Fujifilm Film Simulation | FUJI X WEEKLY

Fujifilm X100V Film Simulation Recipe: Kodak T-Max 400

Posted on August 31, 2020 by Ritchie Roesch

*Tree Behind Bars* – North Salt Lake, UT – Fujifilm X100V – “Kodak T-Max 400”

Kodak introduced T-Max black-and-white negative film back in 1986, and they dubbed it “the finest-grained black-and-white film in the world.” While it certainly has fine-grain, particularly the low-ISO version, I don’t know how accurate Kodak’s proclamation was. It’s available in ISO 100, 400 and 3200 variants. This film simulation recipe is intended to resemble the ISO 400 version.

T-Max 400 is a popular B&W film. I’ve used it, although it has been many, many years. Kodak updated the film in 2007 to be sharper and have finer grain; it’s the old version that I have personal experience with. With any film, but perhaps especially with black-and-white negative film, so much can be altered in the darkroom to customize the aesthetic, and one film can produce many different looks, so creating a recipe can be controversial because it might not look exactly like what someone thinks it should. Still, I hope that you will recognize this as T-Max-esque.

You might find that this recipe looks familiar. Actually, it began as Kodak Tri-X 400. Fuji X Weekly readers Thomas Schwab (who has helped with several recipes) and Anders Linborg (who invented the Tri-X recipe) worked together to modify that recipe into this one. I added a couple of small revisions, and now we have Kodak T-Max 400! It really was a group effort, but mostly Thomas and Anders. Thanks, guys!

*Night Clouds* – Farmington, UT – Fujifilm X100V – “Kodak T-Max 400”

This Kodak T-Max 400 film simulation recipe is intended for the Fujifilm X100V, X-Pro3 and X-T4 cameras; however, with a couple small modifications, it can be used on any X-Trans III or IV camera. First, if your camera doesn’t have Clarity, consider using +1 Highlight and +4 Shadow instead, although you can certainly keep those settings as they are in the recipe below. If your camera doesn’t have the option for Grain size (only strength), set it to Strong. I used Toning on this recipe, which is completely optional, but on the X-T3 and X-T30, which has a different Toning menu, consider using +1 (warm). Back when I shot film I would often give my prints a quick Sepia bath, both for warmth and archival reasons, and the Toning option on your X-Trans IV camera does a good job of mimicking that.

One difference that you might notice between this recipe and Tri-X is ISO. On that recipe I suggest using ISO 1600 to 12800. I think for this recipe the best results are found between ISO 1600 and 3200, but anything from ISO 320 to 6400 looks good. I feel like ISO 12800 is a bit too much, but feel free to try it and see what you think.

Monochrome (+Y, +R, +G)
Dynamic Range: DR200
Highlight: 0
Shadow: +3
Noise Reduction: -4
Sharpening: +2
Clarity: +3
Toning: WC +2, MG 0
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Daylight,+9 Red & -9 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Kodak T-Max 400 film simulation recipe on my Fujifilm X100V:

*Hanging Leaves Silhouette* – North Salt Lake, UT – Fujifilm X100V

*Light Through The Dark Forest* – North Salt Lake, UT – Fujifilm X100V

*Ghosts* – North Salt Lake, UT – Fujifilm X100V

*Tree Trunks & Ground Cover* – North Salt Lake, UT – Fujifilm X100V

Tree at Forest Edge – North Salt Lake, UT – Fujifilm X100V

*Paved Forest Path* – North Salt Lake, UT – Fujifilm X100V

*People Shadows* – North Salt Lake, UT – Fujifilm X100V

*Happy Jon* – North Salt Lake, UT – Fujifilm X100V

*Fish in the Net* – Hyrum Reservoir, UT – Fujifilm X100V

*Tired Old Dock* – Hyrum Reservoir, UT – Fujifilm X100V

*A Boy & His Fishing Pole* – Farmington, UT – Fujifilm X100V

*Lake Water* – Farmington, UT – Fujifilm X100V

*Flower Photo* – North Salt Lake, UT – Fujifilm X100V

*Monochrome Wildflower* – North Salt Lake, UT – Fujifilm X100V

*Photo by Thomas Schwab* – Husum, Germany – Fujifilm X100V

See also: Film Simulation Recipes

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

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Fujifilm X100V + Kodachrome 64 Film Simulation Recipe + Rover Mini Cooper (Video)

Posted on August 30, 2020 by Ritchie Roesch

My friend, James, has a 1994 Rover Mini Cooper. It’s such a cool classic car! He imported it from Japan, and the driver sits on the right side instead of the left, which is unusual in America. What I love about this car is its vintage features; it looks older than the year it was built. It has great retro styling, and you don’t see many of these older models on the road. I asked him if I could photograph it, and he graciously agreed.

The camera that I chose for this photo shoot is the Fujifilm X100V. It’s a fun camera to use, and it unsurprisingly handled this situation well—there’s not much that this camera isn’t a good choice for (wildlife photography, perhaps?). For automobile photography it did nothing but deliver beautiful picture after beautiful picture.

The film simulation recipe that I programmed into the X100V is Kodachrome 64, which is a film that was very popular in 1994 when this car was new. I thought it would be appropriate to give the pictures an aesthetic that matched its year built, as if these images could have been captured when the car was new. In 2010 Kodachrome was discontinued, including the chemicals to develop it, so it’s impossible to capture with Kodachrome today. My Kodachrome 64 film simulation recipe might be the closest you can get to the film straight-out-of-camera.

My wife, Amanda, who created the video at the top of this article, programmed my Kodachrome 64 recipe into the Fujifilm X-T30 and X-T20, two cameras that she used to record this photo shoot. Something that some of you might be unaware of is that my film simulation recipes can be used for video, too! No need for color grading. No need for LUT presets. I bet some of you just had your mind blown! She also used a GoPro Hero 8, and we tried to color match it to the Fujifilm clips, but that proved to be a difficult task. If you want Kodachrome-looking clips, you might be better off simply using the film simulation recipe on your Fujifilm camera instead of trying to recreate it in software.

When we started the photo shoot, it was evening light just before sunset. Smoke from the wildfires in California diffused the sun and gave a warm glow, which was quite nice; however, the sun quickly disappeared below the horizon and the light changed significantly. It was dusk by the time we stopped shooting. The great light was short lived, but we worked quickly to take advantage of it while it lasted.

One challenge with car photography is that there are often lots and lots of reflections, which can make it difficult to keep yourself (or other things you don’t want) from showing up in the images. You have to be very conscious of the entire frame. Yes, unwanted reflections can be removed in software, but the point of this exercise is to not use software, but get the desired results out-of-camera unedited. Reflections can also be used creatively, so it’s not just a challenge to avoid unwanted reflections, but to maximize good reflections.

I want to give a big “Thank You” to James for allowing us to photograph his Rover Mini. I enjoyed collaborating with him. If you like the video, be sure to give it a thumbs up and let us know with a comment! Please subscribe to the Fuji X Weekly YouTube channel if you don’t already. Thanks for watching!

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

Gear:
Fujifilm X100V Amazon B&H
Fujifilm X-T20   Amazon
Fujifilm X-T30 Amazon B&H
Fujinon 10-24mm   Amazon B&H
Rokinon 12mm   Amazon B&H
GoPro Hero 8 Black   Amazon B&H

Fujifilm X100V Film Simulation Recipe: Verano Tostado

Posted on August 26, 2020 by Ritchie Roesch

*Sunshine Pines* – Mirror Lake, UT – Fujifilm X100V – “Verano Tostado”

There are some film simulation recipes that are more series and some that are more fun. This one is falls into the latter category. Even the name, Verano Tostado (“Toasted Summer”), and the story behind it, is fun. Fuji X Weekly reader Ricardo Guzman sent me this recipe to try. He called it “Tostado” and when I asked him why, Ricardo answered, “Toasted like summer—when you sleep after lunch at the beach, you wake up looking at funny colors.” Yes, that’s exactly what it looks like—verano tostado!

