Sentinel & Merced– Yosemite NP, CA – Fujifilm X100V – Vintage Color Recipe
A lot of people are interested right now in achieving a vintage aesthetic with their Fujifilm cameras. Retro renderings are in-style, but with about 300 Film Simulation Recipes to choose from on the Fuji X Weekly website (and App), it can be difficult to know which ones to use. If you are after a vintage look, let me suggest 10 Recipes to you. They all have “vintage” in the name, and each will deliver a retro analog-like rendering.
Some of the Film Simulation Recipes below are quite popular (especially the first one), and maybe you’ve even used a few of them yourself. Many of them are less popular and are often overlooked; maybe you’ve seen them, but never programmed them into your camera. Perhaps this is the very first time you’re seeing a couple of these Recipes. Whatever the case, if you are after a vintage look, pick a couple of these to try today!
The first three Recipes below are compatible with X-Trans III cameras, plus the X-T3 & X-T30; to use them on newer X-Trans IV models, set Color Chrome Effect and Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large). The next five are compatible with “newer” X-Trans IV models (X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II); to use them on X-Trans V, set Color Chrome FX Blue one step lower (Weak instead of Strong, Off instead of Weak). The last two are compatible with X-Trans V cameras; the second-to-last Recipe can be used on some X-Trans IV models (X-T4, X-S10, X-E4, and X-T30 II) by setting Color Chrome FX Blue to Weak instead of Off.
Take a look at the 10 Vintage Film Simulation Recipes below. If one or two or three of them stand out to you as especially interesting, go ahead and give them a try!
Glimpse of a Fleeting Memory – Gilbert, AZ – Fujifilm X-T5 – Vintage Cinema Recipe
Side Gate Cracked Open – Buckeye, AZ – Fujifilm X-T5 – Vintage Cinema Recipe
Ball on a Wall – Buckeye, AZ – Fujifilm X-T5 – Vintage Cinema Recipe
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These 2″x2″ embroidered iron-on patches are a great way to share your love of film sims to those around you. Put them on your camera bag, backpack, jean jacket, etc.. There are 11 of them: Provia, Velvia, Astia, Classic Chrome, PRO Neg. Hi, PRO Neg. Std, Classic Negative, Eterna, Monochrome, Acros, and Sepia. Find them on Fujifilm’s online store. Not sure why Eterna Bleach Bypass and Nostalgic Neg. didn’t make the cut, other than these patches resemble the small “box-top” screen on the back of the Fujifilm X-Pro3, and those two film sims aren’t available on that model.
I think they’re really cool. I ordered a couple, and plan to iron them onto my travel camera bag. They’re not exactly cheap at $10 per patch (or all 11 for $79.50, which is actually a significant bulk discount), but I think it’s a fun way to show your love of film simulations. I also think it’s fascinating that film sims are now so prominent—in large part due to the popularity of Film Simulation Recipes—that Fujifilm is merchandising them. I’d love to see them do more of this type of thing.
Exciting: Fujifilm Film Simulations just got real with these embroidered applique patches, in 11 different designs. Digitally recreated, based on historic film stocks, our Film Simulations are now available in all-new physical form. These quality, machine-embroidered patches can be heat-applied to fabric surfaces, from clothing to backpacks. Are you a bold Velvia fan, or an admirer of the timeless Acros? Grab either one separately, or the both of them if you can’t make up your mind. Love them all? We don’t blame you! Get ’em while the iron’s hot!
Sunny Afternoon Blooms – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe
For this Film Simulation Recipe, I was attempting to accomplish two different things: create a Recipe that uses Underwater White Balance and produce results with an analog-like color negative film aesthetic. To the second point, this Recipe does produce that in generic terms. It’s not intended to mimic any specific film emulsion, although there might be someunintended resemblance to Fujicolor Pro 160C, or—to a lesser extent—Kodak Portra 160VC.
The reason I chose the Underwater White Balance type is because I’ve yet to use it with any X-Trans II Recipe; since your camera will remember one White Balance Shift per White Balance type, this can be another option to consider for your C1-C7. If each of the seven Film Simulation Recipes programmed into your Custom Presets has a different White Balance type, you won’t have to worry about changing the WB Shift when switching between your C1-C7 Custom Preset.
Red Bicycle – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe – Photo by Jon Roesch
This “Pro Film” Recipe is compatible with all Fujifilm X-Trans II cameras (except the XQ1 and XQ2, which don’t have the PRO Neg. Hi film simulation). You can use this Recipe on the X-Pro1 and X-E1 (as well as many of the Bayer models), although the results will be slightly different.
PRO Neg. Hi Dynamic Range: DR200 Highlight: -1 (Medium-Soft) Shadow: -2 (Soft) Color: +2 (High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Underwater, 0 Red & -2 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Pro Film” Film Simulation Recipe on a Fujifilm X70:
No Turning Back – Phoenix, AZ – Fujifilm X70
Yellow Truck – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Sunset Ford – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Red Car – Buckeye, AZ – Fujifilm X70
Van Accessible – Phoenix, AZ – Fujifilm X70
Walkway Bicycle – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Window in the Wall – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Locked Up Bike – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Enjoy – Phoenix, AZ – Fujifilm X70
Corner Table – Phoenix, AZ – Fujifilm X70
Clouds over Rooftop – Buckeye, AZ – Fujifilm X70
Sunlight Behind Pavilion – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch
School – Buckeye, AZ – Fujifilm X70
Backlit Tree & Wall – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Electric Wall – Buckeye, AZ – Fujifilm X70
Backyard Jo – Buckeye, AZ – Fujifilm X70
Backlit Water Fountain – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Green Field – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Park View – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch
Photographing the Photographer – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch
Arizona Green – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch
Early Morning Bougainvillea – Buckeye, AZ – Fujifilm X70
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A Film Simulation Recipe for the Fujifilm XF1, X100, X10 & X-S1 cameras.
Los Angeles – Avondale, AZ – Fujifilm XF1 – Golden Negative
Right at the very beginning of the X-series, but before X-Trans, Fujifilm briefly used a different sensor called EXR-CMOS. It was a 12-megapixel Sony CMOS sensor with an array similar to Bayer, except tilted at 45° (Fujifilm had previously used this tilted pattern on their Super-CCD sensors). The advantage to this unusual arrangement was that two of each color pixels sat near each other on the sensor, allowing for pixel-binning. Of course we’re familiar with pixel-binning now, as many cellphone sensors do this, but it was pretty revolutionary when Fujifilm did it roughly 15 years ago. It didn’t really catch on because 1) Fujifilm was only binning two pixels (not the more common four that we see today) and 2) the already somewhat low-resolution sensor was cut in half in order to do it. Basically, the advantages were fairly small while the disadvantage was somewhat significant.
The advantages of EXR was an increase in dynamic range and high-ISO performance. In order to achieve that, the camera had to be switched to EXR mode, which basically took the place of the DR options. Within the EXR mode, one of the settings was called D-Range Priority. Sound familiar? Unfortunately, to unlock D-Range Priority (and the other EXR options), one had to sacrifice half of the resolution and the ability to save a RAW file. My guess is that EXR was infrequently utilized on these cameras, but I really don’t know, as I only purchased one—a Fujifilm XF1—just recently.
Of the four X-series cameras that used an EXR-CMOS sensor, only the X100 was APS-C, and the other three were 2/3″, which was much smaller. I’ve never used the original X100, and only recently the XF1 with its tiny 2/3″ EXR-CMOS. The color rendering should be pretty identical, but the dynamic range and high-ISO noise performance is likely slightly different. I know this because I have used both an APS-C and 2/3″ X-Trans II sensor, and that’s what I observed. I don’t expect a significant difference in output between the four EXR-CMOS cameras, but the X100 will be a little superior to the other three.
Empty Restaurant Chair – Litchfield Park, AZ – Fujifilm XF1 – Golden Negative
The JPEG options on EXR-CMOS are very similar to X-Trans I, but the rendering is slightly different. You can use X-Trans I, X-Trans II, and Bayer Film Simulation Recipes that use Provia, Velvia, Astia, Monochrome, or Sepia film simulations; however, they will look a bit different on the XF1, X100, X10, or X-S1 cameras. Likewise, you can use this Golden Negative Recipe on X-Trans I, X-Trans II, or Bayer models, but it will render just a tad different. This isn’t to discourage you from trying, but to simply say that results will vary. I call this Film Simulation Recipe “Golden Negative” because I was attempting to achieve an aesthetic similar to the Golden Negative Recipe for Bayer cameras that have Classic Chrome; EXR-CMOS cameras don’t have Classic Chrome, so I used Provia instead. It’s definitely not identical, but this Film Simulation Recipe looks really good, and I think, if you have an EXR-CMOS sensor camera, you’ll truly enjoy this one.
Provia/STD Dynamic Range: DR-Auto Highlight: -1 (Medium-Soft) Shadow: 0 (Standard) Color: +1 (Medium-High) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Auto, +1 Red (R/CY) & -3 Blue (B/Ye) ISO: Auto, up to ISO 1600 Exposure Compensation: +1/3 (typically)
Example photographs, all camera-made JPEGs using this Golden Negative Film Simulation Recipe on a Fujifilm XF1:
Pink Bloom in Blue Sky – Buckeye, AZ – Fujifilm XF1
Bougainvillea & Building Storm – Buckeye, AZ – Fujifilm XF1
Block Wall & Bougainvillea – Buckeye, AZ – Fujifilm XF1
Garden Gate – Buckeye, AZ – Fujifilm XF1
Bougainvillea in Summer – Buckeye, AZ – Fujifilm XF1
Yellow Trumpets – Buckeye, AZ – Fujifilm XF1
Vines on a Cinderblock Wall – Buckeye, AZ – Fujifilm XF1
Attic Window – Buckeye, AZ – Fujifilm XF1
Cirrocumulus behind Tree Leaves – Buckeye, AZ – Fujifilm XF1
Ball Field & Distant Storm – Buckeye, AZ – Fujifilm XF1
Overcast Palm – Buckeye, AZ – Fujifilm XF1
Dry Grass in the Park – Buckeye, AZ – Fujifilm XF1
Shade Maker – Buckeye, AZ – Fujifilm XF1
Duel – Buckeye, AZ – Fujifilm XF1
Young Photographer – Buckeye, AZ – Fujifilm XF1
Right – Buckeye, AZ – Fujifilm XF1
Car Window Boy – Goodyear, AZ – Fujifilm XF1
Dead Flowers in a Pot – Buckeye, AZ – Fujifilm XF1
Hanging Bulbs – Buckeye, AZ – Fujifilm XF1
Tile Rooflines – Buckeye, AZ – Fujifilm XF1
Illuminated Window – Buckeye, AZ – Fujifilm XF1
Breakfast Served Backwards – Litchfield Park, AZ – Fujifilm XF1
Vines over Birdcage – Buckeye, AZ – Fujifilm XF1
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All the World’s a Summer Day – Buckeye, AZ – Fujifilm X-T5 – 1976 Kodak
The 1976 Kodak Film Simulation Recipe began as an attempt to recreate the aesthetic of legendary photographer Joel Meyerowitz, an American New Color photographer first known for serendipitous street photos of New York City. Meyerowitz has had one of the most prolific careers of any photographer, and he’s still active today at 85 years old! His look has been one of the most requested to replicate on Fujifilm cameras, so I eagerly delved into what exactly that is and how to mimic it.
