Fujifilm X-H1 (X-Trans III + X-T3 & X-T30) Film Simulation Recipe: Everyday Astia

Urban Palm Leaves – Sun City West, AZ – Fujifilm X-H1 – “Everyday Astia”

Earlier this year I started a new Film Simulation Recipe series with the intention of customizing each film simulation to optimize the aesthetic that Fujifilm intended. In other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. The first one was called Standard Provia and the second was called Improved Velvia. And then I stopped. Life happened. I took a long road trip. Now I’m living in another state (Arizona instead of Utah), and I’m picking this series back up again, taking a look at Astia.

The Astia film simulation doesn’t much resemble real Astia film—it’s actually closer to Provia 100F, but not a particularly close match to that, either. Even so, it’s actually a nice film simulation that is sometimes a “Goldilocks” option: contrasty but not too contrasty, vibrant but not too vibrant, etc.. Still, it’s one of the film simulations that I least use. Why? In my experience, a lot of times it just seems to lack the classic analog feel that I love; perhaps it is technically excellent but lacking soul. So I set out to give it some soul without significantly changing the overall aesthetic.

Partially Green – Sun City West, AZ – Fujifilm X-H1 – “Everyday Astia”

I call this recipe “Everyday Astia” because it is good for everyday photography. It’s great for sunshine and does well in the shade. It’s a good option for portraits. You can use it for street, landscape, or even artificial light photography—it’s highly versatile! This recipe is fully compatible with X-Trans III cameras plus the X-T3 and X-T30. To use it on newer X-Trans IV cameras (plus X-Trans V), set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Small.

Astia
Dynamic Range: DR400
Highlight: +1
Shadow: +1
Color: -1

Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30)
Sharpness: -1
Noise Reduction: -4
Grain: Weak
White Balance: Auto, -1 Red & -2 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Everyday Astia” Film Simulation Recipe on my Fujifilm X-H1:

Architecture Abstract – Sun City West, AZ – Fujifilm X-H1
Striped Directory – Sun City West, AZ – Fujifilm X-H1
Fading Bloom – Sun City West, AZ – Fujifilm X-H1
Reaching Pink Flowers – Sun City West, AZ – Fujifilm X-H1
Empty Patio Chairs – Sun City West, AZ – Fujifilm X-H1
Welcome Courtyard – Sun City West, AZ – Fujifilm X-H1
Late Summer Leaves – Buckeye, AZ – Fujifilm X-H1
10:30 Moon – Sun City West, AZ – Fujifilm X-H1
Tiny Tower – Sun City West, AZ – Fujifilm X-H1
Palms & Building – Sun City West, AZ – Fujifilm X-H1
Architectural Stripes – Sun City West, AZ – Fujifilm X-H1
Mirror Mirrored – Sun City West, AZ – Fujifilm X-H1
Headlights – Sun City West, AZ – Fujifilm X-H1
Aged to Perfection – Sun City West, AZ – Fujifilm X-H1
Trike Tire – Buckeye, AZ – Fujifilm X-H1
Backlit Joy – Buckeye, AZ – Fujifilm X-H1
Happy Jon – Buckeye, AZ – Fujifilm X-H1
Building Storm Clouds – Buckeye, AZ – Fujifilm X-H1

This “Everyday Astia” recipe compared to “stock” Astia (everything set to factory defaults):

“Everyday Astia” recipe
Astia with everything set to factory defaults

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Why the Fujifilm X70 is Great — 15 Frames on Kodak Portra 160 — An Impromptu Lake Trip

Ocean Kayaks – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”

You should always have a camera with you.

The Fujifilm X70 is so small that it fits into my pants pocket, making it convenient for carrying literally everywhere. When I head out the door, no matter where I’m going, I shove the X70 into my pocket, along with my wallet, keys, and phone. I don’t always use it, but sometimes the opportunity presents itself, and I’m grateful to have a camera with me.

I was recently out running some errands with my wife, Amanda, and the kids. After we finished our tasks, Amanda asked, “Want to go to Lake Pleasant, just to check it out?” I’m always up for an adventure; besides, over 20 years ago, Amanda and I used to go to this lake, and we hadn’t been back since. So I eagerly answered, “Let’s go!”

Old Dock, New Dock – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”

I hadn’t been to Lake Pleasant in a long, long time. The drive out there was vaguely familiar yet a whole lot different. Much had changed. While the body of water is still outside the city—way out in the lonely desert—the city sprawl is inching closer and closer, and the lake has seen quite a bit of development. I’m sure it happened slowly, but, because I hadn’t seen it in so long, it was a bit shocking to me. There weren’t many people there, but I’m sure on a holiday weekend or during the summer heat the place is probably extremely crowded. We didn’t stay long, but because I had a camera with me I was able to capture these 15 pictures.

One of the custom presets programmed into my Fujifilm X70 is the Kodak Portra 160 Film Simulation Recipe. I thought it would do well at this location, so I chose it. This is one of my favorite recipes for X-Trans II cameras, and it didn’t disappoint on this adventure, delivering a Kodak-like color negative film aesthetic. These pictures are unedited, aside from some minor cropping and straightening on some of them, and is how they came out of the camera.

You never know when photographic opportunities will present themselves, so it’s best to always be prepared. I would have been disappointed that I didn’t have a camera if I hadn’t had the X70 in my pocket. Instead, because I did have it, this impromptu trip to the lake yielded some interesting pictures, which will serve as reminders to this quick adventure for years to come.

Kayaker – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Short Rope off a Long Pier – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Water Wench – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Water Watching – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Paqua – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Wench & Docked Boats – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Repair Kit – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Dolly – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Slip Away – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Barrel Cactus Blue – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Pleasant Lake – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Desert Water – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”
Saguaro Hill – Lake Pleasant, AZ – Fujifilm X70 – “Kodak Portra 160”

I mentioned at the beginning of this article that I had also put my phone into my pocket, which is an iPhone 11 with the RitchieCam camera app on it. For those who don’t know, I have my very own iPhone camera App, available in the Apple App Store. Even if I had failed to bring a Fujifilm camera, I would still have had my phone. Or, in the case of this particular trip, in addition to the X70, I also had RitchieCam on my iPhone (selecting the Sunny Day filter), and I used both to capture pictures.

Deserted Boats – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Hole View – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Lake Vista – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Scorpion Bay Kayaks – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”
Orange Dolly – Lake Pleasant, AZ – iPhone 11 + RitchieCam – “Sunny Day”

When SOOC Digital Looks Like Film

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

Note: I wrote this article, which I stumbled across today, over two years ago, but for some reason never published it. I replaced many of the original pictures and corrected some words and grammar, but otherwise I kept it the same.

I love film photography, but digital is so much more convenient. The cost of digital photography is paid upfront, while with film there’s a per-frame cost with each exposure, which is just getting more and more expensive. I rarely shoot film anymore, but I like the look of film. The best of both worlds is when I can get a film aesthetic straight out of a digital camera. That might sound pie-in-the-sky or even pretentious; if I like the look of film, why not just shoot film? If I shoot digital, why not just edit like everyone else?

Fujifilm cameras can create something film-like while delivering digital advantages, and that’s incredible! With digital you don’t have to send off your exposures to a lab or have your own lab set up somewhere in your home. You can know immediately if your frame is any good or not—no need to wait hours or days or sometimes longer. And you are not limited to 12, 24, or 36 exposures. There’s a reason why most photographers shoot digital, yet there’s a reason why some still go through the hassle of shooting film. I think Fujifilm is kind of a bridge between the two.

Rainbow in the Woods – Farmington, UT – Fujifilm X-T1 – “Kodak Portra 160

Using software, such as Alien Skin Exposure or any of the many preset filter packs that are available, it’s very easy to turn a RAW file into something that looks analog. I’ve done that for many years, and I appreciate the results. If I can skip the software step and have a finished image straight-out-of-camera, that’s even better. That saves me some serious time! For many people, editing a picture is half the fun, but for me it’s not. I much prefer to not sit at a computer manipulating photographs. That’s just my preference, and it may or may not be yours, and that’s perfectly fine—there’s no right or wrong way, only what works for you. Shooting Fujifilm cameras using recipes to get film-like pictures straight-out-of-camera is what works for me.

I’m amazed at all the different looks that I can get out of my camera using my different Film Simulation Recipes on Fujifilm cameras. Fuji only gives so much control in-camera— they’re constantly providing more customization options with each new generation, but it’s still limited. Despite that, there’s a lot that you can do to create many different looks. It’s possible to mimic various film aesthetics without using any software. Thanks to Fujifilm’s vast experience with film, they’ve been able to infuse into their camera-made-JPEGs an analog soul that’s frankly missing from most digital pictures.

The photographs in this article are all straight-out-of-camera JPEGs that weren’t edited, with the exception of some minor cropping in some circumstances. They’re all from Fujifilm cameras, including an X-E4, X100V, X-T30, X-T20, X-Pro2, X100F and X-T1. In my opinion, in one way or another, they resemble film—an analog look from a digital camera. That’s nothing short of amazing!

