Fujifilm film simulation settings

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

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

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

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

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

Fujifilm X-Pro3 Blog

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My White Balance Shift Solution

Posted on November 6 by Ritchie Roesch

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

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

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

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

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

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

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

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

Film Simulation Recipes That Use Other White Balances

Posted on November 2 by Ritchie Roesch

Film

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

Daylight:

Kodachrome 64 (+2R, -5B)

Cloudy/Shade:

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

Fluorescent 1:

Color Negative (-2R, +4B)

Fluorescent 2:

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

Custom:

Portra 400 (+2R, -5B)

Film Simulation Recipes That Use Kelvin White Balance

Posted on November 2 by Ritchie Roesch

Film

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

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

Film Simulation Recipes That Use Auto White Balance

Posted on November 2 by Ritchie Roesch

Fujifilm Film Simulation Blog

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

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

My Fujifilm X-T30 Provia Film Simulation Recipe (Fujichrome Sensia 100)

Posted on November 1 by Ritchie Roesch

Evening Flag – Layton, UT – Fujifilm X-T30 – Provia

The film simulation that Fujifilm calls “standard” is Provia, but of all the color options, Provia is my least favorite. For the most part, I prefer the other film simulations instead. In fact, the only recipes that I’ve created that use Provia are Agfa Optima 200 and Cross Process, both of which are great in their own way. The problem with Provia is that it’s somewhat boring. And it doesn’t resemble the film that it’s named after. The Astia film simulation looks more like real Provia film, and the Provia film simulation more resembles Astia film. Weird, huh? Well, I decided that Provia needed a little more of my love, so I created a new recipe for it.

This Provia recipe reminds me of Fujifilm Fujichrome Sensia 100, although that is strictly coincidental, as I wasn’t attempting any specific film look, just a general analog aesthetic. Fujichrome Sensia 100 was a general-purpose slide film that was discontinued about 10 years ago. It was a popular choice for cross-processing, although that’s not the look you find here. There were three different generations of the film, and each looked very slightly different. I shot a little of the second version of Sensia back in the day, but I usually preferred Velvia or Provia film. This recipe’s accidental resemblance is a happy accident.

Autumn Tree Branches – Riverdale, UT – Fujifilm X-T30 – Provia

The white balance required for this recipe is Warm-White Fluorescent, which is also known as Fluorescent Light 2 or Neon 2. It’s the second fluorescent white balance option underneath cloudy/shade. It’s a bit unusually to select this in daylight, but it works in this case.

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

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

Lost In Thought – South Weber, UT – Fujifilm X-T30

Summer Is Over – South Weber, UT – Fujifilm X-T30

The Last Yellow Leaf – South Weber, UT – Fujifilm X-T30

Abscission – South Weber, UT – Fujifilm X-T30

Leaves of Autumn – South Weber, UT – Fujifilm X-T30

Autumn Sun – South Weber, UT – Fujifilm X-T30

Autumn Tree Trunk – Riverdale, UT – Fujifilm X-T30

Neighborhood Snowfall – South Weber, UT – Fujifilm X-T30

Baseball Boy – South Weber, UT – Fujifilm X-T30

Cottonwood Fall – South Weber, UT – Fujifilm X-T30

My Fujifilm X-T30 Lomography Color 100 Film Simulation Setting

Posted on October 31 by Ritchie Roesch

Misty Mountain Sunset – Layton, UT – Fujifilm X-T30 – “Color 100”

Several different Fuji X Weekly readers have asked me to create a film simulation recipe based on Lomography Color 100 film. Lomography is essentially low-fi film photography, and it’s also the name of a company that sells cameras and film. One of their negative films is Color 100. It’s a popular film among lomographers, but even those who wouldn’t consider themselves a part of the lomography movement have taken notice of it. I’ve never used this particular film myself, as it didn’t exist when I shot a lot of film, so I only had the internet to assist me with creating this recipe.

Besides the fact that I don’t have any first-hand experience with this film, another big hurdle for creating these settings was the film itself. As I researched it, I discovered that Lomography Color 100 film isn’t one single emulsion. In fact, at least two, possibly three, and maybe even four different emulsions have been sold under the name Lomography Color 100! At least two of those, and maybe all of them, are Kodak films. Lomography bought these emulsions at a discount, either because too much was manufactured and the film was approaching its expiration, or because it didn’t pass quality control, and Kodak sold their unwanted film cheaply to Lomography. Which films, you ask? Gold 100 and Pro Image 100, for sure. Ektar 100 possibly. The fourth, if there is a fourth, would be a non-Kodak film, possibly Fujifilm Fujicolor 100, but there’s a good chance that a fourth emulsion for Color 100 never happened.

