hour, overcast, indoor, portraits, landscapes, etc., etc.. Once you program this one into your camera, you might not ever replace it, since it does so well in a lot of scenarios.
This version of Timeless Negative is intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. You can use this on X-Trans V cameras, too, if you want (although I would suggest the recipe with Nostalgic Neg.) by setting Color Chrome FX Blue to Off. For the X-T3, X-T30, if you ignore Grain size, Color Chrome FX Blue, and Clarity (or, even better, use a 5% CineBloom diffusion filter in lieu of Clarity), you’ll still get similar results, but it will look slightly different (give it a try anyway). I am currently working on a Nostalgic Neg.-like recipe for the X-T3 and X-T30 (and possibly the X-H1, too); if you are a Fuji X Weekly App Patron, there is an Early-Access Recipe (actually, two) called Vintage Eterna that unintentionally has some similarities to Nostalgic Neg., and I invite you to give that a try, too.
Eterna Dynamic Range: DR200 Highlight: +1 Shadow: -1 Color: +3 Noise Reduction: -4 Sharpness: 0 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Weak White Balance: Auto, +4 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X100V:
Candle – Buckeye, AZ – Fujifilm X100V
Drab Pink Blossom – Buckeye, AZ – Fujifilm X100V
Rainy Day Lightbulb – Buckeye, AZ – Fujifilm X100V
Joyful Corridor – Buckeye, AZ – Fujifilm X100V
Coffee, Waiting – Buckeye, AZ – Fujifilm X100V
Dear Santa – Buckeye, AZ – Fujifilm X100V
Oh Christmas Tree – Buckeye, AZ – Fujifilm X100V
North Pole Post – Buckeye, AZ – Fujifilm X100V
Saint Nicholas – Buckeye, AZ – Fujifilm X100V
Metalic Pinecone – Buckeye, AZ – Fujifilm X100V
Oleander Evening – Buckeye, AZ – Fujifilm X100V
Downtown Dusk – Buckeye, AZ – Fujifilm X100V
Color Transparencies – Buckeye, AZ – Fujifilm X100V
Night Lights – Buckeye, AZ – Fujifilm X100V
O Tannenbaum – Buckeye, AZ – Fujifilm X100V
Fountain – Buckeye, AZ – Fujifilm X100V
Green Leaf – Buckeye, AZ – Fujifilm X100V
Aslan – Buckeye, AZ – Fujifilm X100V
Upward Abstract – Buckeye, AZ – Fujifilm X100V
Palm Sky Vapor – Buckeye, AZ – Fujifilm X100V
Autumn Gold – Buckeye, AZ – Fujifilm X100V
Transition – Buckeye, AZ – Fujifilm X100V
Bougainvillea & Changing Weather – Buckeye, AZ – Fujifilm X100V
Bougainvillea in Autumn – Buckeye, AZ – Fujifilm X100V
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Right Around the Bend – Arlington, AZ – Fujifilm X-T5 – “Kodak Vericolor Warm”
I wasn’t sure if I should publish this Film Simulation Recipe, but then I thought, why not? Initially, the intention was simply to see how the Nostalgic Neg. film simulation looks with Dynamic Range set to DR100, and how the X-T5 images look at ISO 125, which is the base-ISO of X-Trans V cameras. I didn’t model these settings after any specific film aesthetic; instead, I borrowed the GAF 500 Film Simulation Recipe‘s white balance (modified just a little after a couple test shots), and was also inspired by Kodak Portra 400 and Reggie’s Portra recipes. I wasn’t sure what to expect from this, but I ended up really liking it!
So what does this Film Simulation Recipe most closely resemble? Unintentionally, I think it has some similarities to Kodak Vericolor film. What’s Kodak Vericolor? Originally introduced in 1971 as an ISO 100 professional color negative film, Kodak made two version of Vericolor: NPS (also known as S-Type) for short exposures (Daylight balanced) and NPL (also known as L-Type) for long exposures (Tungsten balanced). Just a few years later Kodak improved the emulsions and in 1974 introduced Vericolor II NPS and NPL, which was also ISO 100. In 1983 Kodak improved the emulsion once again and introduced Vericolor III, which was ISO 160 for NPS and ISO 100 for NPL; however, the NPL version was later spun off as Ektacolor Pro Gold 100T and later Portra 100T, while Vericolor III NPS was renamed Vericolor III 160. Later (sometime in the late-1980’s, although I couldn’t pinpoint a specific year), Kodak introduced a new high-ISO version called Vericolor III 400. Vericolor III 160 and 400 were replaced by Portra 160 and 400 in 1998. This recipe by chance shares a resemblance to Vericolor III 160 or perhaps Vericolor II NPS, but I think it is more warm, and perhaps more like if an 81A Color Correction Filter was used in conjunction with the film, a common technique in the film era, and maybe a CPL filter, too.