10 example pictures, just to illustrate the point:

Classic Mirror – Fort Worth, TX – Fujifilm X-E4 – “Fujicolor Natura 1600
Welcome to Ogden – Ogden, UT – Fujifilm X-T20 – “Kodachrome II
Denny’s Days – Beaver, UT – Fujifilm X-E4 – “Kodachrome 64
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – “Pacific Blues
Train Crossing – Layton, UT – Fujifilm X100V – “Nostalgia Color
Working – Salt Lake City, UT – Fujifilm X-E4 – “Kodak Vision3 250D
Tail of a Whale – Morro Bay, CA – Fujifilm X100V – “Kodak Tri-X 400
Dark Cloud Over The Dark Mountain – South Weber, UT – Fujifilm X-T30 – “Ilford HP5 Plus 400 Push Process
Leather Gloves – Antelope Island SP, UT – Fujifilm X100F – “Kodak Tri-X Push Process
Twisted Tree – Keystone, SD – Fujifilm X-Pro2 – “Acros

Find these Film Simulation Recipes and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X70 (X-Trans II) Film Simulation Recipe: Fujichrome Slide

Dying Garden Rose – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”

Sometimes you can get interesting results when you change the film simulation that a Film Simulation Recipe calls for. In this case, the recipe was Monochrome Red, which calls for Monochrome+R, and the film simulation that I used instead was Provia. I actually don’t like the Provia film simulation as much as most of the others, I think because it doesn’t much resemble Provia film; however, I do like how this recipe renders images, so perhaps I’ve been a little too critical of the “standard” film simulation.

This recipe doesn’t match Fujichrome Provia 100F film, but it is much closer to the film than just using default Provia. If you are looking for an X-Trans II recipe that’s in the neighborhood of Fujichrome Provia 100F, and don’t mind that it’s not exactly right, this one’s for you! It has a good deal of contrast (but not too much), and has vibrant colors (but not too vibrant)—definitely a (non-Velvia) Fujifilm color reversal film vibe. If you like this recipe, you should also consider trying Provia Negative.

Fisherboy – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”

This “Fujichrome Slide” Film Simulation Recipe is compatible with all X-Trans II cameras. Those with X-Trans I or Bayer models can use it, too; however, it will render slightly differently—I tried it on my X-Pro1 and the results were good; similar but not identical to my X70.

Provia/Std
Dynamic Range: DR400
Highlight: -1 (Medium-Soft)
Shadow: +2 (Hard)

Color: +2 (High)
Sharpness: +1 (Medium-Hard)
Noise Reduction: -2 (Low)
White Balance: Fluorescent 1, -4 Red & +7 Blue
ISO: Auto up to ISO 3200

Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Fujichrome Slide” Film Simulation Recipe:

Beyond Orange – Goodyear, AZ – Fujifilm X70
Three Beams & Palm – Litchfield Park, AZ – Fujifilm X70
Palm Bush – Goodyear, AZ – Fujifilm X70
Shriveling Bloom – Buckeye, AZ – Fujifilm X70
Trumpet Vine – Buckeye, AZ – Fujifilm X70
A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70
Moth Wall – Buckeye, AZ – Fujifilm X70
Rose Palm Evening – Litchfield Park, AZ – Fujifilm X70
Fisher Jon – Litchfield Park, AZ – Fujifilm X70
Tree & Home Reflection – Litchfield Park, AZ – Fujifilm X70
Little Boat in the Little Lake – Litchfield Park, AZ – Fujifilm X70
Suburban Lake Reflection – Litchfield Park, AZ – Fujifilm X70

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Vintage Analog

Waterfront Homes – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Analog”

This Film Simulation Recipe was suggested to me by someone… and I’m sorry to say that I don’t remember who (if it was you, let me know in the comments!). This recipe is basically my Vintage Kodacolor recipe, but with a couple modifications: Classic Negative instead of Classic Chrome, plus Color Chrome FX Blue and Clarity. Sometimes when you use a different film simulation than what a recipe calls for, the results can be interesting. I programmed this recipe into my Fujifilm X-E4, noticed that it produced good results, and then I kind of forgot about it for awhile. I recently “rediscovered” it in my C1-C7, and used it for several days, enjoying the warm vintage-like images that this recipe produces.

Most of these pictures were captured through vintage glass, as I adapted some old lenses to my X-E4. The main one was a Helios 44-2, but a couple Asahi Takumars were used, too. Using old manual lenses is something that I enjoy doing, and this recipe pairs really well with them. I also used a 10% CineBloom filter on some of the pictures; diffusion filters help to take the “digital edge” off of images, and produce a more analog-esque aesthetic—I don’t use them all of the time, and I think subtlety is key.

Arch Over Bell Tower – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Analog”

Because this “Vintage Analog” Film Simulation Recipe use Classic Negative, Color Chrome FX Blue, and Clarity, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, but not the X-T3 or X-T30. Those with the X-H2s (and soon-to-be X-H2) can likely use it, too, but I haven’t tested it myself to know for sure. Why does this recipe use Color Chrome FX Blue and Clarity when the Vintage Kodacolor recipe that it is derived from doesn’t? I don’t know (and if I was told I don’t remember). But it looks good, so what can I say? I hope you enjoy it!

Classic Negative
Dynamic Range: DR200
Highlight: +2
Shadow: 0
Color: -4
Noise Reduction: -4
Sharpness: -1
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Weak
White Balance: 9100K, -4 Red & +4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Vintage Analog” Film Simulation Recipe on a Fujifilm X-E4:

Red Rose of Summer – Litchfield Park, AZ – Fujifilm X-E4
Dock Post – Litchfield Park, AZ – Fujifilm X-E4
Duck Conversation – Litchfield Park, AZ – Fujifilm X-E4
Two Palm Sky – Litchfield Park, AZ – Fujifilm X-E4
Roof & Tiles – Buckeye, AZ – Fujifilm X-E4
Garden Bulb – Buckeye, AZ – Fujifilm X-E4
Summer Trumpets – Buckeye, AZ – Fujifilm X-E4
Approaching Storm Clouds – Buckeye, AZ – Fujifilm X-E4
Hoping to Catch – Litchfield Park, AZ – Fujifilm X-E4
Suburb Saguaro – Buckeye, AZ – Fujifilm X-E4
Dead Cactus Branch – Buckeye, AZ – Fujifilm X-E4
Hazy Desert – Buckeye, AZ – Fujifilm X-E4
Saguaro Storm – Buckeye, AZ – Fujifilm X-E4

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X70 (X-Trans II) Film Simulation Recipe: Monochrome Red

Houses, Reflected – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”

Back when I shot black-and-white film, I usually used a color filter to manipulate the shades of grey, and for landscape photography the Red filter was my most-used option. You cannot use these filters on your Fujifilm camera, but Fujifilm does provide you with three faux filters: +Y, +R, & +G. These mimic the aesthetic of using a Yellow, Red, or Green filter (sort of). In my opinion, +R doesn’t actually replicate the use of a Red filter very well; it’s more like an Orange filter. This recipe is intended to produce a look more similar to a Red filter on black-and-white film, which means that it will darken blues and lighten reds.

I actually created this “Monochrome Red” Film Simulation Recipe several months back on my Fujifilm X-T1, but that camera has a dirty sensor in need of a cleaning, so I never shared the results. Then I moved, and the X-T1 got packed away for awhile. Just recently I purchased a different X-Trans II camera—an X70—so I plugged this recipe into it and began shooting. This is an excellent option if you are looking for a black-and-white recipe, and is especially good for landscape photography.

Sunlit Flowers – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”

The “Monochrome Red” recipe is compatible with all X-Trans II cameras. If you have an X-Trans I or Bayer model, the results will be ever slightly different, but very similar, and you can definitely use it—if you have an X-Pro1 or X-T200 or anything like that, feel free to give this recipe a try.

Monochrome+R
Dynamic Range: DR400
Highlight: -1 (Medium-Soft)
Shadow: +2 (Hard)
Sharpness: +1 (Medium-Hard)
Noise Reduction: -2 (Low)
White Balance: Fluorescent 1, -4 Red & +7 Blue
ISO: Auto up to ISO 6400

Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Monochrome Red” Film Simulation Recipe:

Josh Intently Gaming – Buckeye, AZ – Fujifilm X70
Jonathan with a Smile – Buckeye, AZ – Fujifilm X70
Backlit Jo – Litchfield Park, AZ – Fujifilm X70
Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Dock Abstract – Litchfield Park, AZ – Fujifilm X70
Lock & Chain – Litchfield Park, AZ – Fujifilm X70
Pole & Chain – Litchfield Park, AZ – Fujifilm X70
Fishing Pole on Dock – Litchfield Park, AZ – Fujifilm X70
Young Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Lakeside Tree – Litchfield Park, AZ – Fujifilm X70

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X70 (X-Trans II) Film Simulation Recipe: Kodak Color Negative

Bee on a Blossom – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”

I’ve wanted a Fujifilm X70 ever since I learned of its existence. For those who don’t know, the X70 was essentially a smaller, more wide-angle, and less expensive X100T. Introduced in January 2016 and discontinued in December of that same year, you might think that the camera was a flop, but it wasn’t. Unfortunately, to Fujifilm’s surprise, shortly after the camera launched, Sony suddenly discontinued the 16-megapixel APS-C sensor that the X70 used, and Fujifilm had no choice but to fully move on to X-Trans III as quickly as possible. The X70 was a casualty of that situation. No successor was ever made, supposedly because heat dispersion was an issue with higher resolution sensors that couldn’t be remedied. Even though the camera is six years old now, people love their X70’s—you don’t see very many for sale, and when you do it’s usually for a similar price to, or even higher than, the original MSRP. I was fortunate to find one in excellent condition for “only” $600.