Curious – South Weber, UT – Fujifilm X-T30 – “Color 100”

Another hurdle with this film simulation recipe is that a lot of people use alternative techniques with Color 100, such as push-process. There’s a big variety with how it’s typically handled by photographers, which makes creating a look that resembles Color 100 quite difficult. Results may vary would be the best description of the film. Despite that, I do believe that this recipe is in the neighborhood of the film, and those looking for an aesthetic that’s close to Color 100 film will appreciate this facsimile of it.

Velvia
Dynamic Range: DR400
Highlight: +1
Shadow: +1
Color: -3
Noise Reduction: -4
Sharpening: +1
Grain Effect: Weak
Color Chrome Effect: Weak
White Balance: Cloudy/Shade, -3 Red & +7 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3

Example photographs, all camera-made JPEGs using this Color 100 film simulation recipe on my Fujifilm X-T30:

Yellow Cottonwood – South Weber, UT – Fujifilm X-T30

Morning Yellow – South Weber, UT – Fujifilm X-T30

Cold Backyard Autumn – South Weber, UT – Fujifilm X-T30

Red Tree Snowfall – South Weber, UT – Fujifilm X-T30

Ball Hitter – South Weber, UT – Fujifilm X-T30

Girl In Bright Sunlight – South Weber, UT – Fujifilm X-T30

Red Autumn Leaves – Riverdale, UT – Fujifilm X-T30

Backyard October Winter – South Weber, UT

October Snow – South Weber, UT – Fujifilm X-T30

Ice Cold Leaf – South Weber, UT – Fujifilm X-T30

Camera Shelf – South Weber, UT – Fujifilm X-T30

R Decor – South Weber, UT – Fujifilm X-T30

My Fujifilm X-T30 Color Negative Film Simulation Recipe

Posted on October 26 by Ritchie Roesch

Evening Light On A Clearing Mountain – Riverdale, UT – Fujifilm X-T30 – “Color Negative”

Silly Putty was invented by accident. There was a shortage of rubber during the second world war, and as a result several companies worked hard to create a synthetic substitute. What we now know as Silly Putty was a failed attempt at synthetic rubber. Even though it didn’t turn out exactly like its inventor had hoped, it still became a useful product that has brought joy to many people across the world. This “Color Negative” film simulation recipe has a similar story to Silly Putty (minus the war and rubber).

I’ve been working on a number of different recipes, trying to mimic several different aesthetics that I’ve been asked to create. One of the films that I’ve been trying to recreate the look of is Fujifilm C200, but I’ve yet to crack the code. This recipe is one of the failed attempts at C200. I like how it looks, so I thought I’d share it, even though it’s not exactly what I was trying for. I hope it become useful and brings joy to someone.

Cameras and Coffee – South Weber, UT – Fujifilm X-T30 – “Color Negative”

I named this recipe “Color Negative” only because it has a general color negative aesthetic, and I didn’t know what else to call it. It’s in the general neighborhood of Fujifilm C200, but it’s not exactly right for that film. Perhaps there’s some generic film that looks similar to this. It doesn’t precisely mimic any one film that I’m aware of, but this recipe does have a film-like quality to it.

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

Note: There was some confusion on the white balance required for this recipe. It’s Fluorescent 1, also called Daylight Fluorescent or Neon 1. It’s the first option underneath Cloudy.

Example photographs, all camera-made JPEGs using my Color Negative Film Simulation recipe on a Fujifilm X-T30:

Fallen Leaves – South Weber, UT – Fujifilm X-T30

Hanging Apple – South Weber, UT – Fujifilm X-T30

Leaf Hanging On – South Weber, UT – Fujifilm X-T30

Boy Unsure – South Weber, UT – Fujifilm X-T30

Joy’s Smile – South Weber, UT – Fujifilm X-T30

White Stars – Roy, UT – Fujifilm X-T30

White Cloud Ridge – South Weber, UT – Fujifilm X-T30

Reserved Parking – South Ogden, UT – Fujifilm X-T30

DR-Auto Film Simulation Recipes

Posted on October 19 by Ritchie Roesch

I thought it might be interesting to separate my film simulation recipes by Dynamic Range setting. There are a ton of different ways that one could organize these, so I thought it might be helpful to somebody to see them in various arrangements. Maybe you’ll see a recipe that you haven’t considered using before, or maybe a certain setting will stand out to you that never crossed your mind before. I don’t really know, but you never know, so I’m just going to do it. For this post I’m separating the film simulation recipes by DR setting. Below are all of my recipes that use DR-Auto:

Kodak Ektar 100

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