This Kodak Vericolor Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, consider the Kodak Portra 160, Kodak Portra 400, and Reggie’s Portra as alternatives for those with X-Trans IV models. This Kodak Vericolor Warm recipe is especially well-suited for daylight photography, but can also be used during “blue hour” and overcast situations.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 3000K, +8 Red & -9 Blue Dynamic Range: DR100 Highlight: -2 Shadow: -1 Color: +2 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 using this “Kodak Vericolor Warm” Film Simulation Recipe on my Fujifilm X-T5:
Blue Sky Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Rose in the Garden – Buckeye, AZ – Fujifilm X-T5
Triple Leaves – Buckeye, AZ – Fujifilm X-T5
Water Pipe – Arlington, AZ – Fujifilm X-T5
Trioliet – Arlington, AZ – Fujifilm X-T5
Tired Old Bus – Arlington, AZ – Fujifilm X-T5
Four Lights – Arlington, AZ – Fujifilm X-T5
Tractor Pipe – Arlington, AZ – Fujifilm X-T5
Cattle Co – Arlington, AZ – Fujifilm X-T5
Industrial Water – Arlington, AZ – Fujifilm X-T5
Tree on the Bank – Arlington, AZ – Fujifilm X-T5
Fujifilm Photographer – Arlington, AZ – Fujifilm X-T5
Roadside Memorial – Arlington, AZ – Fujifilm X-T5
Feed Barn – Palo Verde, AZ – Fujifilm X-T5
Metal Garage – Arlington, AZ – Fujifilm X-T5
Rust & Lock – Arlington, AZ – Fujifilm X-T5
Ome – Arlington, AZ – Fujifilm X-T5
No Loitering on Bridge – Arlington, AZ – Fujifilm X-T5
Love the Bridge – Arlington, AZ – Fujifilm X-T5
Goat Man – Arlington, AZ – Fujifilm X-T5
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Red & Green Bush – Buckeye, AZ – Fujifilm X-T5 – “Superia Xtra 400”
This is a simple update to the Superia Xtra 400 Film Simulation Recipe, which was originally made for X-Trans IV cameras. I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations, including Classic Negative. For this recipe, simply setting Color Chrome FX Blue from Strong to Weak makes it compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S.
Thomas Schwab created the Superia Xtra 400 recipe by capturing a roll of actual Superia Xtra 400 film while also capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, he worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating it! He shared with me some of his side-by-side pictures—comparing the film with his recipe—and it was tough to figure out which was which—they looked so close! Also, just recently another photographer shot a roll of Superia Xtra 400 film and used the Superia Xtra 400 recipe on his Fujifilm camera, and he shared with me the similar results he got between the two. Amazing! Of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic of one emulsion can vary significantly.
Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years. This recipe is for Fujifilm X-Trans V cameras. Those with newer GFX models can use it, too, although it will likely render slightly differently.
Film Simulation: Classic Negative Grain Effect: Strong, Small Color Chrome Effect: Off Color Chrome FX Blue: Weak White Balance: Auto, +3 Red & -5 Blue Dynamic Range: DR400 Highlight: 0 Shadow: -1 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Superia Xtra 400” Film Simulation Recipe on my Fujifilm X-T5:
Forwards or Backwards – Buckeye, AZ – Fujifilm X-T5
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During this last SOOC broadcast, we attempted something never done before by anyone ever: create a new Film Simulation Recipe live on YouTube (which you can find at the 2:09:19 mark, if you missed the show). It was all done randomly. We spun wheels, used random number apps and programs, picked paper out of a hat, conducted a couple polls, and even had a kid pick a number—this recipe was a group effort created by you using chance. A special Thank You to everyone who participated! This was, of course, for fun. I would say that this is the least serious recipe ever to be published on this website, but that doesn’t mean you can’t use it for serious photography, because you absolutely can!