I’ve had this camera for just a few days. After unboxing the X70, I quickly programmed into it the latest recipe that I had been working on with my X-T1 (which is in need of a sensor cleaning), and busily shot with it. Already I love this little camera—not only is it very practical to carry around everywhere, it is so much fun to use! Fujifilm really needs to work hard an its successor, the X80—this should be a top priority, in my opinion.

Fujifilm X70 — captured with a Fujifilm X100V + GAF 500 recipe

For this “Kodak Color Negative” Film Simulation Recipe, I wanted to use the Incandescent White Balance. Why? Because you cannot program a White Balance Shift into the C1-C7 Custom Presets (only on X-Pro3 and newer models); however, the camera will remember one shift per white balance type. If each of your presets uses a different white balance type, then you don’t have to remember to adjust the shift when switching presets. Incandescent is a white balance option that I’d not yet used on X-Trans II, so it seemed like a logical place to start.

The aesthetic that I was hoping to achieve with this recipe was Kodak Portra 400. I don’t believe that I succeeded in faithfully mimicking that (sometimes there’s a similarity); however, it does seem to produce a Kodak-like color negative film look, perhaps more like Ultramax, but not exactly that, either. Whatever it does or doesn’t resemble, I personally really like the aesthetic produced by this recipe, and I hope that you do, too.

Johanna in Evening Light – Buckeye, AZ – Fujifilm X70 – “Kodak Color Negative”

This “Kodak Color Negative” recipe is compatible with all X-Trans II cameras that have Classic Chrome, including the X100T, X-E2, X-E2S, X-T10, X-T1, X30, X70, and XQ2. Unfortunately, the X100S, X20, and XQ1 don’t have Classic Chrome, despite being X-Trans II. Those with Bayer models that have Classic Chrome can also use this recipe, although it will render a little different on your camera.

Classic Chrome
Dynamic Range: DR200
Highlight: -2 (Soft)
Shadow: -1 (Medium-Soft)
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Incandescent, +6 Red & -7 Blue
ISO: Auto up to ISO 3200

Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Kodak Color Negative” Film Simulation Recipe:

Sunlight Through The Grapevine – Surprise, AZ – Fujifilm X70
Grape Leaves – Surprise, AZ – Fujifilm X70
Backlit Leaf & Lens Flare – Surprise, AZ – Fujifilm X70
Is It Already Fall Y’all? – Surprise, AZ – Fujifilm X70
Hummingbird – Surprise, AZ – Fujifilm X70
Burgers & Rainbows – Phoenix, AZ – Fujifilm X70
Corner Table – Phoenix, AZ – Fujifilm X70
Morning Coffee – Glendale, AZ – Fujifilm X70
Mary, Jesus & Stinky Pete – Surprise, AZ – Fujifilm X70
Yellow Hanging Trumpets – Buckeye, AZ – Fujifilm X70
Backyard Blossoms – Buckeye, AZ – Fujifilm X70
Orange Trumpets & Lens Flare – Buckeye, AZ – Fujifilm X70
Singular Bougainvillea Branch – Buckeye, AZ – Fujifilm X70
Yellow Wall Flowers – Buckeye, AZ – Fujifilm X70
Garden Rose – Buckeye, AZ – Fujifilm X70
Leaf on the Ground – Buckeye, AZ – Fujifilm X70
Wet Suburbia Evening – Buckeye, AZ – Fujifilm X70
Wet Concrete Reflecting Sunset – Buckeye, AZ – Fujifilm X70
Sunset Veiled by House & Tree – Buckeye, AZ – Fujifilm X70

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: GAF 500

Urban Rhino – Phoenix, AZ – Fujifilm X-E4 – “GAF 500”

Hold onto your hats, because, for this Film Simulation Recipe, we’re going to dive deep into the obscure and practically forgotten history of a unique film called GAF 500. We’re going to explore the intriguing history of GAF, discover what made this film unique, and discuss how this new GAF 500 Film Simulation Recipe came to be. You are in for a treat today!

GAF actually began in 1886 as the Standard Paint Company of New Jersey. After acquiring a holding company in 1928 that had (among other things) majority ownership of AGFA, the company changed its name to General Aniline & Film—GAF for short. Also in 1928, AGFA merged with Ansco, so in addition to acquiring AGFA, GAF also got ownership of Ansco, which was founded in 1842. Originally named E. Anthony & Co., after merging with Scovill Manufacturing in 1901 it was renamed Ansco (“An” from Anthony and “sco” from Scovill). Ansco was headquartered in New York, and was Kodak’s biggest competitor for many decades. The merger with AGFA was intended to bring Ansco’s photography products to a global market, which would allow them to better compete against Kodak.

Then World War II happened, and in 1941 the U.S. government seized and took ownership of GAF and Ansco (separating it from AGFA, which was a German-owned business), and officially merged Ansco into GAF. The U.S. government retained ownership of GAF until 1965, when it sold all of its shares.

Morning Sunlight on a Curtain – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

In 1967 GAF introduced a revolutionary new film: GAF 500. It was a high-ISO 35mm color transparency (slide) film—the highest ISO color film during its time; the second-highest color ISO film (another GAF emulsion) was rated at ISO 200, so it was more than twice as “fast” (as they called it back then) as the second fastest. 30 years prior to the introduction of GAF 500, the highest ISO color film was rated at ISO 8, so having an ISO 500 option was unthinkable back then, and a lot of people wondered why anyone would need such a high-ISO film. While it was mostly sold under the brand name GAF, it was sometimes sold as Anscochrome 500. Was GAF/Anscochrome 500 any good?

From all accounts, you either loved GAF 500 or hated it. The grain was extremely pronounced. Colors were “good” yet muted (a.k.a. “neutral” or “natural”) and generally considered to be not as “nice” as Kodak’s. It didn’t push-process nearly as well as, it wasn’t quite as sharp as, and it didn’t pair with color correction filters as well as Kodachrome or Ektachrome. It was inferior to all other color emulsions except for one fact: it was fast! You could use it when other films wouldn’t work due to low light. If it was dark and you wanted to shoot color, GAF 500 was your best bet.

GAF 500 had a warm color cast—some described it as orange, some said red-orange, and others stated that it was red—not as warm as some Kodak emulsions, but warm nonetheless. The shadows tended to lean blue. If you pushed the film, it had a purple cast across the frame. Some people liked how it looked when shooting under fluorescent lights or stage lights, and was a popular choice for concert photography.

Illuminated Cat & Sleeping Child – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

What people seemed to like most about GAF 500 is that it was gritty yet soft. It was grainy, like a high-ISO black-and-white film, and it was contrasty with a very narrow exposure latitude—it was easy to blow out the whites or block up the blacks; however, it also had low color saturation (or was “more neutral” as some put it) , and the gradations were gentle. It was like a biker ballerina, if you will. Some people loved the aesthetic of GAF 500, and would use it even in bright-light situations just for the look that it produced. Many photographers steered clear of it just because there were “better” options, such as push-processing lower ISO films.

There was a time in the 1970’s that GAF was everywhere. It was the official film of Disneyland, and, for a time, was the only brand of film that you could purchase inside the park. Sears sold GAF cameras and film. Henry Fonda was the spokesman. Despite that, GAF struggled to be profitable competing against Kodak, Fujifilm, and other brands.

GAF made a few minor “improvements” to their ISO 500 film over the years, and (from what I read) it seemed to get “better” towards the mid-1970’s. In 1977, due to sluggish sales, GAF decided to get out of the photography business altogether. GAF/Anscochrome 500 was discontinued, along with all of the other GAF films. The Ansco brand name was licensed out to other companies for years to come, although it was largely used for rebranded films and not original emulsions. GAF 500 was gone forever.

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

Perhaps thanks to Alien Skin Exposure software, there’s been a renewed interest in GAF 500. Alien Skin has a GAF 500 preset that is supposed to allow you to mimic the aesthetic of the film with your digital images. I’ve used it before, and that’s the closest I’ve come to shooting GAF 500. It’s been awhile since I’ve used Exposure software, so I don’t recall too much about the preset (other than it was grainy). So, for this Film Simulation Recipe, I spent significant time studying whatever I could find on the film. There’s a lot of written information out there, but photographs were hard to come by. Still, I found some, and did my best to emulate the look with my Fujifilm X-E4.

Recreating GAF 500 on my Fujifilm camera was tricky for several reasons. First, I wouldn’t have considered Eterna as the best base (just because it lacks the necessary contrast to emulate a contrasty slide film), but after trying Classic Chrome, PRO Neg. Low, and Eterna Bleach Bypass, I decided to give Eterna a go. Bingo! This one had the right tonality (those “gentle gradations”); however, I do wish that Shadow could be set to +5 to get deeper blacks, but that’s not an option. Another tricky aspect was achieving the warm, reddish/orangish color cast that could still produce a hint of blue in the shadows. Fujifilm cameras aren’t capable of split-toning, so I did my best to approximate this with the white balance; I do wish the shadows were just a little more blue, but it’s not possible without sacrificing the overall warmth. Another challenge was replicating the grain. Fujifilm’s option of Grain Strong Large wasn’t nearly as pronounced as it needed to be, so I set out to supplement it with digital noise using high-ISO. But how high? ISO 1600 wasn’t nearly enough. ISO 3200 wasn’t enough, either. ISO 6400… much closer, but not quite there, either. Should I dare try ISO 12800? Yes, that’s it! More importantly, it looks good, which I had my doubts about.