One of the first roadblocks I encountered is that Joel Meyerowitz doesn’t have one unique style. His aesthetics vary significantly through the years. That shouldn’t be surprising because he’s on his seventh decade of photography. It’s well known that Meyerowitz used a lot of Kodachrome—in fact, he shot with all three eras of the film. In his early days it was the original ISO 10 Kodachrome, but very quickly that was replaced by Kodachome II and X; a significant chunk of his iconic street photography was captured during this time. Then Kodachrome 25 and 64 came along. All of those emulsions, while very similar, had their unique characteristics. I have a number of Film Simulation Recipes that can produce a Meyerowitz look because they replicate a film that he frequently used, including Vintage Kodachrome, Kodachrome 1, Kodachrome II (here, too), Kodachrome 25 (here, too), and Kodachrome 64 (here and here, too).
While Meyerowitz was known for Kodachrome, many of his most famous photographs were not captured on that film. He used Ektachrome sometimes for his 35mm work, and he used it extensively for his 8×10 large format photography. There have been over 40 different emulsions that carried the Ektachrome brand name, so it’s hard to know which specific ones he used. Some Ektachrome Film Simulation Recipes are Old Ektachrome, Kodak Ektachrome 100SW, Kodak Ektachrome E100VS, Ektachrome E100GX, Ektachrome, Ektachrome 320T, and Thommy’s Ektachrome. Some of these can probably be used to replicate a Meyerowitz look, too.
Closed Red Umbrella – Goodyear, AZ – Fujifilm X-T5 – 1976 Kodak
He didn’t just shoot with Kodachrome and Ektachrome, but also Anscochrome sometimes. He might have used other emulsions, too, it’s not real clear. One thing is for sure: whichever film he used, the emulsion wasn’t the finished picture, the print was (or the replication of the print in a book). Today, film is often scanned, and that’s how we see the photos captured with it, but for much of Meyerowitz’s career, the print (and not the scan) was what we saw. The printing process—the chemicals, the paper, and a host of other factors—could significantly affect the end result. That process changed and evolved over the decades. All of this is to say that no one Film Simulation Recipe will ever be able to replicate all of Joel’s various aesthetics. Probably not even ten Recipes. Aside from the ones already mentioned, 1970’s Summer and especially Summer of 1960 are a couple that could potentially produce a Meyerowitz look.
I studied about fifty of Joel’s photographs, mostly from the 1970’s. Some of them were urban street pictures, some were suburban or small-town images, and others were coastal photos. I looked for commonalities between the various pictures. I paid close attention to the lighting. I focused in on about two dozen that seemed similar enough, and tried to replicate the look with my Fujifilm X-T5. This 1976 Kodak Film Simulation Recipe was my sixth iteration. It’s not perfect, because, even within those 20+ similar Meyerowitz photographs, there are still some subtle differences. Aside from that, Fujifilm’s options, which are much more robust than they used to be, are still limited, and you can only do so much. Still, sometimes the resemblance between some of Joel’s pictures and the images captured with this Recipe are remarkable!
This Film Simulation Recipe got its name because the majority of the pictures that it is based on were captured in 1976. Some were 35mm and likely Kodachrome 25 and Kodachrome 64, but could also be Ektachrome-X and/or Ektachrome Pro 64, or even Anscochrome 64. Some were large format and likely Ektachrome Pro 64, Ektachrome 6118 Tungsten, and/or Ektachrome 160 Daylight, or even possibly Aschochrome 32. 1976 was a pivotal and transitional year for Joel Meyerowitz, as he began to explore landscapes and small-town life, particularly along the Massachusetts coast. He also began shooting with a large format Deardorff view camera. Since this was such an important year in Meyerowitz’s photographic journey, since many of the pictures that this Recipe was modeled after were captured in 1976, and because the vast majority of his photos were shot on Kodak film, I call this Recipe 1976 Kodak.
Two Birds – Tempe, AZ – Fujifilm X-T5 – 1976 Kodak
The 1976 Kodak Film Simulation Recipe is quite versatile, and works well in many lighting situations and for many genres of photography. You might find it to be slightly overly warm in artificial light, but otherwise use it anytime. It’s compatible with Fujifilm X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, X-H2s, and X-S20. Those with newer GFX cameras can use it, too, although it will likely render slightly different (use it anyway!). Try this Recipe with a vintage lens to further replicate a retro aesthetic.
Film Simulation: Nostalgic Neg. Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, -2 Red & -4 Blue Dynamic Range: DR200 Highlight: +1.5 Shadow: +3 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this 1976 Kodak Film Simulation Recipe on my Fujifilm X-T5:
Country Truck – Buckeye, AZ – Fujifilm X-T5
Truck being Photographed – Buckeye, AZ – Fujifilm X-T5
Tonka Wall – Buckeye, AZ – Fujifilm X-T5
Nissan Nature – Buckeye, AZ – Fujifilm X-T5
Pro4X – Buckeye, AZ – Fujifilm X-T5
Empty Campus – Avondale, AZ – Fujifilm X-T5
Street Glimpse – Buckeye, AZ – Fujifilm X-T5
Leaf & Treats – Buckeye, AZ – Fujifilm X-T5
Evening Reflected in Glass – Buckeye, AZ – Fujifilm X-T5
Dead Decorative Flowers – Buckeye, AZ – Fujifilm X-T5
Old Tricycle – Buckeye, AZ – Fujifilm X-T5
Two Red Chairs – Buckeye, AZ – Fujifilm X-T5
Locked Bike – Buckeye, AZ – Fujifilm X-T5
Circles of Life – Buckeye, AZ – Fujifilm X-T5
Fountain Not Flowing – Buckeye, AZ – Fujifilm X-T5
Orange Pot – Buckeye, AZ – Fujifilm X-T5
Mineral Discoloring – Buckeye, AZ – Fujifilm X-T5
Covered Promenade – Avondale, AZ – Fujifilm X-T5
Curious Closed Curtain – Buckeye, AZ – Fujifilm X-T5
Office Abstract – Buckeye, AZ – Fujifilm X-T5
Plastic Green – Buckeye, AZ – Fujifilm X-T5
Joshua Waiting in a Blue Chair – Avondale, AZ – Fujifilm X-T5
Photography is Life – Avondale, AZ – Fujifilm X-T5
Friendly Neighborhood Spiderman – Buckeye, AZ – Fujifilm X-T5
Guitar Practice – Buckeye, AZ – Fujifilm X-T5
Happy – Buckeye, AZ – Fujifilm X-T5
Green Leaves Hiding Behind Gate – Buckeye, AZ – Fujifilm X-T5
Park Bench – Buckeye, AZ – Fujifilm X-T5
Rainbow & Trumpets – Buckeye, AZ – Fujifilm X-T5
Ceramic Tile Roof – Buckeye, AZ – Fujifilm X-T5
Suburban Home – Buckeye, AZ – Fujifilm X-T5
Date Palm – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Garden – Buckeye, AZ – Fujifilm X-T5
Distant Thunderstorm Building – Buckeye, AZ – Fujifilm X-T5
Uptown Snake – Sedona, AZ – Fujifilm X-T5
Red Bell – Sedona, AZ – Fujifilm X-T5
Green Soccer Field – Buckeye, AZ – Fujifilm X-T5
Scootering – Buckeye, AZ – Fujifilm X-T5
Rooftop at Dusk – Buckeye, AZ – Fujifilm X-T5
Distant Sunset – Buckeye, AZ – Fujifilm X-T5
Pastel Sunset over Ball Field – Buckeye, AZ – Fujifilm X-T5
Foul Pole & Full Moon – Buckeye, AZ – Fujifilm X-T5
Saguaro at Sundown – Buckeye, AZ – Fujifilm X-T5
Dramatic Sunset behind Saguaro – Buckeye, AZ – Fujifilm X-T5
Purple Sky – Buckeye, AZ – Fujifilm X-T5
Sunset over School – Buckeye, AZ – Fujifilm X-T5
Sunset Lit Cloud – Buckeye, AZ – Fujifilm X-T5
Fast Scooter at Night – Buckeye, AZ – Fujifilm X-T5
Basketball Moon – Buckeye, AZ – Fujifilm X-T5
Moon Through the Hoop – Buckeye, AZ – Fujifilm X-T5
Moonshot – Buckeye, AZ – Fujifilm X-T5
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July Bougainvillea – Buckeye, AZ – Fujifilm X-T5 – Pushed CineStill 800T
CineStill 800T is a Kodak Tungsten-balanced motion picture film (specifically, Vision3 500T) that has had the Remjet layer removed so that it can be processed in C41 chemistry. It’s intended for use in indoor artificial light and at night (but could be used anytime with the appropriate color correction filter). Awhile back I found some examples of CineStill 800T that had been shot during the day in overcast conditions and had been push-processed. I liked the picture aesthetics, so I set out to recreate it.
While this Film Simulation Recipe is intended for daytime photography (particularly on overcast days), it does really well at night, too. For the after-dark pictures in this article, I used a 5% CineBloom diffusion filter, but a 10% or 20% might have been more appropriate for replicating the emulsion. I do recommend the use of a diffusion filter for nighttime photography when shooting with this Recipe.
This Pushed CineStill 800T Recipe isn’t new, but simply a modification of the X-Trans IV version for use on X-Trans V cameras. Because X-Trans V renders blue more deeply on some film simulations, a tweak to Color Chrome FX Blue—selecting Weak instead of Strong—was necessary for my Fujifilm X-T5. This Film Simulation Recipe isn’t for everyone or every situation, but some of you will really appreciate it for certain pictures.