After completing the recipe, we took up name suggestions from the audience, and then ran a poll to decide which to go with, and “Mystery Chrome” won by a significant margin. The mystery is, perhaps, whether or not this is any good, or if anyone will actually use it—or maybe because it was all a mystery as it was being formed, parameter-by-parameter. We (as in the hosts, the guests, and those in the audience) also programmed this recipe into our cameras right away, and while still broadcasting live, we captured a picture, uploaded it, and shared them in the show (my picture is below). That’s the power of Fujifilm cameras and Film Simulation Recipes: within minutes of creating a recipe, people can program it into their cameras, capture an image, and share it across the globe—it can be that quick. Amazing!
Slides – Buckeye, AZ – Fujifilm X-H1 – “Mystery Chrome”
Interestingly, this recipe—completely by luck—has a Kodak-like reversal film look, thanks to Classic Chrome, the white balance, and Highlight/Shadow settings. I think it’s somewhat similar to Kodachrome 200—it’s not quite right for that, but certainly in the ballpark, and probably the closest recipe on this website for that film. This is a high-contrast recipe, and is best for use in low-contrast situations or to achieve bold results in mid or high contrast scenarios. It certainly has the potential to be well-liked, but I don’t suspect it will be anyone’s go-to recipe for everyday photography.
If it were up to me, I would make one modifications to Mystery Chrome: Noise Reduction to -4 instead of +4. I’m not a big fan of the in-camera Noise Reduction, and I like to take it all the way down. For internet viewing, and even 8″ x 12″ prints, you’ll have a hard time even noticing the difference between +4 and -4, but if you zoom in or print larger, it becomes more obvious. Maybe you prefer the increased Noise Reduction; personally, I do not. All of the photos in this article were captured with Noise Reduction set to +4.
This Mystery Chrome Film Simulation Recipe is compatible with all Fujifilm X-Trans III cameras—X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1—plus the X-T3 and X-T30 by simply setting Color Chrome Effect to Off. For newer X-Trans IV cameras, additionally set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large)—if you use it on X-Trans V cameras, blues will render slightly more deeply. For GFX, shadows will render slightly less dark, which you might actually prefer.
Classic Chrome Dynamic Range: DR400 Highlight: +3 Shadow: +4 Color: 0 Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30) Sharpness: -4 Noise Reduction: +4 Grain: Strong White Balance: Daylight, +3 Red & -5 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Mystery Chrome” Film Simulation Recipe on my Fujifilm X-H1:
Slides Plus Canisters – Buckeye, AZ – Fujifilm X-H1
Corvette Abstract – Buckeye, AZ – Fujifilm X-H1
Taco Lamp – Buckeye, AZ – Fujifilm X-H1
Happy Girl – Buckeye, AZ – Fujifilm X-H1
Late Bloomer – Buckeye, AZ – Fujifilm X-H1
Rainbow Trumpets – Buckeye, AZ – Fujifilm X-H1
Wren in Rome – Buckeye, AZ – Fujifilm X-H1
Traffic Flag – Buckeye, AZ – Fujifilm X-H1
Pergola Lights – Buckeye, AZ – Fujifilm X-H1
Autumn Rainbow – Buckeye, AZ – Fujifilm X-H1
Amber Autumn – Buckeye, AZ – Fujifilm X-H1
Brilliant Leaf – Buckeye, AZ – Fujifilm X-H1
Yellow Tree – Buckeye, AZ – Fujifilm X-H1
Bougainvillea & Palm Fronds – Buckeye, AZ – Fujifilm X-H1
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Up or Down – Buckeye, AZ – Fujifilm X-T5 – “Pacific Blues”
I published the Pacific Blues Film Simulation Recipe just four months ago, and it has already become one of the most popular on Fuji X Weekly. The aesthetic is intended to emulate Lucy Laucht‘s Spirit of Summer series, particularly the Positano Bluesphotographs. While it is intended for a summer day at the beach, the recipe works great for many different subjects and situations. Foggy mornings? Yes! Dreary overcast? Yep! Desert landscapes? Sure! Garden flowers? Autumn leaves? Dramatic portraits? Absolutely. And lots, lots more. I’ve even seen some really interesting night photographs with it. Try this recipe for many different light scenarios and different subjects—you’re bound to love it!