With slide film, depending on the emulsion, you had to nail the exposure exactly, as the dynamic range was extraordinarily narrow. You didn’t know what you had until you got the film back from the lab (or developed it yourself at home); some frames would be underexposed, some frames would be overexposed, and some frames (hopefully) would be correctly exposed—I found examples of all three when searching for GAF 500 photographs. You can achieve similar aesthetics with this recipe if you want, by either dropping the exposure a little or increasing it a little—the exact look of this recipe will vary some depending on the exposure. While I couldn’t replicate every potential GAF 500 aesthetic with this one recipe, and no recipe will ever be 100% spot-on accurate (because of the limited tools available on the camera, and because the results of one film can vary significantly depending an a whole host of factors), I do believe that this recipe is pretty close to replicating the look and feel of GAF 500 film—at least from the perspective of someone who was born after the film was discontinued, so I never had a chance to use it myself.

Offroad Tricycle – Buckeye, AZ – Fujifilm X-E4 – “GAF 500”

Because this “GAF 500” recipe uses Clarity and Color Chrome FX Blue, it is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, and is not compatible with the X-T3 or X-T30. Those with X-Trans V cameras can also use it, and it should render identically, although I have no first-hand experience to verify that. Those with newer GFX cameras can use it, too, although it will render differently. Because of the ultra high-ISO that’s required, I recommend using your electronic shutter and a small aperture (like f/8, f/11, or even f/16) when shooting in bright light outdoors.

Eterna
Dynamic Range: DR100
Highlight: +2
Shadow: +4
Color: 0
Noise Reduction: -4
Sharpness: -3
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: 2900K, +9 Red & -9 Blue
ISO: 12800
Exposure Compensation: -2/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “GAF 500” Film Simulation Recipe on my Fujifilm X-E4:

Eat – Phoenix, AZ – Fujifilm X-E4
Bird Scooters – Phoenix, AZ – Fujifilm X-E4
Orange Lighter & Abandoned Home – Phoenix, AZ – Fujifilm X-E4
FAO JUG – Phoenix, AZ – Fujifilm X-E4
Why Love? – Phoenix, AZ – Fujifilm X-E4
Twin Dumpsters – Phoenix, AZ – Fujifilm X-E4
Garfield – Phoenix, AZ – Fujifilm X-E4
Overhead Crane – Phoenix, AZ – Fujifilm X-E4
Oversized Load – Phoenix, AZ – Fujifilm X-E4
And So It Begins – Phoenix, AZ – Fujifilm X-E4
Air Garage & Graffiti – Phoenix, AZ – Fujifilm X-E4
Can in the Sage – Phoenix, AZ – Fujifilm X-E4
Suburban Barrel Cacti – Phoenix, AZ – Fujifilm X-E4
Double Peace – Buckeye, AZ – Fujifilm X-E4
Table Roses – Buckeye, AZ – Fujifilm X-E4
Sunlit Curtain – Buckeye, AZ – Fujifilm X-E4
Yellow Trumpets & Sunstar – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch in the Blue – Buckeye, AZ – Fujifilm X-E4
Orange Trumpet Flower Blossoms – Buckeye, AZ – Fujifilm X-E4
Two Yellow Trumpets – Buckeye, AZ – Fujifilm X-E4
Joy – Buckeye, AZ – Fujifilm X-E4

Grain examples:

Big crop to show the “grain” in the image.
Big crop to show the “grain” in the image.
Big crop to show the “grain” in the image.

Find this Film Simulation Recipe and nearly 250 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-Trans IV + X-H1 FXW App Patron Early-Access Film Simulation Recipes: Vintage Eterna

Bougainville Branch Blossom – Buckeye, AZ – Fujifilm X-H1 – “Vintage Eterna”
Cactus Spikes – Buckeye, AZ – Fujifilm X-E4 – “Vintage Eterna”

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is that you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. In fact, many Early-Access Recipes have already been publicly published on this blog and the App, so now everyone can use them. 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!

This new “Vintage Eterna” Early-Access Recipe is a bit unusual in that there are actually two recipes: one for the X-H1, X-T3, and X-T30, and another for newer models (X-Pro3 and newer). The premise was simple: what would the Vintage Kodachrome recipe look like if I used Eterna instead of Classic Chrome? As it turns out, it looks alright; however, after I made more modifications, it looks much better! I initially created this on my Fujifilm X-E4, but then I wanted a version for my X-H1, so I made a recipe compatible with that camera, and even used it on my X-T30. If you have an X-H1 or any X-Trans IV camera, you can use the “Vintage Eterna” recipe—just find the one that’s compatible with your model. For those with the X-H2s (or soon-to-be X-H2), you can use the version of this recipe that’s for the newer X-Trans IV cameras, and it should render pretty much identically on X-Trans V, but I haven’t tried it myself to know for certain. If you have a GFX camera, one of these two recipes will work on the model you have, but it will render slightly differently (try it anyway, though).

If you are a Fuji X Weekly Patron, it’s available to you right now on the App!

Fujifilm X-H1, X-T3, & X-T30 — “Vintage Eterna”

Cloud Above Roof – Buckeye, AZ – Fujifilm X-H1
Summer Blossoms – Buckeye, AZ – Fujifilm X-H1
Sky Vines – Buckeye, AZ – Fujifilm X-H1
Backlit Leaves of Summer – Fujifilm X-H1
Hummingbird Feeder – Buckeye, AZ – Fujifilm X-H1
Golden Trumpets – Buckeye, AZ – Fujifilm X-H1
Yellow Trumpet Flower – Buckeye, AZ – Fujifilm X-H1
Red Trumpet Flower – Buckeye, AZ – Fujifilm X-H1
Garden Wall Light – Buckeye, AZ – Fujifilm X-T30

Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II — “Vintage Eterna”

Labyrinth – Litchfield Park, AZ – Fujifilm X-E4
Sky Dome – Litchfield Park, AZ – Fujifilm X-E4
Little Desert Berries – Buckeye, AZ – Fujifilm X-E4
Saguaro & Storm – Buckeye, AZ – Fujifilm X-E4
Birdie Footprints – Buckeye, AZ – Fujifilm X-E4
Distant Downtown – Buckeye, AZ – Fujifilm X-E4
Sky Rays – Buckeye, AZ – Fujifilm X-E4
Saguaro Silhouette – Buckeye, AZ – Fujifilm X-E4
Purple Plant – Buckeye, AZ – Fujifilm X-E4

Fujifilm X-Trans III + X-T3 & X-T30 Film Simulation Recipe: Vintage Kodacolor

Large Stone & Tall Grass – Farmington, UT – Fujifilm X-H1 – “Vintage Kodacolor”

This Film Simulation Recipe is called “Vintage Kodacolor” because I was inspired by some old Kodak Kodacolor puzzles that I stumbled across (did you know that Kodak made jigsaw puzzles?). I’m not completely certain which Kodacolor film was used for these puzzles—possibly Kodacolor II—or how much the printing process affected the aesthetic, or even how much the colors have faded and shifted over time. Whatever the case, this recipe does a pretty good job emulating it, and produces a warm vintage-like aesthetic that’s easy to appreciate. There’s some similarities between this and my Kodacolor II 126 recipe.

This recipe has been available on the Fuji X Weekly App as a Patron Early-Access Recipe since December; however, a different Early-Access Recipe has replaced it, so now this one is available to everyone! This isn’t a Film Simulation Recipe that is for every person or every situation, but some of you in the right situations will absolutely love it. I think it is especially good for achieving a vintage look on sunny days and during golden hour.

Pink Bougainvillea Flowers – Buckeye, AZ – Fujifilm X-T30 – “Vintage Kodacolor”

This “Vintage Kodacolor” recipe is fully compatible with all X-Trans III cameras, plus the Fujifilm X-T3 and X-T30. Those with newer X-Trans IV (and X-Trans V) cameras can use it, too, but you’ll have to decide on Clarity (I suggest 0, or maybe -2), Color Chrome FX Blue (I suggest Off), and Grain size (I would try Large).

Classic Chrome
Dynamic Range: DR200
Highlight: +2
Shadow: 0
Color: -4
Noise Reduction: -4
Sharpness: -1
Grain Effect: Strong
Color Chrome Effect: Off/NA
White Balance: 9100K, -4 Red & +4 Blue
ISO: Auto up to ISO 12800

Exposure Compensation: -1/3 to +1/3

Example photographs, all camera-made JPEGs captured using this “Vintage Kodacolor” Film Simulation Recipe on my Fujifilm X-H1 & X-T30:

Tree Behind – Buckeye, AZ – Fujifilm X-T30
Vintage Phragmites – Farmington, UT – Fujifilm X-H1
Evening Reeds and Sky – Farmington, UT – Fujifilm X-H1
Three Brown Leaves – Farmington, UT – Fujifilm X-H1
Don’t Approach the Great Blue Heron – Farmington, UT – Fujifilm X-H1
Safe Zone – Farmington, UT – Fujifilm X-H1
Sunset Through The Grass – Farmington, UT – Fujifilm X-H1
Evening Light on the Wood – Farmington, UT – Fujifilm X-H1
Flowers No More – Farmington, UT – Fujifilm X-H1
Metal Door – Farmington, UT – Fujifilm X-H1
Cool Dog – Buckeye, AZ – Fujifilm X-T30
Cardboard Architect – Farmington, UT – Fujifilm X-H1
Holiday Horse Rider – Farmington, UT – Fujifilm X-H1

Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Sell That Sh*t & Buy A Fuji — An Interview with Gerardo Celasco

Photo by Gerardo Celasco

It’s my pleasure to introduce you to the wonderful photography of Gerardo Celasco! Although you might not have seen his pictures before, there’s a decent chance that you’ve seen Gerardo. He’s a model-turned-actor (among other things, including internationally competing show jumping horse rider, accomplished volleyball player, and financial expert) who does photography as a hobby. He has a lot of talent, and whatever he does he does very well—photography included.