Film Simulation: Eterna Bleach Bypass Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7700K, -9 Red & +5 Blue Dynamic Range: DR400 Highlight: -0.5 Shadow: +1.5 Color: +3 Sharpness: 0 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Pushed CineStill 800T Film Simulation Recipe on my Fujifilm X-T5:
Flower Stems in Colored Water – Buckeye, AZ – Fujifilm X-T5
Playing Video Games – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers on a Dreary Day – Buckeye, AZ – Fujifilm X-T5
Birdcage Wall – Buckeye, AZ – Fujifilm X-T5
Empty Cage – Buckeye, AZ – Fujifilm X-T5
Green Tree on a Blue Day – Buckeye, AZ – Fujifilm X-T5
Suburban Grey – Buckeye, AZ – Fujifilm X-T5
Street Train – Tempe, AZ – Fujifilm X-T5
Hand Signal – Tempe, AZ – Fujifilm X-T5
Spin – Tempe, AZ – Fujifilm X-T5
Ice – Tempe, AZ – Fujifilm X-T5
Hair Chairs – Tempe, AZ – Fujifilm X-T5
Mellow Mushroom Pizza – Tempe, AZ – Fujifilm X-T5
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It’s summer and it’s hot. I live in Arizona, so when I say it’s hot, I mean that it feels like someone opened an oven door! Nobody wants to be outside during the day right now, so (like vampires) everyone comes out at night. Not that it’s all that much cooler at dusk—it’s still triple digits—but at least it’s more bearable. While it’s easy to look at the negative side of things, the positive aspect to the excessive heat is that opportunities for night photography are plentiful.
A few days ago I took my Fujifilm X-T5 to downtown Tempe for some after-dark photography. Attached to the camera was a Meike 35mm f/1.7 lens, and I had a 5% CineBloom diffusion filter screwed onto it. I like the Meike lens for its vintage-like character. I chose the 5% CineBloom because its effect is subtle. While the 10% or 20% might have been more appropriate for a couple of the Film Simulation Recipes, overall I appreciate what the 5% CineBloom does to the photographs, which is not much yet oftentimes just enough.
I programmed into my Fujifilm X-T5 eight different Film Simulation Recipes, and shot with all of them. How was I able to program eight? Well, obviously, there’s C1-C7. On the X-T5 (as well as my X-E4 and a few other newer models), you can program an additional Recipe into the IQ menu. As you scroll through C1-C7, when you’re in-between C7 and C1, the camera will display the shooting mode (either P, A, S, or M, depending on the configuration of your dials), and it will select the settings programmed into the IQ menu, giving you a bonus eighth custom preset.
I didn’t walk all that far with my camera—going down a few blocks on one side of the road, and then back up on the other side. It was dark, but still blazing hot. I did manage to capture a whole bunch of pictures, making sure that I had at least six decent exposures with each Recipe. Afterwards I cooled off with an ice cream shake at In-N-Out, a nice treat to beat the heat.
If you are searching for some Film Simulation Recipes to try out on a hot summer night, take a look at the eight below. They’re certainly not the only ones that are good for after-dark photography, but they are all excellent options, and have their own unique aesthetics. These eight Recipes are the ones that I used, and I invite you to try them, too, the next time you go out for some night photography.
Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2
Fujicolor Super HG v2 is a highly versatile Film Simulation Recipe that—because it uses the Auto White Priority white balance—you can use anytime of the day or night. This is a Recipe that makes a lot of sense to always have programmed into your camera, since, no matter the light scenario, it’s going to give you good results. There’s an X-Trans V version of Fujicolor Super HG v2 (for those with an X-T5, X-H2, X-H2s, or X-S20), and an X-Trans IV version of this Recipe (for those with an X-T4, X-S10, X-E4, or X-T30 II).
Three Empty Seats – Tempe, AZ – Fujifilm X-T5 – Ektachrome 320T
While the previous Recipe used Auto White Priority, Ektachrome 320T uses Auto Ambiance Priority, but don’t let that fool you: this Recipe is intended for use at night or indoors under artificial light, where it works very well. Ektachrome 320T is compatible with some X-Trans IV models that have the Eterna Bleach Bypass film simulation (X-T4, X-S10, X-E4 & X-T30 II); to use it on X-Trans V, simply set Color Chrome FX Blue to Weak instead of Strong, since X-Trans V renders blue more deeply on some film simulations.
Expired ECN-2 100T is currently a Fuji X Weekly App Patron Early-Access Recipe. If you are a subscriber on the App, you have access to this Film Simulation Recipe; otherwise, you’ll have to wait a little while for it to become available to everyone. This particular Recipe produces a green or yellow cast (depending on the light) when used at night, and a teal-ish cast when used in daylight. Like the previous Recipe, this one is compatible with the X-T4, X-S10, X-E4, and X-T30 II cameras; to use it on X-Trans V models, set Color Chrome FX Blue to Weak instead of Strong.
Daily Jam at Night – Tempe, AZ – Fujifilm X-T5 – Fujicolor NPS 160 Pulled
Fujicolor NPS 160 Pulled isn’t intended specifically as a Film Simulation Recipe for nighttime photography, but because it is so versatile it works really well for this. It has a low-contrast, low-saturation rendering with an earthy cast. It’s really good for toning down a scene when you’d prefer a softer picture. Fujicolor NPS 160 Pulled is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
When I first learned that Xpro ’62 was great for after-dark photography, I was actually a little surprised, because this is intended as a daylight Recipe, and on paper it doesn’t seem versatile enough to be a good nighttime option. But it’s absolutely wonderful for night images! If you’ve never tried Xpro ’62 for post-sunset pictures, be sure to do so. It’s compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
The CineStill 800T Film Simulation Recipe is specifically intended for night photography, so it should be no surprise that it does well for after-dark pictures. If you want to even more closely mimic the film, try it with a 10% or 20% CineBloom diffusion filter. Like the previous two Recipes, CineStill 800T is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II, but not the X-T3 or X-T30); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong. There is a version for X-Trans III cameras plus the X-T3 and X-T30, and a version for X-Trans II models.
The Pushed CineStill 800T Recipe is actually modeled after some pictures of the film that were captured in daylight on an overcast day. This Recipe wasn’t necessarily purposefully intended for night photography, but it shouldn’t be surprising that it does well for it. It also shouldn’t be too surprising that it renders noticeably different than the CineStill 800T Recipe above. Pushed CineStill 800T is compatible with X-Trans IV cameras that have Eterna Bleach Bypass (X-T4, X-S10, X-E4 & X-T30 II; however, there is a version for the X-Pro3 and X100V); to use it on X-Trans V cameras, set Color Chrome FX Blue to Weak instead of Strong.
Neon Red – Tempe, AZ – Fujifilm X-T5 – Serr’s 500T
Last but far from least is Serr’s 500T, which is one of my absolute favorite nighttime Film Simulation Recipes. Due to its strong blue cast, this one is especially great for countering warm artificial light. Serr’s 500T is compatible with most X-Trans IV cameras (X-Pro3, X100V, X-T4, X-S10, X-E4 & X-T30 II); to use it on X-Trans V, set Color Chrome FX Blue to Weak instead of Strong.
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Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2
Fujifilm introduced the Super HG line in 1986, with ISO versions between 100 and 1600. It saw several iterations and improvements before Fujifilm replaced it with the Superia line is 1998. This Fujicolor Super HG v2 recipe produces results similar to Super HG 100 or Super HG 200 film. One film can have many different looks depending on how it was shot, developed, and printed or scanned, so this Recipe won’t match every image from the emulsion, but it is definitely in the general ballpark of the film.
Bridge to Nowhere – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2
Because this Recipe uses the Auto White Priority white balance, it is extremely versatile. It would be like having a whole case full of various color correction filters for your film back in the day, except now you don’t need to carry around a bunch of filters. Use this Recipe anytime of the day or night! As of this writing, this version of Fujicolor Super HG v2 is compatible with the Fujifilm X-T5, X-H2, X-H2s, and X-S20 cameras. The X-Trans IV version is compatible with the X-T4, X-S10, X-E4, and X-T30 II models. If you have a newer GFX model, you can try this or the original iteration—I’m not certain which is most appropriate, so maybe try both and see which one you like better.
Film Simulation: Classic Negative Grain Effect: Weak, Large Color Chrome Effect: Weak Color Chrome FX Blue: Weak White Balance: Auto White Priority, -3 Red & -1 Blue Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: +2 Sharpness: 0 High ISO NR: -4 Clarity: +2 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Fujicolor Super HG v2 Film Simulation Recipe on my Fujifilm X-T5:
Bougainvillea Arm – Buckeye, AZ – Fujifilm X-T5
Bored Boy Tossing Football – Buckeye, AZ – Fujifilm X-T5
Potted Palm – Buckeye, AZ – Fujifilm X-T5
Water Angels – Buckeye, AZ – Fujifilm X-T5
Zenefits – Tempe, AZ – Fujifilm X-T5
Bow – Tempe, AZ – Fujifilm X-T5
Sidewalk – Buckeye, AZ – Fujifilm X-T5
Resting Cat – Buckeye, AZ – Fujifilm X-T5
Stone Fencepost – Buckeye, AZ – Fujifilm X-T5
Empty Adirondack – Buckeye, AZ – Fujifilm X-T5
Sunset over Black Ridge – Buckeye, AZ – Fujifilm X-T5
Birds not of a Feather – Tempe, AZ – Fujifilm X-T5
Double-Double – Tempe, AZ – Fujifilm X-T5
Corner of 6th – Tempe, AZ – Fujifilm X-T5
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Small Windmill – Avondale, AZ – Fujifilm X-T5 – Fujicolor Superia 100
Fujicolor Superia 100 was a daylight-balanced color negative film produced by Fujifilm between 1998 and 2009. It replaced Fujicolor Super G Plus 100, which, honestly, didn’t look all that much different. Superia 100 had improved grain, sharpness, and more accurate color under florescent light; under normal conditions, and without a very close inspection, the two films looked nearly identical. Superia 100 was a “consumer” film that was widely found in drug and convenient stores. It was regularly used for family snapshots, but was also popular among photojournalists, as well as portrait and wedding photographers. Superia 100 was marketed as a “general use” low-ISO color film. Like the film, this Fujicolor Superia 100 Film Simulation Recipe could serve as a general-use option.
This Film Simulation Recipe has fairly low contrast—but not too low—and produces very nice colors. It has a nostalgic quality to it, since the film that it’s based on was widely used for family snapshots in the 1990’s and 2000’s. You can use it for portraits or street photography or landscapes—really, it’s good for most situations. Like the film, in indoor artificial light it will render especially warm, which you might or might not appreciate. This Recipe is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, X-H2s, and X-S20. For newer GFX models, you can use either version, but I’m sure it will look slightly different than an the X series.