Pacific Blues was made for X-Trans IV cameras, and I discovered that a slight tweak is needed for X-Trans V models, because the new sensor renders blues just a little deeper on some film simulations. For X-Trans IV recipes that use Classic Negative, Classic Chrome, Eterna, or Eterna Bleach Bypass and calls for Color Chrome FX Blue Strong, you’ll need to adjust it to Weak on X-Trans V; if it calls for Color Chrome FX Blue Weak, you need to adjust it to Off. If it calls for Color Chrome FX Blue Off, well, you just have to know it will render differently on X-Trans V and there’s nothing you can do about it. For Pacific Blues, setting it to Weak instead of Strong makes it compatible with X-Trans V.
If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, you’ll want to use the original Pacific Blues Film Simulation Recipe. For those with an X-T3 or X-T30, unfortunately Fujifilm never gave your camera the Classic Negative film simulation, so you cannot use Pacific Blues. For those with GFX, if it’s an older model, I think the X-Trans IV version is likely most compatible, and for newer models, this version is likely most compatible; however, I have not tested either version on any GFX model to know for sure. If you have an X-H2, X-H2S, or X-T5 (or any other X-Trans V camera that is released after publication), this is the Pacific Blues recipe that you want to use.
Film Simulation: Classic Negative Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 5800K, +1 Red & -3 Blue Dynamic Range: DR400 Highlight: -2 Shadow: +3 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Pacific Blues” Film Simulation Recipe on my Fujifilm X-T5:
Minolta Garden – Buckeye, AZ – Fujifilm X-T5
Ground Leaves – Buckeye, AZ – Fujifilm X-T5
Wet Lightbulb – Buckeye, AZ – Fujifilm X-T5
Flower in the Rain – Buckeye, AZ – Fujifilm X-T5
Wet Red Rosebud – Buckeye, AZ – Fujifilm X-T5
Wet Red Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Afternoon Bougainvillea – Bcukeye, AZ – Fujifilm X-T5
Illuminated Branch – Buckeye, AZ Fujifilm X-T5
Spiderwebs – Buckeye, AZ – Fujifilm X-T5
Desert Cactus – Buckeye, AZ – Fujifilm X-T5
Misty Morning Desert – Buckeye, AZ – Fujifilm X-T5
Foggy Tree – Buckeye, AZ – Fujifilm X-T5
Neighborhood Fog – Buckeye, AZ – Fujifilm X-T5
Autumn Walkway – Buckeye, AZ – Fujifilm X-T5
Lifting Clouds Over Veiled Ridge – Buckeye, AZ – Fujifilm X-T5
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Soft Rose – Buckeye, AZ – Fujifilm X-T5 – “Timeless Negative”
On February 3, 2021, Fujifilm shared the very first Nostalgic Neg. Film Simulation Recipe. As part of their promotion for the GFX100S, which was the first camera to have the new Nostalgic Neg. film sim, Fujifilm Japan shared a YouTube video, and hidden within was a recipe put together by the creators of Nostalgic Neg. “Nostalgic Negative is tuned for the best allrounder settings, but if you want to tweak it to get that classic American New Color look from the ’70’s, there are some adjustments you should make.” Fujifilm recommended, when using the Nostalgic Neg. film simulation, to set everything to 0, Off, or Auto, except for three things: shift Auto White Balance to +2 Red & -3 Blue, adjust Shadow to -2, and reduce Color to -2. Additional to that, I recommend using -4 High ISO NR.
I’m not a huge fan of Nostalgic Neg. set to factory defaults. It’s not bad, but it’s not what it purports to be, which is a vintage 1970’s aesthetic inspired by Eggleston, Shore, Sternfeld, and Misrach. I think Fujifilm should have had the courage to make their recipe the default, and not worry so much that it wasn’t the “best allrounder” film simulation. Fujifilm’s suggested adjustments do improve Nostalgic Neg. and bring it closer to a ’70’s vibe, but I felt I could improve it just a little more. Of course, that’s all subjective, and you might prefer factory default Nostalgic Neg., or Fujifilm’s recommended recipe, or something different altogether—in other words, when I say that this is “improved” it’s perfectly alright to disagree with that assessment, but hopefully many of you will agree that this is indeed better—at least a little, as my adjustments to Fujifilm’s recipe are pretty subtle. This particular recipe seems to be especially versatile, and can be used for many different genres of photography and in various light conditions—it looks good most anytime of the day or night.