Although he was born in Miami, Gerardo grew up in El Salvador. He later moved to Texas and studied at Southern Methodist University. His home base is now in California, but he frequently travels internationally, and of course brings a camera along—a Fujifilm camera—to capture the moments.

Photo of Gerardo by Harmoni Everett

Gerardo is perhaps best known for playing Miguel Lopez-Fitzgerald on the NBC drama Passions from 2006-2007. He also played Carlos Peña in Moneyball, Mark Kovac in two episodes of Bones, Xavier Castillo during Season 5 and 6 of How To Get Away With Murder, Ty Salazar in Next, and Dr. Nick Vega in a recent episode of Good Sam, among other things.

In the coming-soon-to-Netflix series Devil in Ohio Gerardo plays Detective Lopez. We’ll get more into this in a moment, but below you’ll find the trailer, which you should definitely take a moment to watch right now.

Fuji X Weekly: Hey, Gerardo! I’m truly honored for this opportunity to interview you! Let’s begin at the very beginning: where did your early interests in photography come from? Were cameras and pictures a big part of your childhood?

Gerardo Celasco: We didn’t grow up taking a lot of photos in my family and we didn’t have lots of cameras around when my siblings and I were growing up. My dad was an engineer and my mom worked in sales and retail for a shoe company in El Salvador. To this day, we still don’t take many photos when we’re together. When we’re on a trip we always say, “We have to take more group photos!” And since I always have a camera on me, I’m always the one taking the photos so I’m rarely in the pictures. 

Fuji X Weekly: How did you get started in photography?

Gerardo Celasco: I got started in photography pretty early on, but not necessarily behind the camera. When I was in high school I was asked to be the model for a campaign in El Salvador. Roberto Aguilar was the most sought out photographer in El Salvador. No one was doing what he was doing, and I got to be in front of his camera several times—it was my first time being in front of the camera. We became really close friends, and I learned so much from watching him work. He moved to Europe and became a professor in France for a few years, and is now living in London. Roberto was my first influence in photography, but I can also say he was my first influence in “performing” as well. I never went to drama school. I have a degree in Finance from Southern Methodist University—a life in entertainment wasn’t really in the cards for me growing up in El Salvador and the son of entrepreneurs.

Photo by Gerardo Celasco

Fuji X Weekly: What made you pursue photography further, take it more seriously?

Gerardo Celasco: This image [above] is my first one that shocked me when I saw it imported into my computer. I believe I shot it with a Leica D-Lux 4. There was no plan—it was on auto—and I got that “bokeh” everyone talks about. I didn’t know how that happened or how to recreate it, so that inspired me to really learn about the art form. I decided to enroll into a UCLA extension course for Photography, and did that for a few months. That’s where I learned about aperture and depth of field and things like that. 

Fuji X Weekly: What was your most memorable photography experience?

Gerardo Celasco: I think that first image I shot that shocked me is the most memorable. It’s what inspired all of my other images. I still love the photo so much. It’s very raw, very real. I can feel so much when I see it. It was shot in El Salvador in La Libertad near the beach. It was sticky and damp. The two women were working and cooking on open fire in that heat. Maybe it’s because I was there, but I feel all of that every time I see the image.

Photo by Gerardo Celasco

Fuji X Weekly: What was your first camera?

Gerardo Celasco: My first camera was one of the really small Canon PowerShots. It was a matte silver. I carried that thing everywhere—way before we had cameras in our cellular phones. The list goes on from there: Canon 20D, Leica D-Lux 4, Canon 5D Mark II, Fujifilm X100T, Sony a7, Fuji X-T2, Fuji X-Pro3—that is the trajectory into mirrorless, but more importantly how I found Fuji. I also shoot film with a Canon AE-1 Program, and my everyday—always with me—Olympus Mju II, which always sparks a conversation or a laugh when I pull it out. 

Fuji X Weekly: What made you buy your first Fujifilm camera? What do you shoot with now?

Gerardo Celasco: A trip to Morocco with my 5D led me to give up on my entire Canon photography gear. It was so heavy, and was very distracting. You couldn’t really get away with shooting discretely with a camera that size. At the time my good friend, cinematographer and camera/steadicam operator Eduardo Fierro, was a Fuji shooter. His exact words when I complained about my Canon were “Vendé esa mierda y compráte la Fuji” (which means: sell that shit and buy a Fuji!). So that’s what I did, and the X100T was my first Fuji. I now shoot with the X-Pro3, paired with a Fuji 27mm f/2.8, 35mm f/2, or 16-55 f/2.8. 

Photo by Gerardo Celasco

Fuji X Weekly: What is your favorite aspect of Fujifilm cameras?

Gerardo Celasco: What I love most about the Fuji lineup—other than the obvious size and price—is the menu and the film simulations. The user interface is great and easy to get around. But for me, the film simulations are what really sets it apart from anything else. I don’t do any post editing on my images (because I haven’t learned Capture One or Photoshop), and I shoot everything JPEG (mainly because I don’t know what to do with a RAW file, and have never felt the need for it). Fuji X Weekly is my go to App for Film Simulation Recipes. Funnily enough, I believe that is how we met: I sent you a DM on Instagram, praising all of your Film Simulation Recipes and the RitchieCam App on the iPhone.

Fuji X Weekly: That’s right! I definitely remember that day—it was a nice surprise, and a bit of a shock. By the way, which Film Simulation Recipes do you like best?

Gerardo Celasco: My favorite film simulations are Portra 400, Portra 800, and the Ilford black-and-white ones. I honestly like the output of the Fuji Portra recipes more than the images I get with my film camera using real Portra 400 film—and it’s also cheaper.

Photo by Gerardo Celasco

Fuji X Weekly: What do you photograph most now?

Gerardo Celasco: I like shooting life, but I don’t like calling it “street photography.” I don’t have a style, and I honestly don’t know what I’m doing most of the time. I just shoot when I’m inspired. And I shoot what seems interesting to me at that moment. But I never have a plan. I just simply shoot, and share my images. I don’t like the pressure of someone asking me to photograph something or an event—I get so much satisfaction in just showing up with a camera and capturing beautiful moments when I haven’t been asked to, and then sharing those moments. 

Fuji X Weekly: Who are your photographic influences?

Gerardo Celasco: I don’t have a list of photographers that have influenced me—I can probably only name a handful of them—but it’s not like I’m trying to do what they did. Vivian Maier, Ansel Adams, Garry Winograd, Henri Cartier-Bresson—those names comes to mind without me cheating and looking at my bookshelf.

Photo by Gerardo Celasco

Fuji X Weekly: How has your acting career influenced your photography?

Gerardo Celasco: Most people think that being an actor influenced my photography, but what it did was enhance it. Photography (in front or behind the camera), was my first step to becoming an actor—I’ve always felt that photography led me to my acting career. Being on set has made me more comfortable in front of the camera but at the same time it inspires me to want to shoot more. I’m always chatting up the cinematographer or the camera operators when I am on a set—mostly I’m just asking lots of questions about composition and lighting. Those men and women know so much, and I just try to learn and soak up as much as they are willing to share. Their work is what inspires me today. 

Fuji X Weekly: Tell me about your upcoming Netflix series, Devil in Ohio.

Gerardo Celasco: Ah. Devil in Ohio! I feel like you and your wife have been patiently waiting for that. I think I was shooting that when I found RitchieCam and we started talking, only to find out you were the same person behind Fuji X Weekly! We’re only a couple weeks away from the premiere day. It will air on Netflix on September 2, and all 8 episodes will be available.

The show is based on a book by the same name written by Daria Polatin. Daria is also the showrunner for the show. The story was inspired by true events, which always makes it more interesting. I would describe it as a family drama meets a suspense/thriller. It has elements of both. Emily Deschanel (who I worked with many years ago on the final episodes of Bones), plays Suzanne Mathis, a Psychiatrist who is caring for an underage girl who has turned up at hospital clearly in distress. No one comes looking for the girl, so Suzanne decides to take her into her home until they can find a family for her. Doesn’t take long to realize that the girl has escaped from a cult, putting the family and their relationships in danger. I play Detective Alex Lopez, who is a transplant from big city Chicago. He’s a fish out of water, and by-the-book, but also has no idea what he’s dealing with by taking on this case. We had a great group of actors, great directors, and an incredible crew. I hope people find it and enjoy it!

Photo by Gerardo Celasco

Fuji X Weekly: Gerardo, thank you so much for taking time out of your day to allow me to interview you—it’s been such a pleasure!

Gerardo Celasco: I’d just like to say thank you for including me in this. I’m a big fan of Fuji X Weekly, and for you to ask me to be a part of it is really cool.