Film Simulation: Classic Negative Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Daylight, 0 Red & -1 Blue Dynamic Range: DR-Auto Highlight: -1 Shadow: -2 Color: +1 Sharpness: -2 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Fujicolor Superia 100 Film Simulation Recipe on my Fujifilm X-T5:
Red Bike – Buckeye, AZ – Fujifilm X-T5
Taillight – Avondale, AZ – Fujifilm X-T5
Snooze – Phoenix, AZ – Fujifilm X-T5
Jon with a Camera – Buckeye, AZ – Fujifilm X-T5
Water & Light – Buckeye, AZ – Fujifilm X-T5
Spiderweb Leaves – Buckeye, AZ – Fujifilm X-T5
Greens of Summer – Buckeye, AZ – Fujifilm X-T5
Birdcage Light – Buckeye, AZ – Fujifilm X-T5
Americana Girl – Buckeye, AZ – Fujifilm X-T5
Backlit Girl in the Garden – Buckeye, AZ – Fujifilm X-T5
Bougainvillea Blooms of Summer – Buckeye, AZ – Fujifilm X-T5
Blooms Above Blocks – Buckeye, AZ – Fujifilm X-T5
Tiny Purple Backyard Blossoms – Buckeye, AZ – Fujifilm X-T5
Flowerpot – Buckeye, AZ – Fujifilm X-T5
Love Lost – Buckeye, AZ – Fujifilm X-T5
Concentration – Avondale, AZ – Fujifilm X-T5
Hanging Lamps – Phoenix, AZ – Fujifilm X-T5
Yellow Coffee – Phoenix, AZ – Fujifilm X-T5
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Vintage Barn – Prefumo Canyon, CA – Fujifilm X100V – 1981 Kodak Recipe
My wife, Amanda, recently ran across some old family pictures in her mom’s photo box. These prints were made in July of 1981—a date stamped on the back—and printed on Kodak paper. The other technical details are unknown, but most likely they were captured with a cheap point-and-shoot of some sort (possibly even a 110 camera) with Kodacolor II color negative film, which was the most popular amateur emulsion of that era. Due to age and improper storage, the prints are fading, with a pronounced orange (sometimes yellow, sometimes red) cast, and colors overall less vibrant than they once were. The set was mostly personal family pictures, and many of them were scratched and damaged, but I did scan two of the prints, which you’ll find below.
I thought that the aesthetic was interesting, so I began to develop a Film Simulation Recipe inspired by these photographs. It took a couple of days, and a few compromises, but I was able to create a look that mimics the general feel of those old pictures made in 1981 and printed on Kodak paper—the reason why I call this Recipe 1981 Kodak.
Scan from print
Scan from print
This 1981 Kodak Film Simulation Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V, because some film sims render blue more deeply, it will look slightly different. For the Fujifilm X-T3 and X-T30, ignore Grain size and Color Chrome FX Blue, and use a diffusion filter (such as a 10% or 20% CineBloom) in lieu of Clarity.
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!
Find 1981 Kodak in the Fuji X Weekly App! If you are a Fuji X Weekly App Patron, it’s available to you right now.
Example photographs, all camera-made JPEGs captured using this 1981 Kodak Film Simulation Recipe on my Fujifilm X100V:
Coastal Hills – Prefumo Canyon, CA – Fujifilm X100V
Dilapidated Barn – Prefumo Canyon, CA – Fujifilm X100V
Rural Rancher – Cambria, CA – Fujifilm X100V
Tree Fallen on Abandoned Car – Cambria, CA – Fujifilm X100V
Old Ford – Cambria, CA – Fujifilm X100V
Classic Grill – Cambria, CA – Fujifilm X100V
Tree-Covered Road – Prefumo Canyon, CA – Fujifilm X100V
Light over Fallen Tree – Prefumo Canyon, CA – Fujifilm X100V
Sawed Log – Prefumo Canyon, CA – Fujifilm X100V
Cliffs of Pismo – Pismo Beach, CA – Fujifilm X100V
Ken Rockwell & ’61 Pontiac Tempest – Cayucos, CA – Fujifilm X100V
Old Van – Cayucos, CA – Fujifilm X100V
Classic Rear Fender – Cayucos, CA – Fujifilm X100V
Beach Boys – Cambria, CA – Fujifilm X100V
Mrs. Peacock – Buckeye, AZ – Fujifilm X100V
Guitar Neck – Buckeye, AZ – Fujifilm X100V
Drummer – Buckeye, AZ – Fujifilm X100V
Corner – Surprise, AZ – Fujifilm X100V
Suburban Bougainvillea – Buckeye, AZ – Fujifilm X100V
Summer is here! Traveling, camping, visits to the beach, boating on the lake, and stuff like that are common during these months. Perhaps you are looking for some Film Simulation Recipe recommendations for your Fujifilm camera for the summer season. I thought I’d take this opportunity to revisit my Which Film Simulation Recipe, When? series of articles. This post will make a lot more sense if you’ve read the original series—especially the first article—so be sure to take a look at it if you haven’t yet (or if it’s been awhile and you don’t remember).
This Part 1 is for Fujifilm X-Trans IV cameras, except for the X-T3 and X-T30, which will be covered in a different section. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II model, I invite you to give these Recipes a try! There are seven suggestions below—one for each C1-C7 Custom Preset—and three alternative ideas for each in case you don’t like the first recommendation. Each Custom Preset slot serves a specific purpose, so you should have a good Recipe option programmed into your camera no matter the subject or lighting. This group of seven isn’t necessarily better or worse than my original recommendations, just a different set chosen specifically for the summer months.
Golden Lake – Culleoka, TX – Fujifilm X-E4 – Fujicolor Natura 1600 Recipe
Fujicolor Natura 1600 is a Film Simulation Recipe that does well at anytime during daylight hours—and it’s one of my all-time favorites—but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. If you like the aesthetic, this really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, this is one I definitely recommend shooting with. I personally use this recipe frequently.
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe
Pacific Blues is another one that could be your go-to everyday-use Recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, which it excels at, but I think it is an excellent option for when the sun is not low—from mid-morning to mid-afternoon. It’s especially well suited for a day at the beach.
Cienega Bridge on Old Highway 80 – Vail, AZ – Fujifilm X100V – Urban Dreams Recipe
If it’s thick overcast and rainy, the Urban Dreams Recipe is surprisingly an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour” and at night), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.
Watch and Jewelry – Farmington, UT – Fujifilm X100V – Nostalgic Negative Recipe
For natural-light indoor photography, a good option is the Nostalgic Negative Recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural-light indoor pictures. For artificial-light indoor images, use the Recipe for nighttime photography below.
Alternative for “natural-light indoor” photography:
Brad’s – Pismo Beach, CA – Fujifilm X-E4 – Pure Negative Recipe
If it’s after dark, an excellent option for nighttime or artificial light photography is Pure Negative. This is a low-contrast Recipe with a natural rendering, which makes it especially ideal for high contrast scenes, particularly during midday light; however, it also does quite well in the darkness between sunset and sunrise and in indoor artificial light situations.
The C6 slot is a bonus, and the Vibrant Arizona Recipe is a solid option to fill it with—and it’s one of the most popular Recipes right now. If you didn’t want to use Vibrant Arizona, you could instead select your favorite “alternative” Recipe from C1-C5 above, or use one below.
The newest black-and-white Film Simulation Recipe is Kodak T-Max P3200, and it has quickly become one of my favorites! If you don’t want to use this one, definitely give Kodak Tri-X 400 a try.
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The story that I found in that email was absolutely incredible! Whether or not you ever use the Film Simulation Recipe that Anders sent to me, the story itself makes this article a worthwhile read. I was (and still am) just blown away by it! It’s funny how life comes full circle in surprising ways sometimes.
“Some years back,” Anders Lindborg wrote me, “I found myself being totally photographically stuck. People liked my photos, but I could feel there was something missing from them and I thought they were still too amateurish. By chance, a photography magazine published an article called Learning How to See in which they mentioned a photographer named John Sevigny, an art teacher at a university in Mexico City. The magazine referenced Mr. Sevigny because he often talked with his students—and had also written some papers—about the subject of the article. Anyway, I started searching the internet and found many articles about him and his work. I also found some of his papers on the subject. Afterwards, I noticed that something gradually happened to my photos, and I realized that I could often see a deeper meaning in random ordinary things, people’s expressions and behavior. It really helped me, and I swore to never forget about this guy.”
“Life is funny,” Anders continued, “and I think I’m slowly starting to believe in this karma stuff. As it happens, awhile back I was contacted out of the blue by no other than John Sevigny himself! He had apparently found my stuff published on Fuji X Weekly very interesting and asked very kindly if I could help him out with the final touches on his upcoming book. The project that he had been working on was really heavy stuff, so he was temporarily burned out and needed some technical assistance, which I gladly provided. After the material for the book was finished, we continued chatting and I’m now proud to call him my friend.”
“After weeks of talking about photography, John mentioned that he really missed shooting with Kodak T-Max P3200 that he used to use all of the time while working as a news photographer. So, he said, how about making a recipe for it? I couldn’t resist, so we started developing it immediately. John provided me with all the information about the emulsion that I could possibly need, including a bunch of his own 25-year-old scans, but most important was his experience of shooting it daily for years. According to John, anytime there was a request for something that was going to be an article inside the newspaper, that’s the film they used since the available light would almost always be ranging from bad to worse. It didn’t matter if it was a sports event or a murder, they used Kodak T-Max P3200. After reading up about it (since I never shot it myself, sadly), I understood why: it was optimized to create sharp and (reasonably) detailed photos in generally bad light.”
Now Serving Bacon – Buckeye, AZ – Fujifilm X-E4 – Kodak T-Max P3200 Recipe
“Much care and testing has been put into this recipe by both John and myself,” Anders concluded, “and since John had all this experienced with the film, he had to be the one to officially approve it, which he did. I couldn’t be happier with the results we got from the tests! I actually put his scans in a photo album together with my test shots and the only thing revealing was the lens quality. When using the recipe with a vintage lens, I promise that you’ll have a really hard time telling your photos apart from the real film! Even some of the film’s tell-tale quirks have been replicated.”
Wow! Thank you, Anders Lindborg and John Sevigny, for creating this Kodak T-Max P3200 Film Simulation Recipe and allowing me to share it with the Fujifilm community on Fuji X Weekly—your work is much appreciated! I really love how Fujifilm cameras and Film Simulation Recipes are bringing people together across the world—it’s truly amazing! As great as this Recipe is—and it is great—the story behind it is even better.
Like Anders, I have also (sadly) never shot with Kodak T-Max P3200 black-and-white negative film (I went with Ilford Delta 3200 instead). Originally released in 1988 (the ISO 100 and ISO 400 versions were released two years prior), Kodak discontinued T-Max P3200 in 2012, but reintroduced it (with an “improved” emulsion) in 2018. It’s actually an ISO 800 (some say ISO 1000) film that labs automatically develop with two stops of push-processing, unless you tell them otherwise. But you can shoot it at ISO 800 and not push or ISO 400 and pull one stop (for less contrast) or ISO 1600 and push one stop. Some (brave? crazy? desperate?) photographers even shot it at ISO 6400 and pushed it three stops! Kodak T-Max P3200 can basically be anywhere from an ISO 400 to an ISO 6400 film, and it can go from a fairly flat and fine-grained emulsion to a punchy and gritty film, just depending on how you shot and developed it.