What’s great about this recipe is, even though the title says Fujifilm X100V, this actually will work on any X-Trans III and X-Trans IV camera. Simply disregard Grain set to Large if your camera doesn’t have that option. Clarity, Color Chrome Effect and Color Chrome Effect Blue are all set to 0 or Off, which makes this recipe usable on cameras that don’t have those options. I tried it on both a Fujifilm X-T20 and X-T30 and it worked great!

*Roof and Ceiling* – Farmington, UT – Fujifilm X100V – “Verano Tostado”

I did not include a “typical” exposure compensation because you can get some really interesting looks with this recipe from both overexposure and underexposure. Try -2/3 all the way up to +1 1/3 and see what happens. I want to thank Ricardo Guzman for creating this recipe and allowing me to share it here with you. Thanks, Ricardo!

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: +2
Color: +3
Noise Reduction: -4
Sharpening: +2
Clarity: 0
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: Auto, -2 Red & -5 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Verano Tostado film simulation recipe on my Fujifilm X100V:

*Summer Flowers* – Mirror Lake, UT – Fujifilm X100V

*Lake Fishing* – Mirror Lake, UT – Fujifilm X100V

*Mountain Lake* – Mirror Lake, UT – Fujifilm X100V

*Water Log* – Mirror Lake, UT – Fujifilm X100V

*Blue Lake Water* – Mirror Lake, UT – Fujifilm X100V

*Baiting a Fishing Lure* – Mirror Lake, UT – Fujifilm X100V

*Small Stream* *& Tiny Waterfall* – Mirror Lake, UT – Fujifilm X100V

*Green Leaf* – Mirror Lake, UT – Fujifilm X100V

*Forest Light Peek* – Mirror Lake, UT – Fujifilm X100V

*If a Tree Falls in the Forest* – Mirror Lake, UT – Fujifilm X100V

*Summer Feelings* – Farmington, UT – Fujifilm X100V

*Hello* – Farmington, UT – Fujifilm X100V

*Stripes* – Farmington, UT – Fujifilm X100V

*Table Plant* – Farmington, UT – Fujifilm X100V

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

Fujifilm X100V Black Amazon B&H
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Fujifilm X-T20 (X-Trans III) + X-T30 Film Simulation Recipe: Kodak Ultramax

Posted on August 24, 2020 by Ritchie Roesch

*Street Lamp Sunset* – Farmington, UT – Fujifilm X-T30 – “Kodak Ultramax”

I’ve received a lot of positive feedback from my Fujifilm X100V Kodak Ultramax 400 film simulation recipe, which I published two weeks ago. I’ve had a ton of requests to make a version of this recipe that’s compatible with X-Trans III sensor cameras, plus the X-T30 and X-T3. Well, I’ve done it, and here it is!

This version of the Ultramax recipe is pretty close to the original, but not precisely the same. Because the new cameras—the X100V, X-T4 and X-Pro3—have different tools, that recipe isn’t compatible with “older” Fujifilm cameras, but I made some adjustments and changes, and created this new version, which produces similar results. It’s fully compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3 and X-T30 cameras. While not 100% exactly the same as the original recipe, it definitely has the same overall Ultramax aesthetic.

*Sunstar Through Peach Leaves* – Farmington, UT – Fujifilm X-T20 – “Kodak Ultramax”

Ultramax 400 is Kodak’s consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.

Classic Chrome
Dynamic Range: DR400
Highlight: +2
Shadow: +2
Color: +4
Sharpening: +2
Noise Reduction: -4
Grain: Strong
Color Chrome Effect: Off or N/A
White Balance: Auto, +1 Red & -6 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs captured using this Kodak Ultramax film simulation recipe on a Fujifilm X-T20 and X-T30:

*Creek* – Farmington, UT – Fujifilm X-T20

*Shadow Catcher* – Farmington, UT – Fujifilm X-T30

*Boy by a Window* – Farmington, UT – Fujifilm X-T30

*Jonathan in Window Light* – Farmington, UT – Fujifilm X-T30

*Pencils on the Table* – Farmington, UT – Fujifilm X-T30

*Balcony* – Farmington, UT – Fujifilm X-T20

*Panda Express* – Farmington, UT – Fujifilm X-T20

*Window Flag* – Farmington, UT – Fujifilm X-T30

*American Tree* – Farmington, UT – Fujifilm X-T30

*Green Mountain Summer* – Farmington, UT – Fujifilm X-T30

*Summer Pear Tree* – Farmington, UT – Fujifilm X-T30

*Greens of Summer* – Farmington, UT – Fujifilm X-T30

*Backyard Tree Evening* – Farmington, UT – Fujifilm X-T20

*Backyard Aspen Leaves* – Farmington, UT – Fujifilm X-T30

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Fuji Film Simulation: Fujifilm XQ1 + Astia at Mirror Lake (Video)

Posted on August 23, 2020 by Ritchie Roesch

I just posted the third video in the Fuji Film Simulation series today! This new video, which you’ll find above, is about using the new X-Trans II Astia film simulation recipe at Mirror Lake in Utah on a Fujifilm XQ1 camera. I want to give a special “thank you” to Fuji X Weekly reader Gus Potenza for loaning me his camera. It’s been a lot of fun to shoot with!

If you like this video, give it a “thumbs up!” I invite you to share it on your social media. Be sure to leave a comment—I appreciate the feedback!

If you don’t follow me on YouTube, be sure to do so! There are many more videos in the works. These projects take up a lot of time, so they’ve been slow to come out, but my hope is to release a new video each week. That may or may not happen; if you don’t subscribe you might miss them when they do come out. I appreciate everyone who has already hit that Subscribe button!

My wife, Amanda, is the one who created this video. She did all of the videography and editing. If you’re interested, the gear she used (accompanied by affiliate links; yes, I will be compensated a small amount if you purchase something using those links) is listed below. Let me know if you’d like to see more of the video side of things, and what specifically you’d be interested in. Thanks!

Fujifilm X-T20 https://amzn.to/2Beu6MM
Fujifilm X-T30 https://amzn.to/2YHKiir
Fujinon 10-24mm https://amzn.to/3i6WPnq
Rokinon 12mm https://amzn.to/2CUHPJI
GoPro Hero 8 Black https://amzn.to/2BKBwY6

Fujifilm X-Trans II Film Simulation Recipe: Astia

Posted on August 22, 2020 by Ritchie Roesch

*Evergreen Sunstar* – Mirror Lake, UT – Fujifilm XQ1 – “Astia”

One of my favorite film simulation recipes that I’ve created is Fujicolor 100 Industrial. It’s not compatible with X-Trans II cameras, but I wanted to make something similar to it for the Fujifilm XQ1. This camera doesn’t have PRO Neg. Std, the film simulation that the Fujicolor 100 Industrial recipe requires. For color photographs, the XQ1 has three options: Provia, Velvia and Astia. I tried both Provia and Astia, and neither worked, but I liked how the Astia recipe looked, so I continued working with it.

What this Astia recipe reminds me of is Provia 100F film. When Fujifilm created their film simulations, the one they named Provia more closely resembles Astia film, and the one they named Astia more closely resembles Provia film, but neither are a great match. This recipe isn’t a 100% match to Provia 100F, but it is closer than the Astia film simulation out-of-the-box or especially the Provia film simulation. Confused? Well, to make it even more confusing, since it’s not really intended to look like Provia 100F and it’s not an especially close match, I named this recipe “Astia” after the film simulation it requires. Whatever the name, and whatever film it may or may not resemble, this film simulation recipe is actually pretty good for everyday use.

*Diagonal Lines on Decor* – Farmington, UT – Fujifilm XQ1 – “Astia”

The XQ1 has a small X-Trans II sensor inside, which means this recipe is fully compatible with all X-Trans II cameras. If you are using it on an APS-C X-Trans II camera, you can increase the maximum ISO to 3200. Feel free to try this recipe on X-Trans I or Bayer sensor cameras, too—it will work but the results might be slightly different.