Check out Gerardo Celasco on Instagram (Here and Here)—give him a follow plus “heart” some of his pictures. Mark your calendars now, and be sure to binge-watch Devil in Ohio on September 2nd!

Check out more of Gerardo’s photography below:

Photo by Gerardo Celasco
Photo by Gerardo Celasco
Photo by Gerardo Celasco
Photo by Gerardo Celasco

The photographs in this article are © Gerardo Celasco.

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Kodak Max 800

Ice Cold Pepsi – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”

This Film Simulation Recipe is modeled after some prints I found in a box that I thought looked interesting. I didn’t initially know what film had been used, but after locating the negatives I discovered it was something called Kodak GT 800-3, and I had no idea what that was. After much sleuthing, I found out it was Kodak Max Zoom 800, also known as Max 800. The film was shot in 2006 (I believe by my wife), and it was the third and final iteration of the emulsion (this version was introduced in 2000). Max Zoom 800 was replaced in 2006 by the similar Max Versatility Plus 800 (which was around for five or six years before its discontinuation).

Kodak made Max 800 film for point-and-shoot and disposable cameras—specifically, they marketed it for point-and-shot cameras with a zoom lens, which exaggerated camera shake. It was a cheap high-ISO consumer color negative film intended for the novice. It had a large latitude for underexposure and (especially) overexposure, but color reproduction was a little different (some have said “bland” or “weird”) when compared to other Kodak films. Kodak intended the film to be printed on Ektacolor Edge paper, but my samples were printed on Fujicolor Crystal Archive paper (which certainly affects the aesthetic)—this recipe is modeled after my samples.

Winter Greenhouse – Farmington, UT – Fujifilm X-E4 – “Kodak Max 800”

This Kodak Max 800 recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Because it uses the Classic Negative film simulation and Clarity, it is not compatible with the X-T3 and X-T30, unfortunately. For those with the X-H2s, it’s my understanding that this recipe is completely compatible and renders near identically, but I have not tested it to know for certain. Those with newer GFX cameras can use it, too, although it will render a little differently.

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: +1
Color: -1
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7300K, -5 Red & -2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Kodak Max 800” Film Simulation Recipe on my Fujifilm X-E4:

Frozen Ponds at a Bird Refuge – Farmington, UT – Fujifilm X-E4
Winter Gate – Farmington, UT – Fujifilm X-E4
Open Gate – Farmington, UT – Fujifilm X-E4
Icy Marshland – Farmington, UT – Fujifilm X-E4
What Remains of Summer – Farmington, UT – Fujifilm X-E4
Winter Water – Farmington, UT – Fujifilm X-E4
Frozen Marsh Pond – Farmington, UT – Fujifilm X-E4
Nature Trail – Farmington, UT – Fujifilm X-E4
Green Truck – Farmington, UT – Fujifilm X-E4
Santa’s Sled – Farmington, UT – Fujifilm X-E4
Neighborhood Path in Winter – Farmington, UT – Fujifilm X-E4
Trail Closed – Farmington, UT – Fujifilm X-E4
No Shooting Past the Fence – Farmington, UT – Fujifilm X-E4
Pallets – Farmington, UT – Fujifilm X-E4
Inside Abandoned Shed – Farmington, UT – Fujifilm X-E4
Walking Tunnel – Farmington, UT – Fujifilm X-E4
Farm in the City – Farmington, UT – Fujifilm X-E4
Barnes & Noble Window – Farmington, UT – Fujifilm X-E4
Building Top in Last Light – Farmington, UT – Fujifilm X-E4
Buildings & Palms – Buckeye, AZ – Fujifilm X-E4
Backyard Garden Trumpets – Buckeye, AZ – Fujifilm X-E4
Illuminated Desert Shrub – Buckeye, AZ – Fujifilm X-E4

Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-Trans IV FXW App Patron Early-Access Film Simulation Recipe: Vintage Print

Bell Tower – Litchfield Park, AZ – Fujifilm X-E4 – “Vintage Print”

The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is that you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. In fact, many Early-Access Recipes have been publicly published on this blog and the App, so now everyone can use them! 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!

This recipe began when my wife suggested that I should try to emulate a certain look that she found. I wasn’t successful, but in my efforts I discovered these settings, which I thought looked interesting nonetheless. They remind me of vintage color prints—not from any specific film or process, but just my “memory color” (as Fujifilm puts it) of some old prints that I’ve seen in the past. It has almost a classic magazine quality to it, or even a bit of a post-card resemblance. Whatever it may or may not look like, it definitely has a vintage-like look that some of you might really appreciate.

All of these pictures were captured using manual vintage lenses, including—actually, mostly—a Helios 44-2. I also used a 5% CineBloom or 10% CineBloom filter with around half of them. I did this to help achieve an analog aesthetic. The use of vintage glass and diffusion filters aren’t required for this recipe, but you are certainly welcome to do so if you want—I think they help a little to take the digital edge off of the pictures.

Suburban Saguaro – Buckeye, AZ – Fujifilm X-E4 – “Vintage Print”

This “Vintage Print” Early-Access Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Those with the X-H2s and newer GFX cameras can use it, too (results may vary, though). If you are a Fuji X Weekly App Patron, it’s available to you right now on the Fuji X Weekly App! If you don’t have the App, download it for free today.

Example photographs, all camera-made JPEGs captured using this “Vintage Print” Film Simulation Recipe on my Fujifilm X-E4:

Big Storm Looming in the Background – Buckeye, AZ – Fujifilm X-E4
Lake, House – Litchfield Park, AZ – Fujifilm X-E4
Jon Is Happy – Litchfield Park, AZ – Fujifilm X-E4
Labyrinth Church – Litchfield Park, AZ – Fujifilm X-E4
Saguaro & Dust – Buckeye, AZ – Fujifilm X-E4
Twin Saguaros – Buckeye, AZ – Fujifilm X-E4
Saguaro as Seen Through a Saguaro – Buckeye, AZ – Fujifilm X-E4
Teddy Bear Cholla – Buckeye, AZ – Fujifilm X-E4
Desert Spikes – Buckeye, AZ – Fujifilm X-E4
Desert Barrel – Buckeye, AZ – Fujifilm X-E4
Trumpets Down – Buckeye, AZ – Fujifilm X-E4
Bright Bougainvillea – Buckeye, AZ – Fujifilm X-E4

Happy Motoring: Abandoned Exxon — Route 66 — Santa Rosa, NM — Fujifilm X-E4 + Kodak Portra 400 v2

Happy Motoring! – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”

Back in May, while on a lengthy roadtrip, I stopped in Santa Rosa, New Mexico, for the night. A small town along historic Route 66, Santa Rosa pretty much exists to provide food, fuel, and beds for travelers passing east-and-west through The Land of Enchantment. Like a lot of old Route 66 towns, Santa Rosa has seen better days—there are many abandoned buildings along the highway, and some others that appear to not be far from their inevitable fate of abandonment.

Santa Rosa might be best known for a scene in The Grapes of Wrath, where Tom Joad watches a freight train cross a bridge over the Pecos River. Scars from The Great Depression are still visible if you look hard enough. The biggest tourist attraction is the Blue Hole, a natural swimming pond fed by a vast underground water system. While visiting Santa Rosa, I was asked by locals a couple of times, “Are you here for the Blue Hole?” I guess it’s a big deal, but I didn’t make time to see it.

I did make time to photograph a few of the abandoned buildings. One was an old Exxon gas station. This particular service station offered two grades of gas, two stalls for vehicle maintenance, and two restrooms. You could buy maps or a soda from a vending machine. Inside was an old Dairy Queen sign that I do not believe originated from this particular gas station, but probably another building elsewhere in town, perhaps owned by the same person.

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

In an empty grass-filled lot next to the gas station I found some old playground equipment. There may have been a campground or RV park there at one time, but the playground is the only thing left. I suppose on hot summer nights, the ghosts who still use the teeter-totter can get a coke from the abandoned Exxon next door.

Exploring and photographing places like this is both fascinating and frightening. It’s like a large time capsule that broke open years before being discovered, now filled with retro nostalgia and haunting decay. You don’t know what you’ll find—what’s hiding behind a corner—and even if there isn’t any danger, it’s still not safe. Going into abandoned buildings is never safe. I do believe that it’s important to photograph these places for several reasons: they’re always changing (due to nature and vandals) and will eventually be completely gone, they offer a glimpse into a previous time that’s long gone and fading from our memories, and to document the way societies deals with unwanted junk from broken lives and broken dreams. As Troy Paiva put it, these places are “steeped in Wabi-Sabi feelings of accepting loss and finding beauty and nobility in decay.”

The sun was low while I was there, preparing to set behind the western horizon—I had about 30 minutes of wonderful “golden hour” light to work with. I used my Fujifilm X-E4 with a Fujinon 27mm f/2.8 lens attached to it to capture these images. The Film Simulation Recipe that I used for these photographs was Kodak Portra 400 v2, which is one of my favorites—the Kodak-like colors and tones are just so lovely—an excellent option for this particular scene and light.

Ring – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Unleaded Regular – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Zero Gallons Available – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Gas & Games – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Rusty Hoop – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Dark Lights – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Ice Cold Coke – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Fan Belts – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Someone Left The Lights On – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Toolbox – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Still Being Repaired – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Exxon Pumps – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
DQ Sandwich – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Exxon – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Nickel & Dimed – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Application Information – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Atlas Tires Book – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Sandia Peak – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”
Time Stands Still – Santa Rosa, NM – Fujifilm X-E4 – “Kodak Portra 400 v2”

This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.