With this Kodak T-Max P3200 Film Simulation Recipe, the higher the ISO you shoot with, the more it will resemble shooting the film at a higher ISO and push-processing, and the lower the ISO it will more resemble shooting at ISO 800 and not pushing in development. In other words, you are going to get somewhat different results at ISO 640 than ISO 6400; I especially appreciate how this Recipe looks from ISO 3200 to ISO 12800. You will need to consider if you want a cleaner or more grainy aesthetic, and choose an ISO that will produce those results.
If you have a Fujifilm X-Trans IV camera (X-Pro3, X100V, X-T4, X-S10, X-E4, X-S10, X-T30 II) or X-Trans V (X-H2, X-H2s, X-T5, X-S20, and any other released after publication), I invite you to give this Kodak T-Max P3200 Film Simulation Recipe a try! It’s not compatible with the X-T3 or X-T30 or X-Trans III, unfortunately; however, if you ignore Toning, Grain size, and Clarity, it should still produce good results, so don’t be afraid to give it a try. This Recipe should also work with GFX cameras, although I haven’t tested it and have no firsthand experience if it will look similar or not.
Film Simulation: Acros (orAcros+Y, Acros+R, Acros+G) Monochromatic Color (Toning): WC -1 & MG -1 Grain Effect: Strong, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: 5500K, +4 Red & +7 Blue Dynamic Range: DR400 Highlight: +1 Shadow: +3 Sharpness: +2 High ISO NR: -4 Clarity: +1 ISO: up to ISO 12800 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max P3200 Film Simulation Recipe on my Fujifilm X-T5, X-E4 and X100V cameras:
Tall Flower Vine – Buckeye, AZ – Fujifilm X-E4
Tiny White Blooms – Phoenix, AZ – Fujifilm X100V
Garden Bulb – Buckeye, AZ – Fujifilm X-E4
Forest Stream – Sedona, AZ – Fujifilm X-T5
38th Way – Phoenix, AZ – Fujifilm X100V
Palm in the Contrail Sky – Phoenix, AZ – Fujifilm X100V
Tall Cactus – Phoenix, AZ – Fujifilm X100V
Highlight & Shadow Leaves – Buckeye, AZ – Fujifilm X-E4
Backyard Barrel – Phoenix, AZ – Fujifilm X100V
Water Wheel – Sedona, AZ – Fujifilm X-T5
Castle Rock – Sedona, AZ – Fujifilm X-T5
Jet Above the Rocks – Buckeye, AZ – Fujifilm X-T5
Cloud Above the Desert – Sedona, AZ – Fujifilm X-T5
Arizona’s High Desert – Sedona, AZ – Fujifilm X100V
Oak Creek & Cathedral Rock – Sedona, AZ – Fujifilm X-E4
Rocks & Big Sky – Sedona, AZ – Fujifilm X-E4
Busy Parking Lot – Sedona, AZ – Fujifilm X100V
Delilah – Sedona, AZ – Fujifilm X100V
Sunlit Suburban Tree Branch – Buckeye, AZ – Fujifilm X100V
Peaceful Pool – Phoenix, AZ – Fujifilm X100V
Josh by the Pool – Phoenix, AZ – Fujifilm X100V
Closed Umbrella 2 – Phoenix, AZ – Fujifilm X100V
Towel on Chair – Phoenix, AZ – Fujifilm X100V
Empty Bench – Phoenix, AZ – Fujifilm X100V
Please Don’t Litter – Phoenix, AZ – Fujifilom X100V
Basket – Phoenix, AZ – Fujifilm X100V
Hoop & Pine – Phoenix, AZ – Fujifilm X100V
Bus Rider – Sedona, AZ – Fujifilm X100V
Camera Fight 1 – Sedona, AZ – Fujifilm X100V
Camera Fight 2 – Sedona, AZ – Fujifilm X100V
Sisters in the Back of the Bus – Sedona, AZ – Fujifilm X100V
Lady with Paw-Print Earring – Phoenix, AZ – Fujifilm X100V
Joy’s Smile – Buckeye, AZ – Fujifilm X100V
Girl Along a Wall – Phoenix, AZ – Fujifilm X100V
Preparing Hands – Phoenix, AZ – Fujifilm X100V
Sink Full of Dirty Dishes – Phoenix, AZ – Fujifilm X100V
Fake Plant – Phoenix, AZ – Fujifilm X100V
Floor – Phoenix, AZ – Fujifilm X100V
Table Lamp – Phoenix, AZ – Fujifilm X100V
Outdoor Patio Lights – Phoenix, AZ – Fujifilm X100V
Betty Elyse – Phoenix, AZ – Fujifilm X100V
ISO 640 vs ISO 12800:
ISO 640 Crop
ISO 12800 Crop
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Bougainvillea Blues – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion Recipe
My 15-year-old daughter, Joy, approached me and asked, “Can I make a Film Simulation Recipe?”
“Sure,” I happily replied. I handed her my Fujifilm X-H1, gave her a quick tutorial on the menu and settings (she hadn’t previously used this model), and off she went.
A couple of hours later Joy returned. “I’m not sure this is right. Can you help me?” She showed me her pictures.
“What look are you trying to create?” I asked.
“Well,” she replied, “it’s this aesthetic that’s dark with deep greens.”
“Where did you see it?” Joy then proceeded to show me some music videos, including Daylight by David Kushner. “That’s the aesthetic I want to make,” she told me, while stopping on a forested scene.
Rose of Sharon Backlit – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion Recipe
The camera settings she had chosen weren’t all that far off, so I suggested a few adjustments. After more testing and review, another couple changes were made, and then even more testing was done. I asked, “Are you happy with this look?”
“Yes!” Joy excitedly responded. “This is the aesthetic I wanted.”
After she was done capturing pictures, I shot with her settings for a little while myself. I really like the moody and nostalgic feeling that this Film Simulation Recipe produces. It has a retro negative film look, maybe along the lines of Fujicolor Super HQ or Agfa XRG or something like that. You can expect dark shadows and a cool cast that leans green. It’s not a Film Simulation Recipe that everyone will love, but I bet it will be an instant favorite for some of you. It requires a White Balance setting that I had not previously used for a Recipe; for those trying to avoid adjusting the WB Shift when switching between C1-C7, this is another option for you to try.
Concrete Vine – Buckeye, AZ – Fujifilm X-H1 – Nostalgic Emulsion – by Joy Roesch
The Fuji X Weekly App is free, yet becoming a Fuji X Weekly App 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 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 Nostalgic Emulsion Patron Early-Access Recipe is compatible with all Fujifilm X-Trans III cameras, plus the X-T3 & X-T30. For those with newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and I’d suggest Grain size Small. Those with “older” GFX cameras can use it, too, although it will render slightly different (but try it anyway!).
If you are a Fuji X Weekly App Patron, the Nostalgic Emulsion Recipe is available to you right now on the App! Don’t have the Fuji X Weekly App? Download for free today! Consider subscribing to unlock the best App experience and to support this website.
Example photographs, all camera-made JPEGs captured using this Nostalgic Emulsion Film Simulation Recipe on my Fujifilm X-H1:
Water Fountain – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Concrete Fountain – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Little Vine Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Backlit Green Leaves – Buckeye, AZ -Fujifilm X-H1 – by Joy Roesch
Hidden Bougainvillea – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Garden – Buckeye, AZ – Fujifilm X-H1
Spring Window Reflection – Buckeye, AZ – Fujifilm X-H1
Fallen Bougainvillea – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Sprouting – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Sage – Buckeye, AZ – Fujifilm X-H1
Bougainvillea Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Bloom Small – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Backyard Trumpet Blossoms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Rose of Sharon – Buckeye, AZ – Fujifilm X-H1
Rosebud – Buckeye, AZ – Fujifilm X-H1
Bright Green Leaves – Buckeye, AZ – Fujifilm X-H1
Bush & Blocks – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Pouring Sunlight over Honeysuckles – Buckeye, AZ – Fujifilm X-H1
Garden Gate – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Pink Oleander Blooms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Dark Blooms – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Wall and Leaves – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Joyful Josh – Buckeye, AZ – Fujifilm X-H1
Peaches – Buckeye, AZ – Fujifilm X-H1
Architecture & Jon – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Blue Glass – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Three Bright Ideas – Buckeye, AZ – Buckeye, AZ – Fujifilm X-H1
Dusk Light – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Green Leaves at Dusk – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Veiled Lightbulb – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Blue Hour Light – Buckeye, AZ – Fujifilm X-H1 – by Joy Roesch
Disabled Parking – Buckeye, AZ – Fujifilm X-H1
Illuminated Plant – Buckeye, AZ – Fujifilm X-H1
Night Corridor – Buckeye, AZ – Fujifilm X-H1
Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!
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Last Light on Brush – Antelope Island SP, UT – Fujifilm X-H1 – Fujicolor Pro Recipe
This Film Simulation Recipe is intended to produce an analog-like color-negative-film aesthetic with a classic Fujicolor palette. While I didn’t attempt to mimic any specific film, I had Fujicolor Pro 160NS in my mind as I made this. There are already Recipes for that film (here and here), and this one isn’t “better” than those two, but more of an alternative version that you might like. I also had pulled-process Fujicolor Pro 400H on my mind (there’s also already a Recipe for that); again I didn’t necessarily try to mimic that film and process specifically, but instead had the intention of producing a general Fujicolor Pro “memory color” (similar to what I did with my Nostalgic Color Recipe). This Fujicolor Pro Film Simulation Recipe works well in a variety of daylight situations, and produces a fairly distinct look.
The Fujicolor Pro Film Simulation Recipe has been a Patron Early-Access Recipe on the Fuji X Weekly App for over a year—it’s well past due to become available to everyone! And now it is. If you are an App Patron, be sure to look for the Early-Access Recipe that replaced this one.
Parking Garage – Salt Lake City, UT – Fujifilm X-H1 – “Fujicolor Pro”
This Fujicolor Pro Film Simulation Recipe is compatible with all Fujifilm X-Trans III cameras, plus the X-T3 & X-T30. For those with newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and I’d suggest Grain size Small. Those with “older” GFX models can use this Recipe, too, although it will render slightly differently (but try it anyway).