Astia
Dynamic Range: DR400
Highlight: -2 (Soft)
Shadow: 0 (Standard)
Color: -2 (Low)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: 2650K, +8 Red & -8 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs made using this Astia film simulation recipe on a Fujifilm XQ1:

*Mirror Lake Sign* – Mirror Lake, UT – Fujifilm XQ1

*Floating Preparations* – Mirror Lake, UT – Fujifilm XQ1

*Lake Boardwalk* – Mirror Lake, UT – Fujifilm XQ1

*Blue Boat by the Boardwalk* – Mirror Lake, UT – Fujifilm XQ1

*Fishing Blues* – Mirror Lake, UT – Fujifilm XQ1

*Lone Pine* – Mirror Lake, UT – Fujifilm XQ1

*Tree Silhouette* – Mirror Lake, UT – Fujifilm XQ1

*Nature Flames* – Mirror Lake, UT – Fujifilm XQ1

*Reaching Leaves* – Mirror Lake, UT – Fujifilm XQ1

*Mountain Flower Blossom* – Mirror Lake, UT – Fujifilm XQ1

*Sunlit Pine Needles* – Mirror Lake, UT – Fujifilm XQ1

*Trunk & Log* – Mirror Lake, UT – Fujifilm XQ1

*Logs in the Lake* – Mirror Lake, UT – Fujifilm XQ1

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Fujifilm X100V Film Simulation Recipe: Black & White Infrared

Posted on August 11, 2020 by Ritchie Roesch

Stop Here on Infrared – Yellowstone NP, WY – Fujifilm X100V – “Black & White Infrared”

Infrared photographing is capturing light beyond the visible spectrum. It requires special film, or a digital sensor that has had the infrared filter removed. Any digital camera has the potential to be infrared sensitive, but the process isn’t easy or cheap. Full spectrum photography is similar to infrared, but also includes ultraviolet and visible light (not just infrared light). With full spectrum photography you can choose by the use of filters which light you want to capture. You can use filters with infrared, too, to control what light comes through, but not to the extent of full-spectrum. A characteristic of both infrared and full-spectrum in black-and-white is deep contrast, with dark skies and white foliage. One of my favorite photographers is Mitch Dobrowner, who converted his Canon cameras to full-spectrum for dramatic monochrome storm photography.

When I purchased my Fujifilm X-T1, I had the intentions of converting it to full-spectrum, but the cost of the conversion has prevented me from doing it. I still hope to do so, maybe later this year or perhaps next year. We’ll see. But I figured out a way to simulate something that’s in the neighborhood of infrared or full-spectrum on my Fujifilm X100V without any conversions. In the right light and with the right subject, it can be quite convincing! Even though you are only using the visible spectrum of light, it can appear as though you are actually doing infrared photography. Amazing!

Even in situations where this recipe doesn’t resemble infrared or full-spectrum, it will still produce a dramatic, high-contrast look that you might find appealing. Those who have said that Acros+R doesn’t actually resemble the use of a red filter on black-and-white film will appreciate these settings. Many landscape photographers, including Ansel Adams, employed a red filter to achieve a dark sky (for example, Moonrise Over Hernandez).

White Tree Black Sky – West Valley City, UT – Fujifilm X100V – “Black & White Infrared”

The trick is to use a low Kelvin white balance in conjunction with a dramatic white balance shift when using Acros+R. I got the idea from Fuji X Weekly reader James Clinich, who uses between 3800K and 4500K with a 0 Red & +8 shift to achieve a darker sky, which is something you can apply to other B&W recipes if you’d like to better mimic the use of a red filter. I just took his idea a step further to make it even more dramatic for this recipe.

My Black & White Infrared film simulation recipe can be difficult to use. I find that it doesn’t always work well. It can be very tough to gauge the best exposure, and I’ve had to go anywhere from -1 to +3 on the exposure compensation dial to get it right. It’s one of the more difficult to use recipes that I’ve created, yet it is highly rewarding. If you like dramatic black and white photographs, you’ll want to give this one a try! As of this writing, it’s only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Acros+R
Dynamic Range: DR200
Highlight: +4
Shadow: +3
B&W Toning: 0
Noise Reduction: -4
Sharpening: -4
Clarity: +5
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: 2750K, -5 Red & +9 Blue
ISO: Auto, up to ISO 6400

Example photographs, all camera-made JPEGs using this Black & White Infrared film simulation recipe on my Fujifilm X100V:

Crafts & Hobbies – West Valley City, UT – Fujifilm X100V

Cloud Above The Wall – Draper, UT – Fujifilm X100V

Flags Over IKEA Infrared – Draper, UT – Fujifilm X100V

Pinnacle – Farmington, UT – Fujifilm X100V

Suburban Abstract – Farmington, UT – Fujifilm X100V

Suites – West Valley City, UT – Fujifilm X100V

Paved Paradise – West Valley City, UT – Fujifilm X100V

Accessible Parking – West Valley City, UT – Fujifilm X100V

Done Shopping – West Valley City, UT – Fujifilm X100V

Soda Glass – West Valley City, UT – Fujifilm X100V

Couch Stripes – Farmington, UT – Fujifilm X100V

Flowers in the Sky – Big Sky, MT – Fujifilm X100V

Grey Hills – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned Dream Infrared – Red Rock Lakes NWR, MT – Fujifilm X100V

Abandoned House by the Hill IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Henry’s Fork River – Island Park, ID – Fujifilm X100V

Upper Red Rock Lake IR – Red Rock Lakes NWR, MT – Fujifilm X100V

Red Rock Road Monochrome – Red Rock Lakes NWR, MT – Fujifilm X100V

Aspen Leaves Infrared – Farmington, UT – Fujifilm X100V

Illuminated Tree – West Valley City, UT – Fujifilm X100V

Infrared Tree – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black Amazon B&H
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Fujifilm X100V Film Simulation Recipe: Kodak Ektar 100

Posted on August 10, 2020 by Ritchie Roesch

Dock Light – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”

I already have a Kodak Ektar film simulation recipe that I published a little over two years ago, but I’ve been wanting to revisit it for awhile. In the article that I published for that recipe, I wrote, “I’m actually a little hesitant to call this film simulation recipe Kodak Ektar 100 because it’s not quite right. It’s close, but a little off. The color palette is slightly askew.” That’s a true statement. My original Ektar recipe is close but no cigar. Since that time Fujifilm has added more JPEG options to their cameras, so would it be possible to get closer to real Ektar on my X100V?

Kodak introduced Ektar in 1989. It has been made in ISO 25, 100, 125, 400 and 1000 versions at one time or another. Kodak discontinued Ektar in 1997, but they brought it back in 2008 with an updated emulsion. I’ve shot the old Ektar but never the new Ektar. It’s my understanding that they’re similar but not exactly the same.

This new film simulation recipe will be controversial. To achieve a more correct color palette, this recipe is based off of Classic Chrome instead of Astia. The reason that I used Astia in the original recipe is because “Classic Chrome isn’t vibrant enough, even with Color set to +4.” That’s still true, although Color Chrome Effect does help a little. Honestly, if +6 was an option, that’s what I’d set Color to. Unfortunately that’s not an option, so we have a slightly undersaturated recipe. Another issue is that Ektar can have several different looks, depending on how it’s shot, developed, and printed or scanned, just like any film; however, with Ektar, even a 1/3 stop over or under exposure can noticeably effect the aesthetics of the picture.

Peach Sun – Farmington, UT – Fujifilm X100V – “Kodak Ektar 100”

Fuji X Weekly reader Thomas Schwab helped me immensely with this recipe. He’s had a hand in several recipes, and even created one from scratch that’s quite popular: Urban Vintage Chrome. Thomas captured a bunch of pictures with actual Ektar film, and made several similar exposures with his X-Trans IV cameras. He showed me examples of both, applying my original Ektar recipe to the pictures captured with his Fujifilm cameras. Then we began to create a new Kodak Ektar 100 film simulation recipe based on his Ektar pictures, hoping to achieve something closer to the film than the original recipe.

We discovered very quickly that Ektar is impossible to faithfully recreate on Fujifilm cameras, because only Classic Chrome has the correct color palette, and it’s not vibrant enough. We tried Astia, Provia, Velvia, and PRO Neg. Hi, and of those Astia was the closest, but none of them were right. We settled on Classic Chrome despite it not being vibrant enough. We went back-and-forth on different settings, but especially the white balance. There were several times that we said, “This is it,” only to modify something the next day.