This Timeless Negative Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, Nostalgic Neg. isn’t too dissimilar from Eterna, so perhaps consider the Arizona Analog, SantaColor, Eterna V2, and Polaroid recipes as potential alternatives for those with X-Trans IV models.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +2 Red & -3 Blue Dynamic Range: DR400 Highlight: +2 Shadow: -2 Color: -3 Sharpness: 0 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -2/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Timeless Negative” Film Simulation Recipe on my Fujifilm X-T5:
Dark Coffee – Buckeye, AZ – Fujifilm X-T5
Night Train – Williams, AZ – Fujifilm X-T5
Color Behind Frosted Glass – Williams, AZ – Fujifilm X-T5
Hot Hot Hot – Williams, AZ – Fujifilm X-T5
Sleigh Bell – Williams, AZ – Fujifilm X-T5
Round Trip Ticket – Williams, AZ – Fujifilm X-T5
Dusk Train – Williams, AZ – Fujifilm X-T5
Keep Off – Williams, AZ – Fujifilm X-T5
Please… Use RitchieCam – Williams, AZ – Fujifilm X-T5
Barricades – Williams, AZ – Fujifilm X-T5
ATSF Caboose – Williams, AZ – Fujifilm X-T5
Route 66 Gift Shop – Williams, AZ – Fujifilm X-T5
Car Above, Coke Below – Williams, AZ – Fujifilm X-T5
UnAmerican Experience – Williams, AZ – Fujifilm X-T5
Stop Route 66 – Williams, AZ – Fujifilm X-T5
Los Angeles, 1978 – Buckeye, AZ – Fujifilm X-T5
Looney Tune – Buckeye, AZ – Fujifilm X-T5
Backyard Trumpet Blossoms – Buckeye, AZ – Fujifilm X-T5
Comparison
Factory default Nostalgic Neg., except High ISO NR set to -4.
Nostalgic Neg. with Fujifilm’s suggested adjustments.
This new Timeless Negative Film Simulation Recipe.
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I get asked frequently to create Film Simulation Recipes that mimic the aesthetic of a certain film stock or the look of a particular photographer. In this case, it was the look of a specific photographer that I was asked to recreate. After viewing this person’s images, I thought that they had a lot of similarities with my Kodak Gold 200 recipe except with Superia greens and reds. So I programmed that recipe into my Fujifilm X100V, except with Classic Negative instead of Classic Chrome, plus I made a couple of small modifications. After testing it out, I felt that it produced pictures that were, in fact, quite similar to the photographer’s look. A few days went by, and by chance I stumbled upon some photographs captured with Fujicolor 100 film, and they looked pretty similar to this new recipe. After digging a little deeper, I found some more Fujicolor 100 pictures, and in the description of a few that seemed particularly similar, the photographer mentioned that they used an 81A warming filter.
I’ve heard it said that Fujifilm has historically saved their “best” films for Japan. Indeed, there are Fuji emulsions that, for whatever reasons, aren’t sold outside their home country. Fujicolor 100 is a one of those. I don’t know a whole lot about it (or if it is even still manufactured), but it is a consumer-grade color negative film. I believe that it’s a little warmer than most Fujicolor stocks, but that could also be a result of a warming filter, lens used, how shot, how developed, and/or how scanned, so I’m not completely certain of it. I didn’t model this recipe after Fujicolor 100, but it does seem at times to resemble it surprisingly closely.
Gated Camera Store – Phoenix, AZ – Fujifilm X100V – “Fujicolor 100 Gold”
Because this Fujicolor 100 Gold Film Simulation Recipe uses the Classic Negative film simulation, it’s not compatible with the Fujifilm X-T3 or X-T30, or any other camera without Classic Negative. It is intended for the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II models. Because X-Trans V renders blue deeper, if you use it on an X-T5, X-H2, or X-H2S it will look slightly different, which you might like or dislike or be indifferent to—give it a try and see what you think.