PRO Neg. Std Dynamic Range: DR400 Grain: Strong White Balance: 5900K, -2 Red & 0 Blue Color Chrome Effect: N/A (X-Trans III) or Off (X-T3/X-T30) Highlight: -2 Shadow: +3 Color: -2 Sharpness: -2 Noise Reduction: -4 ISO: Auto up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Fujicolor Pro Film Simulation Recipe on my Fujifilm X-H1:
Bunch of Honeysuckle Blooms – Buckeye, AZ – Fujifilm X-H1
Cage – Buckeye, AZ – Fujifilm X-H1
Easter Egg Hunting – Buckeye, AZ – Fujifilm X-H1
Jon with Messy Hair – Buckeye, AZ – Fujifilm X-H1
Stairs Up – Salt Lake City, UT – Fujifilm X-H1
Main St. Market – Salt Lake City, UT – Fujifilm X-H1
Yellow Among Green – Salt Lake City, UT – Fujifilm X-H1
Frary Peak Sage – Antelope Island SP, UT – Fujifilm X-H1
Great Salt Lake Rocks – Antelope Island SP, UT – Fujifilm X-H1
Lake Between the Rocks – Antelope Island SP, UT – Fujifilm X-H1
Salt Lake From Antelope Island – Antelope Island SP, UT – Fujifilm X-H1
Island Brush – Antelope Island SP, UT – Fujifilm X-H1
Jetty – Antelope Island SP, UT – Fujifilm X-H1
Sunset Over Salt Lake – Antelope Island SP, UT – Fujifilm X-H1
Find this Film Simulation Recipe and nearly 300 more in the Fuji X Weekly App!
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I’m always fascinated by which Film Simulation Recipes you are using. I get a glimpse on social media, but my best gauge is the website statistics; specifically, which Recipe articles are viewed the most. Two months ago I shared with you the Top 10 most viewed Recipe articles of 2022 plus the most viewed through the first two months of 2023, and I was surprised by a couple of the rankings. Looking at this two months later, I’m once again surprised by a few things, and not so much by most of it.
So far in 2023, seven of the ten—including the Top 3—Film Simulation Recipes are for X-Trans IV camera. From the data I have, the majority of people who shoot with Recipes are doing so on X-Trans IV models. Kodachrome 64 remains king of Recipes, Kodak Portra 400 v2 is a close second, and Kodak Portra 400 is solidly third. Vintage Kodak and Classic Chrome (the original Fuji X Weekly Recipe), which are both for X-Trans III cameras (plus the X-T3 and X-T30), hold the fourth and fifth spots. Kodak Tri-X 400, the only B&W Recipe on this list, is sixth. Those first half-dozen are all identical rankings to 2022.
Kodak Ultramax 400 didn’t make last year’s Top 10 list, but it did rank number seven through the first two months of this year, and it continues to hold that through April. The X-Trans III version of Kodachrome II dropped one spot, while the X-Trans IV version moved out of the Top 10 completely. Pacific Blues didn’t make the Top 10 last year, but is number nine so far in 2023, up one spot from two months ago. Reggie’s Portra also didn’t make the Top 10 last year, but now holds the last spot, down one from two months ago, switching places with Pacific Blues. Kodak Ektar 100 and Nostalgic Negative both fell out of the Top 10.
10 Most Viewed Film Simulation Recipes of 2023 (…so far)
Now let’s look at April-only. How did the Film Simulation Recipes rank during those 30 days?
The big surprise is that Vibrant Arizona is number two. It’s a little complicated, because that article actually includes four Recipes—two for X-Trans IV and two for X-Trans V. Even though I published it only nine days ago, the Vibrant Arizona Recipe, which is intended to produce a Wes Anderson aesthetic, is being used a heck-of-a-lot right now! The only other surprises are that Pacific Blues moved up to number eight, while Kodak Tri-X 400 fell two spots to number nine and Kodachrome II fell two spots all the way to the bottom. The first seven Recipes, plus the last one, all use the Classic Chrome film sim, which is Fujifilm’s most popular.
Rocky Hill in the Desert – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v1
I asked OpenAI’s ChatGPT to make a Film Simulation Recipe to mimic the look of Kodachrome X slide film. This wasn’t the first time that I attempted to use ChatGPT to make a Recipe for Fujifilm cameras… you might recall that the Urban Dreams Film Simulation Recipe was made by ChatGPT, and by chance it has some resemblance to Kodachrome 200. I learned a lot about the AI’s ability (or is it inability?) to make Recipes, so I decided to try again just for the fun of it.
Kodak introduced Kodachrome—a color transparency film, and the world’s first commercially successful color film—in 1935. Kodachrome X was in the second era of the emulsion, sold between 1962 and 1973. It was replaced by Kodachrome 64, which was discontinued in 2009. Today you cannot buy Kodachrome, and even if you found some old rolls of the film, you cannot even get it developed. Shooting with a facsimile Film Simulation Recipe on Fujifilm cameras is a great way to experience some of these old emulsions that no longer exist, such as Kodachrome X.
Here’s a YouTube video I made documenting the experience!
My opinion is that ChatGPT’s Recipe is much too vibrant to mimic Kodachrome X. While the film was richly vibrant for its time, no emulsion in the 1960’s was that colorful. Today it would be described more as true-to-life. There are also other issues I take with the settings that the AI chose, so I don’t think it did well at mimicking Kodachrome; however, that doesn’t mean the settings (by chance) don’t look nice.
ChatGPT’s Kodachrome X Recipe
My Kodachrome II v2 Recipe
After examining the ChatGPT Recipe, I decided that it reminds me a lot of Kodak Ektachrome E100VS. There have been over 40 different emulsions that carried the Ektachrome name over the years—each with their own unique look—and E100VS was just one. Kodak introduced this film in 1999 and discontinued it in 2012. Ektachrome E100VS was Kodak’s best attempt at Velvia, and was their most vibrant emulsion. The “VS” in the name meant Vividly Saturated. While it was similar to Velvia, it wasn’t identical—the warmth of the film was the most obvious difference—and many photographers preferred Fujifilm’s Velvia over Kodak’s Ektachrome E100VS. Still, at the pinnacle of the film era, it was a popular choice for landscape photographers wanting a boost in vibrancy.
I noticed with AI generated Film Simulation Recipes that most of the time it chooses Auto White Balance, Grain Strong, and stays within -2 to +2 on all of the settings; my experience is that it only occasionally strays from that. It also seems to always leave some necessary settings out, and you have to ask it to add those. Of course, no film has Auto White Balance—most are Daylight (around 5500K), and some are Tungsten (around 3200K). While it is amazing that ChatGPT can produce a Recipe for Fujifilm cameras, if it looks good or not—and if it truly produces the aesthetic that you asked for—is more by chance than skill. Also, it doesn’t like to cite its sources, which is just wrong in my opinion.
While it tried and failed to resemble 1960’s era Kodachrome, I still liked the look produced by ChatGPT’s Kodachrome X Film Simulation Recipe. Since it has some similarities to Kodak Ektachrome E100VS color transparency film, I renamed it after that emulsion. I also refined the settings to more closely resemble the film, and am including that as a second Recipe, which I call Kodak Ektachrome E100VS v2. So v1 is ChatGPT’s Recipe, and v2 is my modified alternative.
I shot a number of rolls of Ektachrome E100VS back in my film days. Most of these pictures are stored away in little yellow boxes, but a few images have been scanned. Obviously, the scanner—and especially the quality of the scan—has an impact on the photo rendering. The four images below are some real Kodak Ektachrome E100VS frames that I shot many years ago. None of these are high-quality scans, and for that I apologize, and I hope you can overlook that aspect of the pictures. Also, it’s important to state that they all look significantly more impressive when viewed on a light table or especially from a slide projector.
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
Actual Kodak Ektachrome E100VS film
How the film was shot had a significant impact on the look. For deeper blues and reds, one should underexpose the film slightly. For cyan sky and brighter (and warmer) colors, one should overexpose slightly. Of course, you had to be careful, because the film—like most slide films—had a narrow dynamic range, and there wasn’t much room for error either direction. These two Film Simulation Recipes behave similarly, although I believe v2 a little more so than v1.
Without further ado, here are the two Kodak Ektachrome E100VS Film Simulation Recipes!
Kodak Ektachrome E100VS v1
ChatGPT Recipe for Kodachrome X
Beef Franks – Vulture City, AZ – Fujifilm X-T5 – Ektachrome E100VS v1
This is the Recipe that ChatGPT created to mimic Kodachrome X, but it looks more like Kodak Ektachrome E100VS. It produces vivid colors similar to—but more warm and slightly less vibrant than—Velvia film. For darker blues and deeper reds, use a lower exposure compensation, and for lighter blues and brighter/warmer colors, use a higher exposure compensation. Because it uses Auto White Balance and DR400, you’ll find it to be quite versatile; however, the rendering is clearly “wrong” in some situations.
The Kodak Ektachrome E100VS v1 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!). For the X-T3 and X-T30 (plus older GFX), you’ll have to ignore Color Chrome FX Blue, Grain size, and Clarity (since your camera doesn’t have those options), so it will definitely look a little different, but you might like it nonetheless; for X-Trans III, you’ll have to additionally ignore Color Chrome Effect.
Film Simulation: Velvia Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, +2 Red & -2 Blue Dynamic Range: DR400 Highlight: +1 Shadow: +1 Color: +2 Sharpness: +1 High ISO NR: -2 Clarity: +1 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v1 Film Simulation Recipe on my Fujifilm X-T5:
Suburban Arches – Buckeye, AZ – Fujifilm X-T5
Red, Green & Yellow – Buckeye, AZ – Fujifilm X-T5
Pink Blossom in Spring – Buckeye, AZ – Fujifilm X-T5
Boy in a Red Hat – Buckeye, AZ – Fujifilm X-T5
Saguaro & Abandoned Building – Vulture City, AZ – Fujifilm X-T5
Agave at the Mine – Vulture City, AZ – Fujifilm X-T5
Spiderweb Among Thorns – Buckeye, AZ – Fujifilm X-T5
Yellow Flowers Behind Cactus – Buckeye, AZ – Fujifilm X-T5
Cactus Vailed by Sunlight – Buckeye, AZ – Fujifilm X-T5
Little Purple Wildflowers – Buckeye, AZ – Fujifilm X-T5
Veiled Cactus – Buckeye, AZ – Fujifilm X-T5
Desert Spring in the Shade – Buckeye, AZ – Fujifilm X-T5
Shaded Bristlebush Blooms – Buckeye, AZ – Fujifilm X-T5
Kodak Ektachrome E100VS v2
Fuji X Weekly Recipe
Unexpected X – Buckeye, AZ – Fujifilm X-T5 – Kodak Ektachrome E100VS v2
This version of Kodak Ektachrome E100VS is my modification to better mimic the film. It’s not too divergent—only slightly dissimilar—since it’s simply a modification of the AI Recipe, and not made from scratch. Because it uses more of a daylight-balanced Kelvin White Balance and DR200, it’s not quite as versatile as v1, and you have to be a little more careful of the light situation you are shooting in and pay closer attention to the highlights to avoid clipping. Sometimes it’s not completely correct, but I think in the “right” conditions it can be quite convincing—nearly identical to some slides I have.