A problem we encountered is that Ektar can have several different looks, even from the same roll of film. There was a discussion about creating as many as three different recipes, depending on the exact aesthetic we wanted to recreate, but decided to go with just one recipe, modeled after our favorite pictures from Thomas’ Ektar film. After even more back-and-forth we finished with this recipe here. We feel confident that it is as close as we could get to actual Ektar film, acknowledging that it’s very close but not exactly right.

Boat in the Bay – Flathead Lake, MT – Fujifilm X100V – “Kodak Ektar 100”

The original Ektar recipe isn’t an exact match to the film, and I believe that this new recipe is closer. The two recipes each produce a different look, and perhaps they both have a place, depending on what exact aesthetic you are after. This new recipe was a collaborative effort, and I want to give a special “thank you” to Thomas Schwab for all of the time and effort he put into making this a reality. It’s much appreciated!

This Kodak Ektar 100 film simulation recipe is intended for and only compatible with (as of this writing) the Fujifilm X100V, X-Pro3 and X-T4. It uses Clarity, which slows down the camera considerably. I just allow the pause to slow myself down. Another option, which is what Fujifilm recommends, is to add Clarity later by reprocessing the RAW file in-camera or with X RAW Studio.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +3
Grain Effect: Off
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 6050K, +3 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Ektar 100 film simulation recipe on my Fujifilm X100V:

Daisies by the Dock – Flathead Lake, MT – Fujifilm X100V

Henry’s Fork – Island Park, ID – Fujifilm X100V

Johnny Sack Cabin – Island Park, ID – Fujifilm X100V

North Shore of Island – Wild Horse Island State Park, MT – Fujifilm X100V

Butters – Roy, UT – Fujifilm X100V

Mustang Evening – Farmington, UT – Fujifilm X100V

Roofline Sky – Farmington, UT – Fujifilm X100V

Finding Clues – Farmington, UT – Fujifilm X100V

Golden Boy – Farmington, UT – Fujifilm X100V

Rocket Launching – Farmington, UT – Fujifilm X100V

Yellow Lady – Layton, UT – Fujifilm X100V

Light Too Bright – Farmington, UT – Fujifilm X100V

Lawnmower Handle & Shadow – Farmington, UT – Fujifilm X100V

Air Pump – Farmington, UT – Fujifilm X100V

Blossom Red – Farmington, UT – Fujifilm X100V

Flower Garden Blossom – Farmington, UT – Fujifilm X100V

Bug Hiding on a Flower – Farmington, UT – Fujifilm X100V

Rose Fence – Farmington, UT – Fujifilm X100V

Marsh Reeds – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

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Fujifilm X100V Film Simulation Recipe: Kodak Ultramax 400

Posted on August 9, 2020 by Ritchie Roesch

Empty Outdoor Seating – Farmington, UT – Fujifilm X100V – “Kodak Ultramax 400”

This recipe is a happy accident. I was actually working on a different Kodak film simulation recipe, and this was a failed attempt. But I liked how this one looked, so I made a minor adjustment, and created this recipe, which I determined looked a heck-of-a-lot like Ultramax 400. I didn’t intentionally create an Ultramax 400 recipe, but nonetheless here it is! Sometimes it’s better to be lucky than good.

Colorful Store Decor – Layton, UT – Fujifilm X100V – “Kodak Ultramax 400”

For some of you this new recipe will be an instant favorite. I really love how it looks and plan to use it frequently. This one might be right up there with Kodachrome 64 and Portra 400 for favorite Kodak presets. A word of caution: it does require Clarity, which slows down the camera considerably. This film simulation recipe (as of this writing) is only compatible with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Classic Chrome
Dynamic Range: DR-Auto
Highlight: +1
Shadow: +1
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +3
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto, +1 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Ultramax 400 film simulation recipe on my Fujifilm X100V:

Road Construction – Clearfield, UT – Fujifilm X100V

Store Closing – Farmington, UT – Fujifilm X100V

Urban Roses – Farmington, UT – Fujifilm X100V

Summer Fruit Tree – Farmington, UT – Fujifilm X100V

Ripening Peaches – Farmington, UT – Fujifilm X100V

Wood Barrel – Layton, UT – Fujifilm X100V

Table & Chair – Farmington, UT – Fujifilm X100V

Library Lights – Farmington, UT – Fujifilm X100V

Contemplation – Farmington, UT – Fujifilm X100V

Blackberry Boy – Farmington, UT – Fujifilm X100V

End Table Succulent – Farmington, UT – Fujifilm X100V

Math Books on a Table – Farmington, UT – Fujifilm X100V

Kitchen Tools – Farmington, UT – Fujifilm X100V

Quality Goods – Layton, UT – Fujifilm X100V

75 – Layton, UT – Fujifilm X100V

Table Bloom – Layton, UT – Fujifilm X100V

Fake Tulips – Layton, UT – Fujifilm X100V

Fake Flowers in Window Light – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

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Film Simulation Recipe Compatibility: X-Trans IV

Posted on August 5, 2020 by Ritchie Roesch

Bayer, X-Trans I & II
X-Trans III

Those with Fujifilm X-Trans IV cameras, which include the X-T3, X-T30, X-Pro3, X100V and X-T4, have the most film simulation recipes to choose from. There are currently five X-Trans IV cameras, and they actually fall into two groups: “Old” (X-T3 & X-T30) and “New” (X100V, X-Pro3 & X-T4). The two groups have different options. The latter has the new Classic Negative film simulation (also the new Bleach Bypass film simulation on the X-T4), Color Chrome Effect Blue, Clarity, new Grain options, and new B&W Toning. This means that the recipes that are intended for the X100V, X-Pro3 and X-T4 are not compatible with the X-T3 and X-T30, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado, which are compatible with X-Trans III & IV (just follow the directions explained in those recipes). I do hope that Fujifilm adds these new features to the X-T3 and X-T30 via firmware updates.

X-T3 & X-T30

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The list below are the film simulation recipes that are intended for use on the X-T3 and X-T30. Also, all of the X-Trans III recipes are also fully compatible with these two cameras, so you have that list to choose from, too.

Kodachrome 64
Kodak Gold 200
Kodak Portra 160
Kodak Portra 400
Kodak Ultramax
Kodak Vision3 250D
Eterna
Expired Eterna
Eterna Low-Contrast
Polaroid
Polaroid II
Analog Color
Jeff Davenport Night
Faded Color
Vintage Color Fade
Elite Chrome 200 Color Fade
Color Negative
Fujichrome Sensia 100
Fujicolor Pro 400H Overexposed
Warm Contrast
Bleach Bypass
Kodacolor
Kodacolor II 126
Classic Slide
Urban Vintage Chrome
Fujicolor 100 Industrial
Lomography Color 100
Velvia
Redscale
Cross Process
Acros
Monochrome Kodachrome
Ilford HP5 Plus Push-Process
Ilford Delta Push-Process
Dramatic Monochrome
Faded Monochrome
Split-Toned B&W
Cyanotype
Sepia

If you have an X-Trans III camera, you can use some of the recipes above, even though they are intended for X-Trans IV. Those recipes that use the Eterna film simulation are only compatible with the X-H1, because that’s the only X-Trans III camera with Eterna. Those that call for Color Chrome Effect or B&W toning are not fully compatible with X-Trans III (but some can be used anyway, it will just look a little different). Others, such as Portra 160 and Warm Contrast, are actually full compatible with X-Trans III, because Color Chrome Effect is Off.

X100V, X-Pro3 & X-T4

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The film simulation recipes below are only compatible with the X100V, X-Pro3 and X-T4, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado (just follow the instructions in that article). Expect this list to grow significantly over the coming weeks and months, as I have a number of different recipes in the works.