Classic Negative Dynamic Range: DR400 Highlight: -2 Shadow: +1 Color: +3 Noise Reduction: -4 Sharpness: -2 Clarity: -2 Grain Effect: Strong, Small Color Chrome Effect: Off Color Chrome Effect Blue: Off White Balance: Daylight, +4 Red & -5 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs using this “Fujicolor 100 Gold” Film Simulation Recipe on a Fujifilm X100V:
Foto Forum – Phoenix, AZ – Fujifilm X100V
Gas Station Turned Diner – Williams, AZ – Fujifilm X100V
American Shooting Experience – Williams, AZ – Fujifilm X100V
66 Gifts – Williams, AZ – Fujifilm X100V
Hot Hare – Williams, AZ – Fujifilm X100V
Someday Sony – Phoenix, AZ – Fujifilm X100V
One of These is Not Like the Others – Phoenix, AZ – Fujifilm X100V
Self Reflection – Buckeye, AZ – Fujifilm X100V
Confused Santa – Williams, AZ – Fujifilm X100V
Look at this Flower – Buckeye, AZ – Fujifilm X100V
Girl by a Fountain – Buckeye, AZ – Fujifilm X100V
Water Feature – Buckeye, AZ – Fujifilm X100V
Fujifilm X-T5 in a Plant – Buckeye, AZ – Fujifilm X100V
A Pink Bloom – Buckeye, AZ – Fujifilm X100V
Garden Trumpets – Buckeye, AZ – Fujifilm X100V
Small Boats at a Dock – Lynx Lake, AZ – Fujifilm X100V
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Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – “Kodachrome 64”
This isn’t a new Film Simulation Recipe; it’s simply a slight modification of my Kodachrome 64 recipe for X-Trans IV cameras to make it compatible with X-Trans V models. The adjustments are pretty simple: set Color Chrome FX Blue to Off and Shadow to +0.5. Why the Color Chrome FX Blue adjustment? I discovered that with Classic Chrome (and some other film simulations), X-Trans V cameras render blue deeper. Why the change to Shadow? I stated in the X-Trans IV version, “I would set Shadow to +0.5 if I were using these settings on [a] camera [with that option].” With those two modifications, the Kodachrome 64 recipe is ready for your Fujifilm X-Trans V camera!
Kodachrome was a brand-name of color reversal film made by Kodak between 1935 and 2009. There were three eras of Kodachrome: 1935-1960, 1961-1973, and 1974-2009. Each era produced a slightly different look, and the third era is the one you’re probably most familiar with. This recipe is intended to mimic the aesthetic of the third era of Kodachrome, specifically the ISO 64 emulsion.
This Kodachrome 64 Film Simulation Recipe is intended for Fujifilm X-Trans V models, which (as of this writing) include the X-H2, X-H2S, and X-T5 cameras. It’s compatible with newer GFX models too, but will likely render slightly different on those cameras. Those with an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II, try the Kodachrome 64 recipe for those models (click here). Those with an X-T3 or X-T30, try the Kodachrome 64 recipe for those cameras (click here). For those with an X-Trans II model, there’s a Kodachrome 64 recipe for you, too (click here).