The Kodak Ektachrome E100VS v2 Film Simulation Recipe is fully compatible with X-Trans V cameras, which (as of this writing) are the X-T5, X-H2, and X-H2s, as well as “newer” X-Trans IV cameras, which include the X-T4, X-S10, X-E4, and X-T30 II. Unfortunately, it is not compatible with the X-T3, X-T30, X-Pro3, or X100V. You can use this Recipe on newer GFX cameras; however, it will render slightly differently (but try it anyway!).
Film Simulation: Velvia Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 5150K, +3 Red & -3 Blue Dynamic Range: DR200 Highlight: +1.5 Shadow: +0.5 Color: +1 Sharpness: -1 High ISO NR: -4 Clarity: +3 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak Ektachrome E100VS v2 Film Simulation Recipe on my Fujifilm X-T5 and X-E4:
Americana Home – Buckeye, AZ – Fujifilm X-T5
Blue Sky Behind Trees – Buckeye, AZ – Fujifilm X-E4
Boy in a Red Hat 2 – Buckeye, AZ – Fujifilm X-T5
Abunda la Bougainvillea – Buckeye, AZ – Fujifilm X-T5
Garden Apex – Buckeye, AZ – Fujifilm X-T5
Bright Backyard Blossom – Buckeye, AZ – Fujifilm X-T5
Shaded Oleander Blooms – Buckeye, AZ – Fujifilm X-T5
Reddish Orange Cactus Flower – Buckeye, AZ – Fujifilm X-T5
White Paper Flowers – Beckeye, AZ – Fujifilm X-T5
Desert Hill through Palo Verde – Buckeye, AZ – Fujifilm X-T5
Little Pops of Purple – Buckeye, AZ – Fujifilm X-T5
Purple Spring – Buckeye, AZ – Fujifilm X-T5
Bunch of Yellow Trumpets – Buckeye, AZ – Fujifilm X-T5
Red Airplane – Buckeye, AZ – Fujifilm X-T5
Sunset in Suburbia – Surprise, AZ – Fujifilm X-T5
Comparison
In the three examples above, Kodak Ektachrome E100VS v1 is on the left (revealed by moving the slider right), and Kodak Ektachrome E100VS v2 is on the right (revealed by moving the slider left).
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
As a bonus, I asked OpenAI’s DALL-E 2 AI image creator to show me what ChatGPT creating Film Simulation Recipes looks like. The results? Awful, but also kind of funny! I tried rewording the request several different ways in hopes of getting a better image, but it never really got any better.
Here are a few:
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!
When I first watched the trailer for the upcoming Wes Anderson movie Asteroid City, I thought perhaps it might be possible to mimic the aesthetic on my Fujifilm X-T5; however, I quickly realized that it’s not possible straight-out-of-camera. The movie has an orange and teal look, and I’ve tried unsuccessfully for years to achieve that on Fujifilm. In order to get orange and teal, the White Balance Shift requires plus red for orange and minus red for teal; it’s not possible to do both, so you must decide which one you want: orange or teal? After a few hours of unsuccessfully trying to get the settings right, I gave up.
Then I saw your pictures on Instagram. Specifically, there were photos captured using the Bright Summer, Bright Kodak, Kodak Portra 400 Warm, and Pacific BluesFilm Simulation Recipes that had some Wes Anderson vibes to them, which convinced me to try again. I directly compared those four Recipes to Asteroid City screenshots, and decided that Bright Summer and Bright Kodak were the closest; however, none of them were quite right. So I set out to get a little closer—as close as I could—knowing that I wouldn’t be able to achieve a perfect match, but I hoped it would be similar enough that at a cursory glance it would pass for Asteroid City.
Popeyes – Litchfield Park, AZ – Fujifilm X-E4 – Vibrant Arizona Recipe
Knowing that most of you don’t have an X-Trans V camera, I made a version for X-Trans IV models, too, since the majority of those who shoot with Recipes do so on X-Trans IV cameras. Also, I figured that some of you won’t be satisfied with the results, and are after an even closer facsimile of Asteroid City, so I have some advice for that, too, a little further down, but it does require a small amount of post-editing with Capture One.
While attempting to mimic Asteroid City, I was inspired by another Wes Anderson film: The French Dispatch, specifically, the indoor scenes of the newspaper office, so I made Film Simulation Recipes for that, too—one for X-Trans V and another for X-Trans IV. I don’t know what the light situation was exactly in those scenes, so I don’t know if it would render similarly under identical light, but it does produce convincing results in certain artificial and mixed light scenarios.
If you are after a Wes Anderson look, check out the four Film Simulation Recipes below!
Vibrant Arizona (X-Trans V)
Look that Way – Buckeye, AZ – Fujifilm X-T5 – Vibrant Arizona Recipe
The Vibrant Arizona Film Simulation Recipe can be characterized as bright, colorful, and warm, yet still classic-analog-like, with some similarities to overexposed Kodak negative film. While not an exact match, I’m confident that it is as close as you’re going to get to an Asteroid City aesthetic straight-out-of-camera. The movie takes place in a fictional northern-Arizona town (although it was filmed in Spain, apparently), so that is why I’m calling it Vibrant Arizona.
An important note is that this Recipe uses D-Range Priority (a.k.a. DR-P), which takes the place of Dynamic Range and the Tone Curve (Highlight and Shadow). I don’t have a lot of Film Simulation Recipes which utilize D-Range Priority, but there are a few, including Pulled Fujicolor Superia, Scanned Superia, and Portra-Style, the last of which has some similarities to Vibrant Arizona.
This particular Recipe is for X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2s. For best results, use in sunny daylight. I shot in both the 3:2 and 16:9 aspect ratios, and preferred the latter for a more cinematic feel.
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Weak White Balance: 4350K, +6 Red & -8 Blue Dynamic Range: DR-P Strong Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to + 1 1/3 (typically)
Example photographs, all camera-made JPEGs using this Vibrant Arizona Film Simulation Recipe on my Fujifilm X-T5:
Backyard Spring – Buckeye, AZ – Fujifilm X-T5
Spring or Fall? – Buckeye, AZ – Fujifilm X-T5
Blue Star – Buckeye, AZ – Fujifilm X-T5
Ocotillo & Saguaro – Buckeye, AZ – Fujifilm X-T5
Palo Verde on Rocks – Buckeye, AZ – Fujifilm X-T5
Rocks & Vista – Buckeye, AZ – Fujifilm X-T5
Arizona View – Buckeye, AZ – Fujifilm X-T5
Girl with a Camera – Buckeye, AZ – Fujifilm X-T5
Contemplation – Buckeye, AZ – Fujifilm X-T5
Over There – Buckeye, AZ – Fujifilm X-T5
Please Let Me Get Back to Playing – Buckeye, AZ – Fujifilm X-T5
Neil’s – Buckeye, AZ – Fujifilm X-T5
Deere in the Desert – Buckeye, AZ – Fujifilm X-T5
Apartment Palm – Buckeye, AZ – Fujifilm X-T5
Sonoran Desert – Buckeye, AZ – Fujifilm X-T5
The Yellow Desert – Buckeye, AZ – Fujifilm X-T5
A Cactus Blossom – Buckeye, AZ – Fujifilm X-T5
Main Fountain – Buckeye, AZ – Fujifilm X-T5
Vibrant Arizona (X-Trans IV)
Red Light – Avondale, AZ – Fujifilm X-E4 – Vibrant Arizona Recipe
Because X-Trans V cameras render blue more deeply on some film simulations, the X-Trans IV version of this Recipe calls for Color Chrome FX Blue to be set to Strong instead of Weak, and is otherwise identical. This Vibrant Arizona Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For the X-T3 and X-T30, you can ignore Grain size and Color Chrome FX Blue (since your camera doesn’t have those options), and use a 1/4 Black Pro Mist or 10% CineBloom diffusion filter in lieu of Clarity; however, it will look slightly different. For newer GFX models… I’m not sure if you should use this version or the X-Trans V version, but one of the two should work well on your camera—try them both, and see which you prefer.
Film Simulation: Classic Chrome Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Strong White Balance: 4350K, +6 Red & -8 Blue Dynamic Range: DR-P Strong Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to + 1 1/3 (typically)
Example photographs, all camera-made JPEGs using this Vibrant Arizona Film Simulation Recipe on my Fujifilm X-E4:
Bird in a Palm – Avondale, AZ – Fujifilm X-E4
Green Sign – Avondale, AZ – Fujifilm X-E4
Two Palm Building – Avondale, AZ – Fujifilm X-E4
Indicative? – Litchfield Park, AZ – Fujifilm X-E4
Spring or Autumn? – Buckeye, AZ – Fujifilm X-E4
Caged – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Branch Blossom – Buckeye, AZ – Fujifilm X-E4
Pink & Yellow – Buckeye, AZ – Fujifilm X-E4
Bougainvillea Garden – Buckeye, AZ – Fujifilm X-E4
Green Meets Red – Avondale, AZ – Fujifilm X-E4
Asteroid City Edit
Asteroid City Edit
If you aren’t satisfied with how well the Vibrant Arizona Film Simulation Recipe matches Asteroid City, there is a quick and easy Capture One edit that will make your pictures even closer to the aesthetic of the motion picture film. Simply import your straight-out-of-camera JPEGs (not the RAW!) into Capture One, find the Basic Color Editor, and make these adjustments:
Cyan Hue -30 Lightness -20
Blue Hue -20 Saturation +50
Those are the adjustments that I made to the picture above plus the five images below. You might have to stray from the above settings and modify the exact parameters, just depending on the photographs, but for these six, I followed them precisely and made no other changes. With this edit, the pictures are pretty convincing, and there’s no doubt that we’re mimicking Wes Anderson’s Asteroid City. Even though this will get you closer to the movie aesthetic, I personally prefer the unedited versions.
There was a moment while creating the above Recipes that I became particularly frustrated with the process, so I took a break, and instead worked on a different Wes Anderson look. I was inspired by the indoor scenes inside the newspaper office in the movie The French Dispatch, so I began working on a Film Simulation Recipe to mimic that aesthetic. The look is warm when shot in warm light, with somewhat muted colors and low contrast. This is a much different aesthetic than Asteroid City, but it is another Wes Anderson film that’s popular right now.