Fujifilm X-E4 Black    Amazon   B&H
Fujifilm X-E4 Silver   Amazon   B&H
Fujifilm X-E4 Black + 27mm f/2.8    Amazon   B&H
Fujifilm X-E4 Silver + 27mm f/2.8   Amazon   B&H

Help Fuji X Weekly

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!

$2.00

Fujifilm X100V (X-Trans IV) Film Simulation Recipe: Fujicolor Analog

Cotton On – Farmington, UT – Fujifilm X100V – “Fujicolor Analog”

I was asked to recreate the look of a certain photographer, and I noticed that a lot of their photographs had a Classic Negative aesthetic, so I thought it would be easy to mimic. It turns out that this person shoots a lot of film, including (but not limited to) Fujicolor C200 and various Superia emulsions, as well as digital (but not Fujifilm, as far as I can tell), using RNI and perhaps some other filters or presets. Nothing said what each picture had been captured with, so it became difficult to recreate. After a little frustration, I decided to select only pictures with a certain aesthetic to attempt to emulate—I believe they might have been captured on a Superia emulsion, but they might not have been—they might not even be film! I think I was able to create a pretty close facsimile to this person’s aesthetic… at least one of the many various (but still somewhat similar) looks that this photographer has.

One film can have many different looks, depending on how it was shot, developed, and printed or scanned. I do believe this “Fujicolor Analog” recipe mimics the aesthetic of a Fujifilm color negative film, but which exact film, and how handled, is uncertain. What is certain is that this is a very nice recipe that some of you will love! This Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe; however, a different recipe has replaced it, and so now it’s available to everyone!

Noble Fir – Kaysville, UT – Fujifilm X100V

Because this recipe uses Classic Negative, Color Chrome FX Blue, and Clarity, it is only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras (and likely the X-H2s, too, although I have not tested it). I believe those with newer GFX cameras can also use it, although it will likely render slightly different. Unfortunately, it is not compatible with the X-T3 and X-T30 or older cameras.

Classic Negative
Dynamic Range: DR400
Highlight: -1
Shadow: 0
Color: -3
Noise Reduction: -4
Sharpness: 0
Clarity: -3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 6900K, -5 Red & +5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this “Fujicolor Analog” Film Simulation Recipe on my Fujifilm X100V & Fujifilm X-E4 cameras:

Main St Market – Buckeye, AZ – Fujifilm X-E4
Backlit Bougainvillea Flower – Buckeye, AZ – Fujifilm X-E4
Cloud Behind Trees – Buckeye, AZ – Fujifilm X-E4
Pine Trunk – Kaysville, UT – Fujifilm X100V
Burly Ladder – Kaysville, UT – Fujifilm X100V
Red Lights – Kaysville, UT – Fujifilm X100V
Utah Reeds – Farmington, UT – Fujifilm X100V
Pine in the Sky – Farmington, UT – Fujifilm X100V
Withering Blooms – Orem, UT – Fujifilm X100V
Peaks Above The Gap – Orem, UT – Fujifilm X100V
Arts – Draper, UT – Fujifilm X100V
Stop Spreading Germs – Draper, UT – Fujifilm X100V
Pharmacy Lift – Centerville, UT – Fujifilm X100V

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-E4 (X-Trans IV) FXW App Patron Early-Access Film Simulation Recipe: Eterna Bleach Bypass

Evening on Main – Buckeye, AZ – Fujifilm X-E4 – “Eterna Bleach Bypass”

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. In fact, many early-access recipes have already been publicly published on this blog and the App, so now everyone can use them. 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!

I was challenged by Thomas Schwab to create a Film Simulation Recipe that mimics the aesthetic of the picture in the background of Dan Bailey’s YouTube video discussing the Eterna Bleach Bypass film simulation. There were some challenges, including limited samples (which were viewed on a YouTube video), and the fact that I now live in Arizona and not Utah (no access to majestic snow-capped mountain scenes), but I do believe that I got in the ballpark. This is essentially a “black-and-white” recipe for color photography—capable of producing dramatic near-monochrome images.

Pacific Photographer – Pismo Beach, CA – Fujifilm X-E4

Because this “Eterna Bleach Bypass” recipe uses the Eterna Bleach Bypass film simulation, it is only compatible with those cameras that have it, which are the Fujifilm X-T4, X-S10, X-E4, and X-T30 II. I do believe that this recipe is fully compatible with X-Trans V (currently the X-H2s), but I have not tested it yet to know for certain. Those with newer GFX cameras can also use it, although it will likely render slightly different.

If you are a Fuji X Weekly Patron, this recipe is available to you right now on the App!

Example photographs, all camera-made JPEGs captured using this “Eterna Bleach Bypass” on my Fujifilm X-E4:

Suburban Roof Abstract – Buckeye, AZ – Fujifilm X-E4
CVS – Buckeye, AZ – Fujifilm X-E4
Climbing a Wall – Buckeye, AZ – Fujifilm X-E4
Wall Details – Buckeye, AZ – Fujifilm X-E4
Bougainvillea & Building Storm – Buckeye, AZ – Fujifilm X-E4
Clouds Above Mesa – St. George, UT – Fujifilm X-E4
Crashing Wave Along Coast – San Simeon, CA – Fujifilm X-E4
Backyard Garden Sunbeams – Buckeye, AZ – Fujifilm X-E4
Garden Trumpet – Buckeye, AZ – Fujifilm X-E4
Little Bug – Buckeye, AZ – Fujifilm X-E4
Saguaro Fingers – Buckeye, AZ – Fujifilm X-E4
Boardwalking – Pismo Beach, CA – Fujifilm X-E4

Fujifilm X-Trans III + X-T3/X-T30 Film Simulation Recipe: Melancholy Blue

Pops of Pink – Buckeye, AZ – Fujifilm X-H1 – “Melancholy Blue”

For this Film Simulation Recipe I wanted to combine the beautiful blues of the new Pacific Blues recipe with the dark moodiness of the Vintage Agfacolor recipe. The result is a slightly melancholic aesthetic that can also produce dramatic results in certain circumstances. It’s great for daylight photography—delivering interesting (yet quite dissimilar) results in both overcast and bright sunlight conditions, including Low Key photography—and it also seems like a good option for some artificial light situations. Despite its versatility, it’s not a recipe that everyone will love; however, I know that a few of you will really appreciate it.

Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change recipes. There aren’t very many recipes that use the Incandescent White Balance, but now you have another recipe option if you are using this method.

Enlightened Nature – Buckeye, AZ – Fujifilm X-T30 – “Melancholy Blue”

This “Melancholy Blue” Film Simulation Recipe is intended for Fujifilm X-Trans III cameras, plus the X-T3 and X-T30. I used it on my Fujifilm X-H1 and X-T30, and it did well on both. For newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to… either Small or Large, you’ll have to decide which you prefer.

Classic Chrome
Dynamic Range: DR200
Highlight: +3
Shadow: -1
Color: -2
Noise Reduction: -4
Sharpness: -1
Grain Effect: Weak
Color Chrome Effect: Off/NA
White Balance: Incandescent, +4 Red & -9 Blue
ISO: Auto up to ISO 6400

Exposure Compensation: -1/3 to -1 (typically)

Example photographs, all camera-made JPEGs captured using this “Melancholy Blue” Film Simulation Recipe on my Fujifilm X-T30 & Fujifilm X-H1 cameras:

Prickly Fruit – Buckeye, AZ – Fujifilm X-H1
Yellow on Top – Buckeye, AZ – Fujifilm X-H1
Dark Saguaro – Buckeye, AZ – Fujifilm X-H1
Buddies – Buckeye, AZ – Fujifilm X-H1
Lights Along A Wall – Buckeye, AZ – Fujifilm X-T30
Backyard Blooms – Buckeye, AZ – Fujifilm X-H1
Backlit Trumpets – Buckeye, AZ – Fujifilm X-H1
Twin Blooms – Buckeye, AZ – Fujifilm X-T30
Climbing Trumpets – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-H1
Block Wall Shadow – Buckeye, AZ – Fujifilm X-H1
Does Not Stop – Buckeye, AZ – Fujifilm X-H1
Roof Lines – Buckeye, AZ – Fujifilm X-T30

Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Pacific Blues

Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – “Pacific Blues”

Sometimes—like “Arizona Analog“—Film Simulation Recipes come together quickly, and sometimes—like this recipe—they don’t. This particular recipe has been in the works for over a year! I’ve made several attempts, and I finally feel satisfied that it is right—or at least as “right” as I’m going to get it. But what is it?

I’ve had a few requests to mimic the aesthetic of Lucy Laucht‘s Spirit of Summer series, particularly the Positano Blues photographs. Lucy is most known for shooting with Leica cameras—both film and digital—but she also uses others, and I wasn’t sure what she employed for this project. Recently I discovered that Positano Blues was shot on film, but (as far as I’ve found) she doesn’t discuss which film. I did find a reference (not related to this specific project) that mentioned she has used Kodak Gold and Kodak Portra, and that she digitally edits the film scans to some degree. She mentions using VSCO with her digital images, and I wonder if she also utilizes it with her film, too. When I first saw the pictures in this series, I thought it had a Classic Negative vibe—a film simulation that emulates Fujicolor Superia film. Lucy’s pictures are warmer than Superia typically is, but so much depends on how a film is shot, developed, scanned, etc., on how exactly it looks, and she certainly could have used warming filter. No matter the film and process used by Lucy, there’s a certain “look” to the Positano Blues photographs that is recognizable and beautiful—no wonder why people want to emulate it!