Kodachrome 64
Kodachrome 1
Kodak Portra 400
Kodak Ultramax 400
Kodak Ektar 100
Fujicolor Reala 100
Fujicolor Superia 100
Fujicolor Superia 800
Fujicolor Superia 1600
Agfa Vista 100
Classic Negative
Nature Neon
The Rockwell
Bleach Bypass
Verano Tostado
Bright Summer
Cine Teal
CineStill 800T
Kodak Tri-X 400
Kodak T-Max 400
B&W Superia
Black & White Infrared
Sepia

All of the X-Trans III and “Old” (X-T3 & X-T30) X-Trans IV recipes are fully compatible with the X100V, X-Pro3 and X-T4, but with two caveats: Grain and B&W Toning. You’ll have to decide if you want Grain set to Small or Large. That will be your call, whatever you think is most appropriate for your pictures. If the recipe calls for B&W Toning, you’ll have to figure out how the new B&W Toning translates, because it’s different. Other than that, all of those recipes are yours to use, in addition to the ones listed above.

Now it’s your turn! Which recipes are your favorite and what cameras are you using them on? Let me know in the comments!

Film Simulation Recipe Compatibility: X-Trans III

Posted on August 5, 2020 by Ritchie Roesch

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Bayer, X-Trans I & II

Those with Fujifilm X-Trans III sensor cameras, which include the X-Pro2, X100F, X-E3, X-T2, X-T20, and X-H1, might be unaware which film simulation recipes to use. I’ve published around 80 different film simulation recipes, so which recipes are compatible with your camera? The answer is simple: all of the ones in the list below:

Velvia
Astia
Classic Chrome
Vintage Kodachrome
PRO Neg. Hi
Fujicolor Superia 800
CineStill 800T
Eterna
Kodak Portra 400
Kodak Ektar 100
Kodak Ultramax
Cross Process
Kodachrome II
Dramatic Classic Chrome
Vintage Agfacolor
Aged Color
Kodak Ektachrome 100SW
Fujicolor Pro 400H
Agfa Optima
Classic Negative
Cine Teal
Acros
Acros Push-Process
Agfa Scala
Ilford HP5 Plus
Tri-X Push-Process
Sepia

If you have an X-Trans III camera, you have many recipes to choose from. Yet you actually have many more options than that. You see, X-Trans IV recipes intended for the Fujifilm X-T3 and X-T30 (not the X100V, X-Pro3 and X-T4, as that’s a whole other situation) are mostly compatible with your X-Trans III camera. The only X-Trans III camera with Eterna is the X-H1, so those X-Trans IV recipes that require the Eterna film simulation will work on that one camera only, and will not work on any other X-Trans III camera. Color Chrome Effect and B&W Toning are the two other features that are added to X-Trans IV. Not all of the X-Trans IV recipes call for those features, which makes those particular recipes fully compatible with X-Trans III. Those that do call for CCE or Toning can still be used, but results will be just a little different. In other words, those X-Trans IV recipes intended for the X-T3 and X-T30 are, for the most part, either fully or mostly compatible with X-Trans III cameras, especially if you have an X-H1, so I invite you to give them a try and see what you think!

X-Trans IV

Film Simulation Recipe Compatibility: Bayer, X-Trans I & II

Posted on August 3, 2020 by Ritchie Roesch

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Fuji X Weekly reader Gustavo Potenza sifted through all of the film simulation recipes on this website and organized them by sensor and camera compatibility. Whoa! That was a tall task, but he knocked it out in a matter of minutes. I wanted to share this information with you, but also separate it into multiple posts so that you can quickly find the recipes you’re looking for. I’ll link this article to the recipe page for easy access, and I’ll keep it updated as I make new recipes. Thank you, Gustavo, for doing the hard work on this!

The first list, which are recipes compatible with Fujifilm Bayer and X-Trans I sensors, is very short. I really need to make it longer by adding more recipes. I hope to do that eventually. If you have a Fujifilm camera with a Bayer sensor or X-Trans I sensor, these are the recipes that you can use. The Classic Chrome recipe is only compatible with those cameras that have the Classic Chrome film simulation. At the bottom is the X-Trans II list, which is much longer.

Bayer & X-Trans I

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Velvia, Classic Chrome, & Monochrome
Golden Negative
Analog Cool
Monochrome
Sepia

The above recipes are intended for the Fujifilm X-A1, X-A2, X-A3, X-A5, X-A7, X-A10, XF10, X-T100, X-T200, X100, X-PRO1, X-E1, and X-M1 (I hope I didn’t miss any). Some of the X-Trans II recipes below might also work on your Bayer or X-Trans I camera, although results might vary slightly, and it will depend if your camera has the film simulation that the recipe requires.

X-Trans II

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The film simulation recipes below are compatible with X-Trans II cameras. A few X-Trans II cameras don’t have all of the different film simulations required, so some of these recipes might not work on your camera.

Kodachrome 64
Kodachrome II
Ektachrome 100SW
Portra 160
Kodacolor
Eterna
Agfa Optima
Velvia, Classic Chrome & Monochrome
Faded Monochrome
Sepia
Lomography Color 100
Cross Process
Kodachrome Without Classic Chrome
Astia

The above recipes are intended for the Fujifilm X100S, X100T, X-E2, X-E2S, X-T1, X-T10, X70, X20, X30, XQ1, and XQ2 (I hope that I didn’t miss any). Not all of the recipes will be compatible with every X-Trans II camera. Some of them might even be compatible with Bayer and X-Trans I cameras with varying results, so feel free to try.

X-Trans III
X-Trans IV

Fujifilm XQ1 (X-Trans II) Film Simulation Recipe: Kodachrome Without Classic Chrome

Posted on August 2, 2020 by Ritchie Roesch

Red Greens – Kaysville, UT – Fujifilm XQ1 – “Kodachrome”

I’ve made a lot of Kodachrome film simulation recipes for Fujifilm cameras (click here, here, here, here, here and here), and they’re very popular. Kodachrome was an iconic slide film made by Kodak for many, many years, so it’s no surprise that people want to get that look out of their Fujifilm camera. All of my Kodachrome recipes use Classic Chrome because it has a Kodak-esque slide film aesthetic, but some cameras don’t have Classic Chrome, such as the Fujifilm XQ1. Yes, the XQ1 is an X-Trans II camera, and most X-Trans II cameras have Classic Chrome, but this one doesn’t, only Provia, Velvia, and Astia for color images.

I created this recipe by capturing an image on my X-T1 using my Kodachrome 64 recipe for that camera, and then as best as possible recreated the look not using Classic Chrome. While I tried Velvia and Astia, I ended up using Provia. It’s a surprisingly close match, although not exact. I think you’ll like this Kodachrome recipe if your camera doesn’t have Classic Chrome.

!!! Ride !!! – Salt Lake City, UT – Fujifilm XQ1 – “Kodachrome”

Provia
Dynamic Range: DR200
Highlight: +2 (Hard)
Shadow: +1 (Medium-Hard)
Color: -2 (Low)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Daylight (Fujifilm calls it “Fine” for some reason), -1 Red & -4 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs made using this “Kodachrome Without Classic Chrome” film simulation recipe on a Fujifilm XQ1:

Lights & Reflections – Kaysville, UT – Fujifilm XQ1

Flag Poles – Farmington, UT – Fujifilm XQ1

Drive Thru Gas & Wash – Kaysville, UT – Fujifilm XQ1

Flowers in a Pot on Concrete – Kaysville, UT – Fujifilm XQ1

Horse Ranch – Salt Lake City, UT – Fujifilm XQ1

Closed Umbrella, Threatening Clouds – Farmington, UT – Fujifilm XQ1

Drawing Jonathan – Farmington, UT – Fujifilm XQ1

Breakfast – Farmington, UT – Fujifilm XQ1

See also: Film Simulation Recipes

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Fujifilm X100V Film Simulation Recipe: Fujicolor Superia 800

Posted on July 27, 2020 by Ritchie Roesch

Flags of IKEA – Draper, UT – Fujifilm X100V – “Fujicolor Superia 800”

One of the earliest film simulation recipes I created that was intended to mimic a specific film was Fujicolor Superia 800, which I made on a Fujifilm X100F about two-and-a-half years ago. This is a recipe that I’ve used often; I especially like it on overcast days. When I published the Superia 800 recipe, I stated, “It’s not a 100% match [to the film], but I feel like it’s convincing enough….” I think that’s a true statement, but with the new tools available on the X100V, could I create a closer match, one that might be even more convincing?