While the movie takes place in a fictional French town, it was filmed in the real town of Angouleme, which apparently (and appropriately) is known as the City of the Image. While these Recipes look quite interesting in outdoor daylight situations, they are intended for artificial and mixed indoor lighting, which is where they really shine. That’s why I’ve named the two Film Simulation Recipes below Indoor Angouleme. Although none of the movie was filmed in the 16:9 aspect ratio, I used it for these Recipes, but feel free to use whichever aspect ratio you prefer.
Indoor Angouleme (X-Trans V)
Red Chair – Buckeye, AZ – Fujifilm X-T5 – Indoor Angouleme Recipe
This version of the Indoor Angouleme Film Simulation Recipe uses the new Nostalgic Neg. film simulation. It also utilizes the Auto Ambience Priority White Balance, which I’ve only used once before (on the Ektachrome 320T Recipe). Indoor Angouleme is compatible with X-Trans V cameras, which (as of this writing) are the Fujifilm X-T5, X-H2, and X-H2s. Those with newer GFX cameras can use it, too; however, it will likely render slightly differently.
Film Simulation: Nostalgic Neg. Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto Ambience Priority, -2 Red & -6 Blue Dynamic Range: DR400 Highlight: -2 Shadow: -2 Color: -1 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Indoor Angouleme Film Simulation Recipe on my Fujifilm X-T5:
Dessert – Buckeye, AZ – Fujifilm X-T5
Nutmeg – Buckeye, AZ – Fujifilm X-T5
Iced or Hot? – Buckeye, AZ – Fujifilm X-T5
Pumps – Buckeye, AZ – Fujifilm X-T5
Mmmm – Buckeye, AZ – Fujifilm X-T5
Tea Cup – Buckeye, AZ – Fujifilm X-T5
Artist at Work – Buckeye, AZ – Fujifilm X-T5
Making Salad – Buckeye, AZ – Fujifilm X-T5
Joshua in Front of a Curtain – Buckeye, AZ – Fujifilm X-T5
Spectacular Suburban Sunset – Surprise, AZ – Fujifilm X-T5
Pergola Corner – Buckeye, AZ – Fujifilm X-T5
Roof Ridge – Buckeye, AZ – Fujifilm X-T5
Sun Peeking Behind Wall – Buckeye, AZ – Fujifilm X-T5
Big Bloom – Buckeye, AZ – Fujifilm X-T5
A Pink Rose – Buckeye, AZ – Fujifilm X-T5
Indoor Angouleme (X-Trans IV)
Water, Fish, and View – Avondale, AZ – Fujifilm X-E4 – Indoor Angouleme Recipe
The Nostalgic Neg. film sim is somewhat similar to Eterna, and can sometimes be closely mimicked with it. Since X-Trans IV models don’t have Nostalgic Neg., I used Eterna instead. While this version isn’t 100% identical to the X-Trans V Recipe, it is pretty close overall, and retains the same feel.
This version of Indoor Angouleme is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. To use it on the X-T3 and X-T30, ignore Color Chrome FX Blue and Grain size (since your camera doesn’t have those options), select regular AWB (since your camera doesn’t have the Ambience option), and use a 1/4 Black Pro Mist or 10% CineBloom diffusion filter in lieu of Clarity; however, it will look slightly different.
Film Simulation: Eterna Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto Ambience Priority, -1 Red & -6 Blue Dynamic Range: DR200 Highlight: -1 Shadow: -1 Color: +4 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Indoor Angouleme Film Simulation Recipe on my Fujifilm X-E4:
Tabletop Succulent – Litchfield Park, AZ – Fujifilm X-E4
Bookshelf Plant – Buckeye, AZ – Fujifilm X-E4
Sugar & Creamer – Litchfield Park, AZ – Fujifilm X-E4
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Neutral Density filters, more commonly called ND filters, are very useful. It’s worthwhile to have at least one ND filter available for your photography. Maybe you don’t know which one (or ones) to own and why you’d use it. I recently got some ND filters, and perhaps my story will be helpful to you.
In my How to get Filmic Photographs from your iPhone article I explained that my wife has a Sandmarc case for her iPhone 13 Pro. I thought she’d also appreciate some ND filters for her phone, since she uses it regularly for videography, so I got her three Sandmarc ND filters that can attach to her iPhone case. You see, ND filters are common in cinematography because you want a shutter speed close to the frames-per-second you’re recording in order to avoid jutter (a.k.a. stutter or choppy) when panning or whenever there is movement. Getting a slow enough shutter speed in bright conditions can be difficult without an ND filter. Unfortunately, the ND filters didn’t really work out with her iPhone workflow, so they initially went unused. Not wanting to let the filters go to waste, I reimagined how they could be utilized, and I figured out how to make them work for me. Now I see them as an essential tool for my photography!
Before I get to the filters, I want to briefly talk about one other Sandmarc item I have: iPhone Tripod, Compact Edition. This was also for my wife, but she doesn’t use it often—only occasionally—so I borrow it regularly, except that I use it with my Fujifilm cameras and not my phone. I need a small tripod for my desk when I do the SOOC Live broadcasts, but the one I’ve owned for years kind of sucks and just barely works; however, with Season 3, I began using the Sandmarc tripod, and it is so much better—perfect for the job! I also discovered that it’s great for travel because it folds up very small and doesn’t take up much space (about 8.5 inches). The tripod only expands to a little taller than two feet, but it is sturdy enough to hold my X-T5 with a lens as large as the Fujinon 90mm, so for occasional casual use—which is all I ever use tripods for in my photography—it is just fine. Since getting it, the Sandmarc tripod has become my most-used. I don’t think that it’s intended for “real” cameras like the Fujifilm X-T5, but that’s what I use it for, and it works great. I bring this up because tripods are closely associate with ND filters.
Neutral Density filters block the amount of light entering the lens, which allows for slower shutter speeds. Why would you want to do this? I already mentioned that in cinematography, slowing the shutter can reduce juttering. In still photography, slowing down the shutter allows you to show motion by way of blurring moving things, and it allows for high-ISO photography in bright conditions.
Sandmarc’s iPhone ND filters come in a pack of three: ND16, ND32, and ND64. The ND16 reduces light by four stops, the ND32 reduces by five stops, and the ND64 reduces by six stops. I most commonly use the ND16, but for longer exposures, the other two certainly come in handy. Did I mention that Sandmarc’s ND filters are also polarized? They are! Polarizers reduce glare and haze, which can be particularly useful when photographing water. Pretty cool, eh?
So if these ND filters are made for iPhones, how am I using them on my Fujifilm cameras? Technically, I’m not using them on my camera, I’m attaching them to my Fujinon 27mm f/2.8 lens. The ND filters have 40.5mm threads, and the 27mm lens accepts 39mm threads, so I purchased a cheap Rise 39mm-40.5mm step-up ring, which allows me to use the Sandmarc ND filters on my Fujinon lens. It works like a charm!
There are three ways in which I’ve integrated ND filters into my photography: slow shutter with a tripod, slow shutter without a tripod, and high-ISO in daylight. I’ll briefly explain each below.
The classic way ND filters are used for still photography is with a tripod. By utilizing a slow shutter speed, things within the frame that are moving will become a blur. Waterfalls are probably the most common subject for this technique, where water appears to be a streak of blur or even a mist if the exposure is long enough. Typically, a maximum shutter speed of 1/15 is required for blurring the subject, but there are a few factors—lens focal length, speed and distance of the subject, desired blur—that could affect the necessary shutter speed, either faster or slower. The longer the shutter is open, the more blur you will get. Because you want everything that’s not moving to be sharp, a tripod is required for this technique.
Who says that pictures have to be sharp? Maybe you want everything in the frame to be blurry! For this, you simply remove the tripod and use a slow shutter while the camera is handheld. Panning is one example of this. Using a slow shutter speed without a tripod is probably the most difficult ND filter technique, but there is a lot of opportunity for creativity, which means there is potential for dramatic or interesting photographs. The longer the exposure the more difficult this technique is—unless you’re really going for abstract art—so be careful not to set the shutter too slow.
ISO 25600, f/2.8, 1/350 — Ilford HP5 Plus 400 Push ProcessRecipe
You might think that purposefully setting a high-ISO in bright daylight is a weird thing to do. The general advice given since the beginning of photography is to use the lowest ISO that you can get away with. If you can use ISO 200, use ISO 200. If you need to bump it up to ISO 400 because the light is dimmer, use ISO 400. Only use ISO 800 if you have to. And ISO 1600 should be used with extreme caution. ISOs higher than that are for emergency purposes only. But is that still good advice? In my opinion, Fujifilm cameras are excellent at high-ISO because—thanks to the X-Trans sensor and processor—they better control the aesthetic of digital noise, rendering it more like film grain. In other words, purposefully using high-ISOs can produce a more analog-like result. Some of my Film Simulation Recipes actually require ultra-high ISOs, and using them in bright daylight can be difficult; however, ND filters make it much more practical. My X100V has a built-in ND filter, but my other Fujifilm cameras do not; ND filters have opened up the opportunity to use these high-ISO Recipes in situations that would be much more difficult otherwise—this is how I’m most often using my Sandmarc ND filters.
Note: the top four pictures were captured with a Fujifilm X-E4 & Fujinon 35mm f/2; images 1, 2 & 4 are Pacific Blues and image 3 is Kodak Portra 400 v2. The other pictures were captured using my Fujifilm X-T5 & Fujinon 27mm f/2.8 with a Sandmarc ND filter attached.
Vibrant Flowerbed – Salt Lake City, UT – Fujifilm X-T30 – Velvia Recipe
April showers bring May flowers, as the saying goes. Yes, it’s wildflower season already, and if you are not sure which Film Simulation Recipe to program into your Fujifilm camera to capture the colorful spectacle, this article should help with that. No matter which Fujifilm X-Trans camera you have, there’s a Recipe for you to try today!
This is far from a comprehensive list of Film Simulation Recipes that will work well for photographing spring blossoms. There are nearly 300 Recipes, and most of them could be a good choice, depending on the exact subject, lighting, and your style. This list is simply a selection of the ones that I personally like and can recommend to you. Feel free to try other Recipes not included in the list below. If I didn’t include your favorite Recipes for photographing spring flowers, let me know in the comments because I’d love to hear which ones you use. If you are not sure which Film Simulation Recipe to try, these recommendations should get you started.
I’m always working on new Film Simulation Recipes. Even though there are nearly 300 on the Fuji X Weekly App (available for both Android and Apple), I’m nowhere near finished. There are so many more that I want to create!
Recently I’ve been working on two specific Recipes that I’m especially excited about. I’m not going to say today what they are inspired by or are supposed to mimic—feel free to guess in the comments! Both required a lot of testing and adjusting and retesting and readjusting… and compromises. I look forward to sharing them with you soon. Which one are you most excited for: Recipe 1 or Recipe 2? Let me know!