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, +2 Red & -5 Blue Dynamic Range: DR200 Highlight: 0 Shadow: +0.5 Color: +2 Sharpness: +1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodachrome 64” Film Simulation Recipe on my Fujifilm X-T5:
Palm Tree Closeup – Palo Verde, AZ – Fujifilm X-T5
Abandoned Mobile Home – Arlington, AZ – Fujifilm X-T5
Store & Bar – Hassayampi, AZ – Fujifilm X-T5
Narrow Bridge – Arlington, AZ – Fujifilm X-T5
Concrete Railroad Ties & Steel Bridge – Arlington, AZ – Fujifilm X-T5
Gillespie Dam – Arlington, AZ – Fujifilm X-T5
Gila River Reeds – Arlington, AZ – Fujifilm X-T5
Flag, Bell, Cross – Arlington, AZ – Fujifilm X-T5
Princess Garden – Buckeye, AZ – Fujifilm X-T5
Secret Garden – Buckeye, AZ – Fujifilm X-T5
Blossomed Garden Rose – Buckeye, AZ – Fujifilm X-T5
Farm Truck – Buckeye, AZ – Fujifilm X-T5
Wall Shadow & Empty Pot – Buckeye, AZ – Fujifilm X-T5
Dusk Lamp – Buckeye, AZ – Fujifilm X-T5
Girl on Swing – Buckeye, AZ – Fujifilm X-T5
Desert Sunset – Buckeye, AZ – Fujifilm X-T5
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
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Short Train – Buckeye, AZ – Fujifilm X-T5 – “1970’s Summer”
This Film Simulation Recipe is the aesthetic that I hoped to achieve with the new Nostalgic Neg. film simulation. What does it resemble? It very much has a nostalgic Kodak “memory color” (as Fujifilm likes to say) that is reminiscent of old color photographs from the 1970’s. You might notice some similarities to William Eggleston’s Election Eve and 2 1/4 series and some of his other work from the late-1960’s through the mid-1970’s—not every picture, but certainly several. You might spot some similarities between this look and some of Stephen Shore’s photographs from the early-to-mid 1970’s. I think there are some similarities to a few of Joel Sternfeld’s American Prospects pictures. There’s a noticeable likeness to several of Richard Misrach’s desert photographs. In other words, this recipe produces a distinct 1970’s American New Color aesthetic.
It shouldn’t surprise you that the Nostalgic Neg. film simulation produces this look because Fujifilm stated that the American New Color movement was the inspiration. Specifically, they looked at the photographs of Eggleston, Shore, Sternfeld, and Misrach, but out-of-the-box default Nostalgic Neg. doesn’t seem to resemble their work all that closely. After examining many of their photographs, and identifying a few from each with a similar aesthetic, I set out to create a Film Simulation Recipe that better mimics some of their pictures. I feel like a got pretty close, and this recipe produces a distinct 1970’s vibe—especially the warmth of summertime—and so I named it 1970’s Summer. This recipe works best in sunny daylight, and is excellent for midday photography.
Going Out of Business – Prescott, AZ – Fujifilm X-T5 – “1970’s Summer”
This 1970’s Summer Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, if you are looking for something somewhat similar, try my Vintage Color recipe, or even Kodak Portra 400 Warm.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6500K, -1 Red & -4 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -0.5 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “1970’s Summer” Film Simulation Recipe on my Fujifilm X-T5:
Red & Gold – Prescott, AZ – Fujifilm X-T5
Adventure’s First Stop – Prescott Valley, AZ – Fujifilm X-T5
Hyundai – Prescott, AZ – Fujifilm X-T5
Cat Clock – Prescott, AZ – Fujifilm X-T5
Propane – Hassayampa, AZ – Fujifilm X-T5
Security Light – Palo Verde, AZ – Fujifilm X-T5
Hay, Detour – – Arlington, AZ – Fujifilm X-T5
Gila River Bridge – Arlington, AZ – Fujifilm X-T5
13 FT 6 IN – Arlington, AZ – Fujifilm X-T5
Around the Bend – Arlington, AZ – Fujifilm X-T5
Gillespie Dam Bridge – Arlington, AZ – Fujifilm X-T5
Desert Dam – Arlington, AZ – Fujifilm X-T5
Julio Suarez – Arlington, AZ – Fujifilm X-T5
Dam Reflection – Arlington, AZ – Fujifilm X-T5
Broken Dam – Arlington, AZ – Fujifilm X-T5
Lakeview – Lynx Lake, AZ – Fujifilm X-T5
Attention Anglers – Lynx Lake, AZ – Fujifilm X-T5
Can’t See the Forest – Lynx Lake, AZ – Fujifilm X-T5
Rural Tree – Arlington, AZ – Fujifilm X-T5
Green Field – Buckeye, AZ – Fujifilm X-T5
Abandoned Rural Home – Palo Verde, AZ – Fujifilm X-T5
More Than Double Wide – Arlington, AZ – Fujifilm X-T5
Hole in the Wall – Arlington, AZ – Fujifilm X-T5
PRA – Arlington, AZ – Fujifilm X-T5
Abandoned & Leaning – Arlington, AZ – Fujifilm X-T5
Desert Basketball – Arlington, AZ – Fujifilm X-T5
Double Cross – Arlington, AZ – Fujifilm X-T5
Palm Trunk & Blocks – Arlington, AZ – Fujifilm X-T5