Coast Blue – San Simeon, CA – Fujifilm X-E4 – “Pacific Blues”

While Lucy Laucht’s pictures have a recognizable aesthetic, there are subtle differences between the images. Once you study them closely, you realize that some are warmer and some are cooler. Colors are rendered slightly different in some pictures. In past attempts, I felt like I’d get it “right” for one picture but “wrong” for others; however, with this final attempt, I feel like it’s possible to get close to the “look” of most of the Positano Blues photos. I’m very satisfied with how this one turned out, and I know that many of you will appreciate it, too. Obviously it is intended for a summer day at the beach, but it will do well in many different daylight situations. This “Pacific Blues” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. I assume that it will also work on the X-H2s and newer GFX cameras, but I haven’t tried it to know for sure.

Classic Negative
Dynamic Range: DR400
Highlight: -2
Shadow: +3
Color: +4
Noise Reduction: -4
Sharpness: -2
Clarity: -3
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 5800K, +1 Red & -3 Blue
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 a Fujifilm X-E4:

Pier Feet – Avila Beach, CA – Fujifilm X-E4
Water Taxi – Avila Beach, CA – Fujifilm X-E4
Harford Pier – Avila Beach, CA – Fujifilm X-E4
Bird & Boats – Avila Beach, CA – Fujifilm X-E4
Bird ‘Bout To Get Wet – San Simeon, CA – Fujifilm X-E4
Ocean Post – San Simeon, CA – Fujifilm X-E4
Pacific Plants – San Simeon, CA – Fujifilm X-E4
Rocks in the Water – San Simeon, CA – Fujifilm X-E4
Central California Coast – San Simeon, CA – Fujifilm X-E4
Grass in the Sand – Pismo Beach, CA – Fujifilm X-E4
Beach Frisbee – Pismo Beach, CA – Fujifilm X-E4
Sax at the Beach – Pismo Beach, CA – Fujifilm X-E4
Surf Rider – Pismo Beach, CA – Fujifilm X-E4
Lone Rider – Pismo Beach, CA – Fujifilm X-E4
Two on the Wave – Pismo Beach, CA – Fujifilm X-E4
Evening Wave – Pismo Beach, CA – Fujifilm X-E4

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Arizona Analog

Building Storm Over Desert Ridge – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”

Inspiration can come suddenly and unexpectedly, and it’s important to be open to it when it comes.

I was at the grocery store the other day, waiting in line to checkout, standing right next to the magazine stand. My wife points out the latest issue of Arizona Highways, which I previously subscribed to, but (with my move from Utah) I let the renewal lapse. She says, “Wanna get it?” I shake my head no, then begin to load the groceries onto the belt. I didn’t want to get it because the subscription price for a year is the same price as four issues at the stand, and because I’m pretty busy right now (still unpacking boxes and such) and I might not read it anyway.

“Do you mind getting me an iced coffee?” My wife asked a moment later. Then, pointing at the stuff on the belt, she stated, “I’ve got this.” There’s a Starbucks in the grocery store, and I was happy to jump out of the line and get a couple of coffees. A few minutes later, just as the barista was done with our order, my wife walks up with the basket of bagged groceries. Sitting right on top was the Arizona Highways magazine.

Old Saguaro – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”

When we got home, after unloading the car and putting everything away, I thumbed through the August issue. On page 10 was a photograph by Scott Baxter of a rancher wrangling cattle, which was in a small article called Sierra Bonita Ranch (the picture can be seen if you click the link—click on the picture to see the whole thing—I find it interesting how different it appears on my screen vs in the magazine). I grabbed my Fujifilm X-E4 and threw in some settings that I thought might be close.

I snapped a few photos in the yard, then showed my wife. “Those look good,” she said. “This is where I got the inspiration,” I stated as I showed her Scott’s picture in the magazine. She viewed the picture, then gave me a puzzled look. “We’ve only been home 10 minutes. You made this recipe from that picture?”

“Yes!” I replied with a smile. “Wow,” she said, “that’s really amazing!”

Suburban Americana – Buckeye, AZ – Fujifilm X-E4 – “Arizona Analog”

This recipe isn’t a 100% accurate match to Scott’s picture—it’s pretty close, but not perfect. Not surprising, it’s closer to the printed aesthetic than the digital look, as I hadn’t yet seen it online when I created the recipe. I considered attempting to more closely replicate the aesthetic of the picture, but I really like the look of this recipe—accurate or not—so I decided not to change it. I have no idea what Scott used to capture his picture… apparently he shoots a mix of film and digital.

Thanks to Scott Baxter, Arizona Highways, and my wife’s thoughtful gesture, the inspiration for this recipe came quickly. It was one of the fastest recipes that I’ve ever created. Certainly it’s not for every person or every situation, but I’m sure for some of you in the right situations, you’ll appreciate the aesthetic that this “Arizona Analog” Film Simulation Recipe delivers. It’s compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras—I assume the new X-H2s, too, but I haven’t yet tested it on X-Trans V.

Eterna
Dynamic Range: DR400
Highlight: -1
Shadow: +3
Color: -2
Noise Reduction: -4
Sharpness: -2
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Daylight, +6 Red & -3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this “Arizona Analog” Film Simulation Recipe on a Fujifilm X-E4:

Pavillion – Buckeye, AZ – Fujifilm X-E4
The New West – Buckeye, AZ – Fujifilm X-E4
Curved Trellis – Buckeye, AZ – Fujifilm X-E4
Evening Flowers – Buckeye, AZ – Fujifilm X-E4
Flower Garden Blossoms – Buckeye, AZ – Fujifilm X-E4
Real Bloom over Artificial Turf – Buckeye, AZ – Fujifilm X-E4
Trunk & Flowers – Buckeye, AZ – Fujifilm X-E4
Wall Flowers – Buckeye, AZ – Fujifilm X-E4
Fishhook Barrel Cactus Blossom – Mesa, AZ – Fujifilm X-E4
Rocky Hill Saguaro – Buckeye, AZ – Fujfilm X-E4
Desert Cholla – Buckeye, AZ – Fujifilm X-E4
Dusty Desert – Buckeye, AZ – Fujifilm X-E4

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00

Fujifilm X-Trans I Film Simulation Recipe: Faux Classic Chrome

Bougainvillea Color – Buckeye, AZ – Fujifilm X-Pro1 – “Faux Classic Chrome”

A little over two years ago I figured out how to replicate default Classic Chrome using the PRO Neg. Std film simulation. I published my findings in a blog post, to hopefully be helpful to those with cameras which don’t have the Classic Chrome film simulations, such as the X-Pro1, X-E1, X100, and X100S. I didn’t make this an official Film Simulation Recipe because it was just emulating Classic Chrome without adjustments (other than Noise Reduction), which I didn’t think was especially exciting; however, I recently found out that this recipe is being used and there’s a desire for it to be included in the Fuji X Weekly App. I’m simply turning those two-year-old settings into an official Fuji X Weekly Film Simulation Recipe.

If you want a recipe that resembles Classic Chrome with DR100, Highlight 0, Shadow 0, Color 0, Sharpness 0, and AWB (without a shift), this recipe is a good facsimile of that. It’s not possible to 100% faithfully mimic Classic Chrome without Classic Chrome, but these settings are pretty close, and as close as you’re likely going to get.

Laughing at a Joke – Goodyear, AZ – Fujifilm X-Pro1 – “Faux Classic Chrome”

I created these settings on an X-Trans II camera, but all of these images were captured on my Fujifilm X-Pro1. If you have an X-Trans I or X-Trans II sensor that doesn’t have Classic Chrome but does have PRO Neg. Std, you can use this recipe to approximate default Classic Chrome. The results are pretty decent; it’s a solid all-around recipe that’s good for a variety of subjects and situations.

PRO Neg. Std
Dynamic Range: DR200
Highlight: +1 (Medium-Hard)
Shadow: +1 (Medium-Hard)
Color: +1 (Medium-High)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Auto, 0 Red & -1 Blue

ISO: Auto, up to ISO 3200
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Faux Classic Chrome” Film Simulation Recipe on a Fujifilm X-Pro1:

Midday Palm – Goodyear, AZ – Fujifilm X-Pro1
Building, Clouds – Goodyear, AZ – Fujifilm X-Pro1
Mostly Sunny Bougainvillea – Buckeye, AZ – Fujifilm X-Pro1
Garden Trumpets – Buckeye, AZ – Fujifilm X-Pro1
Reaching Garden – Buckeye, AZ – Fujifilm X-Pro1
Pergola Roof Design – Buckeye, AZ – Fujifilm X-Pro1
Pop of Pink – Buckeye, AZ – Fujifilm X-Pro1
Hiding Blooms – Buckeye, AZ – Fujifilm X-Pro1
Scraggly Bloom – Buckeye, AZ – Fujifilm X-Pro1
Josh Looking at Something – Buckeye, AZ – Fujifilm X-Pro1

Find this film simulation recipes and over 200 more on the Fuji X Weekly — Film Recipes App!

Help Fuji X Weekly

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!

$2.00