Classic Negative needed to be the starting point for a new Fujicolor Superia 800 recipe since this new film simulation is “modeled after” Fujicolor Superia with “Superia-like” colors. I incorporated the new Clarity and Color Chrome Effect Blue features into this recipe. Unfortunately, Clarity slows down the camera considerably, so you’ll either have to accept the slow speed (which is what I do) or add Clarity later by reprocessing the RAW file. I think this new recipe is indeed a closer match to actual Superia 800—in fact, you could likely convince people that you shot film!

Horse Boarding – Salt Lake City, UT – Fujifilm X100V

I think this recipe might be my favorite of the Superia recipes that I’ve created thus far. If you like my Superia 100, Reala 100, and Superia 1600 recipes, you’ll certainly like this one, too! It has a great analog aesthetic. It’s pretty amazing that you can get this look straight out of camera. This Fujicolor Superia 800 recipe is (as of this writing) only compatible with the Fujifilm X100V, X-Pro3 and X-T4.

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

Example photographs, all camera-made JPEGs using this Fujicolor Superia 800 film simulation recipe on my Fujifilm X100V:

Line Begins Here – Draper, UT – Fujifilm X100V

Fire Suppression – Draper, UT – Fujifilm X100V

Trash – Draper, UT – Fujifilm X100V

Family Friendly Parking – Draper, UT – Fujifilm X100V

Waiting for Hope? – Draper, UT – Fujifilm X100V

Waiting to Enter – Draper, UT – Fujifilm X100V

Waiting Reflection – Draper, UT – Fujifilm X100V

Keeper of the Door – Draper, UT – Fujifilm X100V

Entrance – Draper, UT – Fujifilm X100V

Cloud Above Yellow Wall – Draper, UT – Fujifilm X100V

Two Flag Poles – Draper, UT – Fujifilm X100V

Home Furnishings – Draper, UT – Fujifilm X100V

Upplaga – Draper, UT – Fujifilm X100V

Track Closed – Salt Lake City, UT – Fujifilm X100V

Artificial – Draper, UT – Fujifilm X100V

Hanging Patio Lights – Draper, UT – Fujifilm X100V

Two Step – Draper, UT – Fujifilm X100V

Red Light – Draper, UT – Fujifilm X100V

Rainbow Spirit – Farmington, UT – Fujifilm X100V

Chair Back – Farmington, UT – Fujifilm X100V

Joshua Eating – Farmington, UT – Fujifilm X100V

Brother & Sister on the Couch – Farmington, UT – Fujifilm X100V

Balcony Railing – Farmington, UT – Fujifilm X100V

Umbrella Unopened – Farmington, UT – Fujifilm X100V

Sunlight Sky & Green Leaves – Farmington, UT – Fujifilm X100V

Ripening Soon – Farmington, UT – Fujifilm X100V

Fallen Log in the Forest – Monte Cristo, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

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Fujifilm XQ1 (X-Trans II) Film Simulation Recipe: Lomography Color 100

Posted on July 22, 2020 by Ritchie Roesch

Backlit Backyard Leaves – Farmington, UT – Fujifilm XQ1 – “Lomography 100”

My second attempt at a film simulation recipe for the Fujifilm XQ1, which has an X-Trans II sensor, was Lomography Color 100. I have a recipe for this film for X-Trans IV cameras, such as my X-T30, and this is a conversion of that recipe for X-Trans II cameras. Honestly, this version isn’t quite as good as the X-Trans IV version (because the newer cameras have more JPEG options), but it’s still a good all-around, everyday film simulation recipe.

As I explained in my X-Trans IV recipe, there are three and perhaps four different emulsions that have been sold under the Lomography Color 100 name. Making a recipe that matches the film is impossible for that reason. Besides, people who use this film also often use alternative techniques, such as push-processing. Lomography Color 100 can have many, many different looks; despite that, this recipe is in the general ballpark of the film.

Velvia
Dynamic Range: DR400
Highlight: +2 (Hard)
Shadow: 0 (Standard)
Color: -2 (Low)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: Cloudy/Shade, -3 Red & +7 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs made using this Lomography 100 film simulation recipe on a Fujifilm XQ1:

Green Leaves & Blue Sky – Farmington, UT – Fujifilm XQ1

Rooster Roof – Farmington, UT – Fujifilm XQ1

Promenade – Salt Lake City, UT – Fujifilm XQ1

Towing – Salt Lake City, UT – Fujifilm XQ1

Yellow Hitch – Salt Lake City, UT – Fujifilm XQ1

Rusty Ford – Salt Lake City, UT – Fujifilm XQ1

Camper Special – Salt Lake City, UT – Fujifilm XQ1

Grate Airport Bus – Salt Lake City, UT – Fujifilm XQ1

Major Award – Salt Lake City, UT – Fujifilm XQ1

Abandoned Truck Trailers – Salt Lake City, UT – Fujifilm XQ1

Graffiti Truck – Salt Lake City, UT – Fujifilm XQ1

Yucca Leaves – Salt Lake City, UT – Fujifilm XQ1

Sunlight Through The Green Tree – Salt Lake City, UT – Fujifilm XQ1

Evening Tree & Reeds – Farmington, UT – Fujifilm XQ1

Red Berries – Farmington, UT – Fujifilm XQ1

Irrigation Cover – Farmington, UT – Fujifilm XQ1

White Thistle – Farmington, UT – Fujifilm XQ1

Rocky Landscape – Farmington, UT – Fujifilm XQ1

Single Reed – Farmington, UT – Fujifilm XQ1

Reeds Reaching To The Sky – Farmington, UT – Fujifilm XQ1

Jonathan Outside – Farmington, UT – Fujifilm XQ1

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Fujifilm XQ1 (X-Trans II) Film Simulation Recipe: Cross Process

Posted on July 20, 2020 by Ritchie Roesch

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A Fuji X Weekly reader sent me his camera, a Fujifilm XQ1, so that I might create some film simulation recipes for it. For those who don’t know, the XQ1 is a premium compact-zoom that Fujifilm made six or seven years ago, and it has a 2/3″ 12-megapixel X-Trans II sensor. While the sensor is much smaller than APS-C, it has the same processor and software as other X-Trans II cameras, although it is missing some options (Classic Chrome, PRO Neg. Hi and PRO Neg. Std, for instance). I discovered that some of the X-Trans II recipes I’ve created, such as Ektachrome 100SW, Agfa Optima, Velvia and Monochrome, all work great on the XQ1. My intentions are to create some more recipes that will work on this camera, and, really, all X-Trans II cameras.

The first film simulation recipe that I created for the XQ1 (and, again, it’s compatible with all X-Trans II cameras) is Cross Process. I have a couple Cross Process recipes that I’ve created for newer camera models (here and here), but never for older models. This one was rather easy to make, and so that’s why I started with it. While I set the maximum ISO to 1600, if you are using an APS-C X-Trans II camera, I’d go as high as ISO 3200. Feel free to try this recipe on X-Trans I or Bayer cameras, if you have one of those, and see how it turns out.

Summer Evening Dream – Salt Lake City, UT – Fujifilm XQ1 – “Cross Process”

Cross processing is a technique where you develop a film in chemicals intended for another film. For example, the most common cross process is to develop color transparencies, which require the E-6 process, using color negative film chemicals, which is known as C-41 process. For slide film, the photographs typically increase in contrast and grain and the colors shift dramatically. There are other types of cross processing, as well. I’ve done cross processing before, and the results can be fun. Different films will look different when they are cross processed. Overexposing or underexposing or even how the development is handled can effect how the image is rendered. The aesthetic can vary significantly, but usually you can spot a cross processed photograph when you see it.

Provia
Dynamic Range: DR200
Highlight: +2 (Hard)
Shadow: +2 (Hard)
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Auto, -3 Red & -9 Blue
ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 (typically)

Example photographs, all camera-made JPEGs made using this Cross Process film simulation recipe on a Fujifilm XQ1:

SkyWest Sunset – Salt Lake City, UT – Fujifilm XQ1

Eagle TT-12 – Salt Lake City, UT – Fujifilm XQ1

SkyWest Carts – Salt Lake City, UT – Fujifilm XQ1

Ford Truck – Salt Lake City, UT – Fujifilm XQ1

Ranger – Salt Lake City, UT – Fujifilm XQ1

Warehouse Deliveries – Salt Lake City, UT – Fujifilm XQ1

Stop! – Farmington, UT – Fujifilm XQ1

Cross Process Red Roses – Farmington, UT – Fujifilm XQ1

Yellow Stump – Salt Lake City, UT – Fujifilm XQ1

Sand Toys Without Sand – Farmington, UT – Fujifilm XQ1

Spirit of Photography – Farmington, UT – Fujifilm XQ1

Blessed – Farmington, UT – Fujifilm XQ1

Message From Space – Farmington, UT – Fujifilm XQ1

Green Leaves – Farmington, UT – Fujifilm XQ1

See also: Film Simulation Recipes

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Fujifilm X100V Film Simulation Recipe: The Rockwell (Velvia)

Posted on July 18, 2020 by Ritchie Roesch

Abandoned Dream – Red Rock Lakes NWR, MT – Fujifilm X100V – “The Rockwell”

Ken Rockwell likes to say that Fujifilm cameras aren’t good for landscape photography because the JPEG colors aren’t “wild” enough for him. Even on his review of the X100V, he says, “The as-shot JPG color palette and contrasts are quite sedate,” and, “the X100V won’t amp-up colors if they aren’t strong to begin with.” He adds, “The Velvia film simulation modes don’t look any better; certainly not like real Velvia.” He’s entitled to his opinion, but I think he just hasn’t used the “right” recipe, and he might change his mind if he did. This recipe is one that Ken Rockwell might approve of, as it’s inspired by him, and that’s why I call it The Rockwell.

Ken mentions that the Velvia film simulation isn’t like real Velvia, and he means Velvia 50. There are, in fact, a few different films that share the Velvia name. Straight out of the box, the film simulation differs a little from the film. My X-T30 Velvia recipe is intended to get the film simulation closer to actual Velvia 50 film. “The Rockwell” recipe is also in the ballpark of Velvia 50 film, although it might actually exceed it. I’ve heard it said that Fujifilm’s short lived Fortia film (which Color Chrome Effect and Color Chrome Effect Blue are inspired by), which is like Velvia 50 on steroids, was a mistake. Supposedly it (or at least the original Fortia 50) was a botched Velvia run, but instead of trashing it Fujifilm sold it as a new film. This recipe isn’t as crazy as Fortia, but it’s every bit as crazy as Velvia 50 and perhaps slightly more. Another film that is in the general vicinity of this aesthetic is Kodak’s Ektachrome 100VS, which was essentially Kodak’s closest film to Velvia, but this recipe is a little off from that film. No, “The Rockwell” isn’t an exact match to any film, it’s just a recipe that Ken might use on his X100V if he ever read this article.

Gibbon Falls – Yellowstone NP, WY – Fujifilm X100V – “The Rockwell”

This film simulation recipe is definitely not for everyone. Just like the person it was named after, it’s bold yet sometimes over-the-top. Many of you will find it to be much too much for your photography. But some of you are going to love it. In the right situations, this recipe is stunning! It uses Clarity, which slows down the camera considerably, but this is a recipe that you might want to work slow with anyway, so it should be alright. This recipe is only compatible (as if this writing) with the X100V, X-Pro3 and X-T4.

Velvia
Dynamic Range: DR200
Highlight: -1
Shadow: -1
Color: +4
Noise Reduction: -4
Sharpening: +4
Clarity: +5
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, +1 Red & -1 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “The Rockwell” film simulation recipe on my Fujifilm X100V:

Lake McDonald Shore Trees – Glacier National Park, MT – Fujifilm X100V

Driftwood Shore – Glacier National Park, MT – Fujifilm X100V

McDonald Lake & Rocks – Glacier National Park, MT – Fujifilm X100V

Lake McDonald – Glacier National Park, MT – Fujifilm X100V

Flathead Lake – Flathead Lake, MT – Fujifilm X100V

Clear Blue Water – Glacier National Park, MT – Fujifilm X100V

Tree & Snake River – Idaho Falls, ID – Fujifilm X100V

McDonald Creek Behind Pines – Glacier National Park, MT – Fujifilm X100V

Trees Obscuring the River – Glacier National Park, MT – Fujifilm X100V

McDonald Creek – Glacier National Park, MT – Fujifilm X100V

Green Trees – Glacier National Park, MT – Fujifilm X100V

Forest Flowers – Glacier National Park, MT – Fujifilm X100V

Lake Daisies – Flathead Lake, MT – Fujifilm X100V

Blossomed Bush by the Lake – Flathead Lake, MT – Fujifilm X100V

Upper Red Rock Lake – Red Rock Lakes NWR, MT – Fujifilm X100V

Red Lake Light – Flathead Lake, MT – Fujifilm X100V

Morning Rays – Canyon Ferry Lake, MT – Fujifilm X100V

Sunset Through The Trees – Island Park, ID – Fujifilm X100V

Aspen Sunstar – Island Park, ID – Fujifilm X100V

Johnny Sack Cabin – Island Park, ID – Fujifilm X100V

Hanging Flower Pot – Big Sky, MT – Fujifilm X100V

Mountain Wildflowers 1 – Red Rock Lakes NWR, MT – Fujifilm X100V

Mountain Wildflowers 2 – Red Rock Lakes NWR, MT – Fujifilm X100V

Rural Blossoms – Island Park, ID – Fujifilm X100V

Mountain Springtime – Island Park, ID – Fujifilm X100V

Blossom by the River – Island Park, ID – Fujifilm X100V

River Grass – Island Park, ID – Fujifilm X100V

Grassy Hills – Wild Horse Island State Park, MT – Fujifilm X100V

Pine in the Field – Wild Horse Island State Park, MT – Fujifilm X100V

Abandoned Rural Building – Wild Horse Island State Park, MT – Fujifilm X100V

Pop of Color Cabin – Polebridge, MT – Fujifilm X100V

Birdhouse Fence – Island Park, ID – Fujifilm X100V

Playground at the Edge of Nowhere – Island Park, ID – Fujifilm X100V

Hot Water – Yellowstone National Park, WY – Fujifilm X100V

Blue Eye – Yellowstone National Park, WY – Fujifilm X100V

Red Rock Turtle – Island Park, ID – Fujifilm X100V

Colorful Pallets – Bozeman, MT – Fujifilm X100V

Westfield – Idaho Falls, ID – Fujifilm X100V

Pink – Island Park, ID – Fujifilm X100V

Stop for the Pink Bus – Silos, MT – Fujifilm X100V

18 – Silos, MT – Fujifilm X100V

Stop Here – Yellowstone National Park, WY – Fujifilm X100V

Blue Trailer – Rexburg, ID – Fujifilm X100V

Grease Work – Rexburg, ID – Fujifilm X100V

See also: Film Simulation Recipes

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Fujifilm X100V Film Simulation Recipe: Bleach Bypass

Posted on July 8, 2020 by Ritchie Roesch

Rose on a Table – Farmington, UT – Fujifilm X100V – “Bleach Bypass”

The Fujifilm X-T4 has a new film simulation called Bleach Bypass. At this time, the X-T4 is the only camera that has it. It might come to the X-Pro3 and X100V at some point via a firmware update, but it’s difficult to know for sure if or when that will happen. Hopefully Fujifilm will add Bleach Bypass to the other cameras at some point.

Back in February I created a “Bleach Bypass” film simulation recipe for the X-T30 and X-T3 utilizing the double-exposure feature of the camera. The results are great, but the process is tricky, and the subject has to be completely still because it requires two exposures. The Fujifilm X100V and X-Pro3 cameras don’t (yet) have the new Bleach Bypass film simulation, but they do have the new Classic Negative film simulation, which makes a “bleach bypass” look possible with just one exposure.

Bleach bypass is a darkroom technique where you skip or limit the bleach during development of color film, which causes it to retain the silver. Results will vary greatly depending on the film used and exactly how you develop it, but generally speaking what you get with bleach bypass is a high-contrast, low-saturation, grainy picture that appears as if a black-and-white and color picture were combined together. This technique is more common for motion picture film than still photography, but some people do bleach bypass with C-41 film.

Thistle Color – Fruit Heights, UT – Fujifilm X100V – “Bleach Bypass”

I don’t know how accurate this recipe is to the Bleach Bypass film simulation that’s on the X-T4. I wasn’t trying to mimic that film simulation, but instead mimic actual bleach bypass film. I know some of you will really appreciate this look, but it’s certainly not going to be everyone’s cup of tea. You can use this recipe if you have a Fujifilm X100V, X-Pro3 or X-T4.

Classic Negative
Dynamic Range: DR100
Highlight: +2
Shadow: +4
Color: -4
Noise Reduction: -4
Sharpening: -1
Clarity: +3
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Strong
White Balance: Daylight, -1 Red & +1 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this “Bleach Bypass” film simulation recipe on my Fujifilm X100V:

Silver Aspen Leaves – Farmington, UT – Fujifilm X100V

Greenberries – Farmington, UT – Fujifilm X100V

Back Wall – Fruit Heights, UT – Fujifilm X100V

Turkey – Farmington, UT – Fujifilm X100V

Umbrella Below a Tree – Fruit Heights, UT – Fujifilm X100V

Instamatic Light – Farmington, UT – Fujifilm X100V

Kodak Instamatic Shelf – Farmington, UT – Fujifilm X100V

Pronto Polaroid – Farmington, UT – Fujifilm X100V

Dead Yellow Roses – Farmington, UT – Fujifilm X100V

Coffee & Book – Farmington, UT – Fujifilm X100V

Morning Time – Farmington, UT – Fujifilm X100V

Vase on a Table – Farmington, UT – Fujifilm X100V

Suburban Grey – Farmington, UT – Fujifilm X100V

Leaf in the Wet Grass – Farmington, UT – Fujifilm X100V

Water on a Red Slide – Farmington, UT – Fujifilm X100V

Lavender Lily – Farmington, UT – Fujifilm X100V

Sunlight in the Trees – Layton, UT – Fujifilm X100V

See also: Film Simulation Recipes

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Sepia: The Forgotten Film Simulation

Posted on July 1, 2020 by Ritchie Roesch

No Credit Tires – Bountiful, UT – Fujifilm X-T30 & Fujinon 35mm f/2 – Sepia

Sepia is Fujifilm’s forgotten film simulation. Despite being included on every X camera since the original X100, very few people use it. Some photographers mock the Sepia film simulation, calling it gimmicky or amateurish. It’s even been the butt of jokes. There seems to be no love for it. I believe that the Sepia film simulation is misunderstood and underappreciated, and it deserves more respect.

You might be surprised to learn that actual sepia is a byproduct of cuttlefish, and it’s been a part of photography for over 150 years. Sepia is used for its archival properties. When black-and-white photographic prints are given a sepia bath, it stabilizes the silver, which slows the aging process. It also stains the paper, producing a brownish-red tone. The longer the paper sits in a sepia bath, the stronger the sepia tone will be. Some photographers would leave their prints in the bath for a long time, producing a pronounced tint. Many years ago when I printed my own black-and-white pictures in a darkroom, I would only give my pictures a quick dip in sepia, which would produce a very subtle warm tone. Sepia has both form and function in the photographic process.

The majority of black-and-white photographers used sepia, although many preferred a short bath for subtle effect; however, some wanted the full sepia aesthetic with it’s pronounced warm tones. There have been different eras in photography when a strong sepia stain was in vogue. You can change the emotion of a black-and-white photograph by toning it, so it’s no surprise that a warm tone would be popular. Even when it wasn’t popular, there were still some photographers who would purposefully use sepia for artistic effect.

Snow on Rudy Drain – Salt Lake City, UT – Fujifilm X-T1 & Fujinon 35mm f/2 – Sepia

Even though film photography is much less prevalent now, sepia is still being used today in analog black-and-white printing. It’s unnecessary in digital photography, but Fujifilm has provided an easy solution for simulating the effect: the Sepia film simulation. Specifically, it mimics the look of a black-and-white print that’s spent some time in a sepia bath. Some might call it “old timey” in appearance; yes, sepia has been used in photography for a very long time, yet it is still being used today. Maybe it’s not so gimmicky and amateurish after all.

You know that I love to create film simulation recipes that produce straight-out-of-camera results which mimic analog aesthetics. I have created many different color and black-and-white recipes for Fujifilm cameras, and in the process used all of the different film simulation options that Fujifilm provides on their cameras, except for one: Sepia. This is the first time that I’ve used the Sepia film simulation as the basis for a recipe. I love the feeling that these settings produce in an image; there’s a certain emotional response to Sepia that’s not found in the Acros or Monochrome film simulations. I invite you to try these settings for yourself, and perhaps you’ll discover a newfound respect for the lowly Sepia film simulation.

Sepia film simulation recipe for the X100V, X-Pro3 and X-T4:

Sepia
Dynamic Range DR400
Highlight & Shadow: +3
Grain: Strong, Large
Color Chrome Effect & Color Chrome Effect Blue: Off
Clarity: +2
Sharpening: -2
Noise Reduction: -4

Example photographs:

Sepia Sun – Farmington, UT – Fujifilm X100V

Broken Barrier – Kaysville, UT – Fujifilm X100V

Espresso Yourself – Layton, UT – Fujifilm X100V

Sepia film simulation recipe for X-Trans III plus X-T3 and X-T30 cameras:

Sepia
Dynamic Range: DR400
Highlight & Shadow: +3
Grain: Strong
Color Chrome: Off or N/A
Sharpening: -2
Noise Reduction: -4

Example photographs:

Lens in the Window Light – South Weber, UT – Fujifilm X-T30 & Fujinon 90mm f/2

Chair Light & Shadow Abstract – South Weber, UT – Fujifilm X-T30 & Fujinon 35mm f/2

Night Pump – Centerville, UT – Fujifilm X-T30 & Asahi Super-Takumar 28mm f/3.5

Sepia film simulation recipe for X-Trans I & II plus Bayer cameras:

Sepia
Dynamic Range DR200
Highlight & Shadow: +2
Sharpening: -1
Noise Reduction: -2

Example photographs:

Cup of Beans – South Weber, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Selfie – Uintah, UT – Fujifilm X-T1 & Fujinon 35mm f/2

Suburban Pond in Winter – Farmington, UT – Fujifilm X-T1 & Fujinon 35mm f/2

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Fujifilm X100V Film Simulation Recipe: Fujicolor Superia 1600

Posted on June 29, 2020 by Ritchie Roesch

Red Rose – Farmington, UT – Fujifilm X100V – “Fujicolor Superia 1600”

For some of you, this new Fujicolor Superia 1600 film simulation recipe will be your favorite! It is so good! It’s very analog-esque, and does a great job of mimicking the film in a number of circumstances. If you love my Fujicolor Superia 100 and my Fujicolor Reala 100 recipes, you’re bound to love this one, too!

For high-ISO color photography, Superia 1600 film was your best bet if you needed to go faster than ISO 800. It has higher contrast and lower saturation than other Superia films, and is also more grainy, but with a very nice look. There are people who use Superia 1600 just for its aesthetic. Fujifilm discontinued Superia 1600 in 2016, but supposedly Fujicolor Natura 1600 and Press 1600 are the same film, just sold to different markets.

Sephora – Farmington, UT – Fujifilm X100V – “Fujicolor Superia 1600”

I didn’t include a “typical” exposure compensation with this recipe because you can get some very interesting looks by underexposing and (especially) overexposing—don’t be afraid to try -1 all the way to +2! This recipe is only compatible with the Fujifilm X100V, X-Pro3 and X-T4 (hopefully someday the X-T3 and X-T30, too—Fujifilm, please!).

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: +2
Color: -3
Noise Reduction: -4
Sharpening: -1
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Daylight, +3 Red & +1 Blue
ISO: 1600 to 6400

Example photographs, all camera-made JPEGs using this Fujicolor Superia 1600 film simulation recipe on my Fujifilm X100V: