“Really Crap & Lazy Advice” — Ignore the Gatekeepers

Red Boat in Nyhavn Canal – Copenhagen, Denmark – Fujifilm GFX100RF – Avalon Ace

Last night I was scrolling Instagram when I saw a Reel that bothered me a bit. Maybe you saw it, too. It wasn’t from anyone I follow, just something the algorithm thought I would like. I would have much preferred to have been shown content from those I follow, but Meta kind of sucks and instead gives me things that I don’t really care for. The video in question was insulting, so I thought I would address it.

Specifically, the person in the video, who has a somewhat large following, doesn’t like that a lot of people within the Fujifilm world don’t edit their photos. “I don’t have a problem with Fujifilm cameras,” the video starts out. “My problem is with the brand and people telling you that you shouldn’t edit your photos, that you should skip Lightroom and editing, and that you should only do straight out of camera. I think that is really, really, really crap and lazy advice.” It goes on from there, and only gets worse. At the end he reveals that this is why he’s moving to Leica. Apparently he thinks that Fujifilm shouldn’t point out to their customers that their camera-made JPEGs are pretty darn good, and he doesn’t seem to like the Fujifilm community in-general and doesn’t want to be associated with such people. Perhaps not enough Fujifilm photographers were buying his preset packs?

First, I don’t think anyone is saying (or, if they are, it’s very, very, very few) that you can’t edit your photos, only that you don’t have to if you don’t want to. There are a thousand ways to do photography, and no one way is better than another. It’s only what works for you personally. If that’s shooting RAW and editing in Lightroom, great. If that’s unedited straight-out-of-camera JPEGs, cool. If that’s film photography, awesome. For a lot of people it can be a combination of things, just depending. There is no right or wrong way to do photography, and anyone who tells you otherwise is gatekeeping and should be ignored.

Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

Fujifilm Recipes can be used in a surprising number of ways, not just for unedited straight-out-of-camera photography. Personally, aside from cropping/straightening and maybe a small exposure adjustment sometimes, I don’t edit my photos. I used to, until I realized that the straight-out-of-camera JPEGs could be made to look like my edited RAW images. That discovery literally changed my life (no hyperbole). Before that, I edited so many photos it’s not even funny. Personally, I don’t enjoy editing, and I’ve found it unnecessary for my photography. But that’s just me. Other people (like my wife) will sometimes edit the JPEGs, which have a fair amount of latitude for manipulation, in Capture One. Other people use the JPEGs sometimes and the RAWs other times, just depending on the picture and what they will use it for. There are some who are strictly RAW-only and still use Recipes because it helps them to better pre-visualize in the field how the edited photos will look, and it gives them a head start in the editing process. One person will sometimes layer the out-of-camera JPEG over the edited RAW image, and blend them together. It’s all about what works for you—not what other people are doing—and there are a plethora of possible paths, all of them legitimate.

Going back to the video, the implication is simple: if you don’t edit your photos and you tell others that they don’t have to, you are “really, really, really” crappy and lazy. That’s complete nonsense and just bullsh*t. A completely awful and insulting take. Someone who edits RAW photos is not inherently any better or worse than someone who doesn’t, and their pictures aren’t inherently better or worse, either. Even Ansel Adams used Polaroids and wrote a whole book about it. Was he being lazy? Was he giving crappy advice when he wrote a whole chapter on the benefits of one-step photography (skipping the development stage)? Was he a bad photographer because he didn’t always use the darkroom? Of course not! Nobody would argue that, but that’s essentially the argument of the video.

Fire, Truck – Lordsburg, NM – Fujifilm GFX100S II – 1970’s Summer

Photography is deeply personal, and many people—the gatekeepers—tie their identity to how “skilled” they think they are. When someone else succeeds with a different method—shooting JPEGs, iPhone photography, etc.—it threatens the fragile belief that their way is the only legitimate path. It’s a defensive shield: If you do it differently and are successful, then my choices—and hence myself—might be less special. Gatekeeping is a way of preserving a hierarchy that does not naturally exists. I’m a real photographer because I do it this way, and you’re not because you don’t. It’s a game of king-of-the-hill, except nobody else is playing. And it’s just dumb.

I’ve been told I’m doing much harm to photography because I don’t edit my photos and I tell other people that they don’t have to, either, if they don’t want. That’s crazy! You do photography however you want to do it, and worry less about what others are doing. If you want to shoot Leicas, edit RAW files, and sell Lightroom presets, by all means do so. If you want to spend less time at a computer and more time out creating photographs, Fujifilm might just be the brand for you. Whatever way you want to do photography, go ahead and do it that way, and don’t let the gatekeepers tell you that you are less-than for it. In the end, nobody really cares how you made the photograph, they only care that you made it.

7 Must-Try Recipes for the Fujifilm X-T3 & X-T30

Vintage Sunset – Ogden, UT – Fujifilm X-T30 – Kodacolor

Part 1: 5th-Gen, Part 2: 4th-Gen

This is Part 3 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets.

The list below, which are the seven Recipes for Part 3, is specifically for the Fujifilm X-T3 and X-T30 cameras, the first two X-Trans IV cameras, which are in a category of their own. If you have one of those two cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. Something to note is that with the X-T3 & X-T30, you cannot save a White Balance Shift within C1-C7; however, the camera will remember one WB Shift per WB type. With that in mind, each of these use a different WB type so that you don’t have to remember to adjust the WB Shift when going from one Custom Setting preset to another. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodak Portra 400 v2

Window to the City – Salt Lake City, UT – Fujifilm X-T30 – Kodak Portra 400 v2

Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too. This Recipe uses the Daylight White Balance.

Classic Kodak

Split Saguaro – Buckeye, AZ – Fujifilm X-T30 – Classic Kodak

While Classic Kodak can be used anytime the sun is out, it is a great options for middle-of-the-day situations. This Recipe uses the Shade White Balance.

Kodak Ultramax

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

I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. One of my personal favorites is Kodak Ultramax, which uses Auto White Balance.

Kodak Vision3 250D

Ice Cream Trailer – Farmington, UT – Fujifilm X-T30 – Kodak Vision3 250D

Although each of the first four Recipes have a Kodak-negative-like look, Kodak Vision3 250D produces a notably divergent aesthetic than the three above. This Recipe uses the Fluorescent 1 White Balance.

Fujichrome Sensia 100

Sunrise Lamp – Buckeye, AZ – Fujifilm X-T30 – Fujichrome Sensia 100

Fujichrome Sensia 100 offers a notably different look than the options above. It’s one of my favorite Recipes for sunrise and sunset colors when the sky is pink and purple, but is good for a lot of other situations, too. It uses the Fluorescent 2 White Balance.

Jeff Davenport Night

Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – Jeff Davenport Night

If it’s between dusk and dawn, especially if there are city lights, Jeff Davenport Night is the recipe to use on your X-T3 and X-T30 cameras. Period. It uses a Kelvin White Balance.

Analog Monochrome

Minolta SRT303b – Farmington, UT – Fujifilm X-H1 – Analog Monochrome

Filling out the last slot was tricky because most of the White Balance types have already been used. There are basically three options: choose an X-Trans III Recipe—which are fully compatible with the X-T3 and X-T30—that uses a different WB type (that’s what I’ve done here, as Analog Monochrome utilizes Incandescent); use an Auto WB Recipe—perhaps Ilford Delta Push Process—and disregard the WB Shift, and accept the results for what they are (which will be nearly the same, but not exactly the same); or use a Daylight WB Recipe—perhaps Kodak Tri-X 400—and substitute Daylight with Underwater, which is similar enough that you’re unlikely to notice the difference.

Find these Film Simulation Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

AI Can’t Match the Aesthetic Correctly

Bike Bags – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive

Someone told me, “When I want a Recipe for a certain look, I just ask AI to make it for me.” I’ve heard a similar sentiment a few times. In fact, there are a couple of website and apps that will do it for you. Just upload a picture, and AI will create a Recipe that supposedly matches the picture. ChatGPT and other AI programs can do it, too. But is it any good?

It’s an easy test, actually. Use a photo that was made using a Recipe, and see if it comes up with the same or similar settings. If not, then it doesn’t do a good job. Test it again using a photo made using that same Recipe, and see if it gives you the same or similar settings as the first time. If it doesn’t, then it’s inconsistent and can’t be trusted. In order for AI to be a useful tool for this, it needs to be both accurate and consistent; if neither are true, it’s not a good tool.

If you upload a photo to AI and ask it to create a Fujifilm Recipe, you hope that it’s going to produce reasonably similar results to the photo you uploaded. If not, then what’s the point? You might as well just use random settings, or let darts or dice determine what to program into your camera. Someone once told me that AI is better than a complete novice, but not as good as an expert. I think there’s a lot of truth to that, but when it comes to creating Recipes, AI might actually be worse than the novice.

For example, I uploaded the image at the top, Bike Bags, which was made using my Provia Positive Recipe, and asked ChatGPT to make a Recipe from that photo. You can see my chat with AI below:

I noticed two things immediately. First, it has a lot of similarities to Reggie’s Portra. Certainly not 100% (and for sure it’s not as good), but there some obvious parallels. Second, it says to use base ISO 160 and also DR200; since the Dynamic Range settings are ISO dependent, you can’t use DR200 at ISO 160. A minor grievance, but it illustrates that AI isn’t fully versed in Fujifilm settings. This is how Provia Positive compares to AI’s “Nordic Harbor” (a.k.a. Reggie’s Portra tweak):

Provia Positive Recipe
ChatGPT’s “Nordic Harbor” Recipe

The results are pretty divergent. You might like the AI version (it’s basically Reggie’s Portra with a slight green cast), but you can’t say that it’s a good facsimile of the Recipe it’s suppose to look like. Using the same account, I started a new chat and asked ChatGPT again to make a Recipe using the same photo, but I worded the question slightly different. It basically gave the same Recipe but with four changes: Reala Ace instead of Classic Chrome, Color 0 instead of +1, Shadow -2 instead of -1, and WB Shift +1 Red & -3 Blue instead of -2 Red & -4 Blue. Let’s take a look:

Provia Positive Recipe
ChatGPT’s Reala Ace version of its “Nordic Harbor” Recipe

After this, I used a separate ChatGPT account and repeated step one precisely, and got even different results (this time it suggested Velvia). I then tried using different photos made with the same Provia Positive Recipe, and each time it gave me a different Recipe, and none were very close to my Recipe. Between the two accounts, I asked ChatGPT to make a Recipe based on a Provia Positive photo a total of 10 times. Even if it had given an accurate result once (which it didn’t), how could you trust it with divergent suggestions each time? How could you ever know which one would be most correct?

Provia Positive Recipe
ChatGPT’s third attempt, this time with Velvia

I then tried other AI programs and apps, and repeated the test. Interestingly enough, on my first attempt with Claude, it gave a Reggie’s Portra like Recipe (just like ChatGPT), but with an even stronger green cast than ChatGPT’s iteration. Gemini also chose Classic Chrome on the first attempt, but played it safe and didn’t venture very far from factory-defaults. After 10 tries with these other AI apps and programs, plus the 10 I did with ChatGPT, I had a total of 20 results. Three things shocked me. First, Classic Chrome was chosen nine times, far more than any other film simulations. I assume this is because Classic Chrome is by far the most popular film sim for those who use Recipes, and that’s influencing AI’s answers. Second, Provia wasn’t picked even once. Not one time did AI choose the correct film simulation—not Provia, the “standard” option. Even on the programs specifically intended for making Fujifilm Recipes from photos, it got it wrong. If I had picked at complete random, most likely I would have chosen Provia at least one time (there are 20 film sims, and I made 20 attempts, but nine of them are monochromatic and not color). Third, one time Acros was given for the film simulation. One of the AI’s thought that Acros—a B&W film simulation—was the most correct! Wow.

This article is already way too long, so let me wrap this up. Yes, AI can make a Recipe that is based on a photo that you upload to it. Anytime you ask AI to do something, it will give you an answer. But is that answer any good? When it comes to Fujifilm Recipes, probably not. First, as you can see above, AI couldn’t figure it out. It also gave a different answer each time, and sometimes very nonsensical ones. Both the inaccuracies and inconsistencies are major red flags, and demonstrate that it’s not a trustworthy source for this particular task. It’ll probably get there someday, but it’s not there today. This is a very easy test, one that you can do yourself. If you ever wonder if any AI program or app can make a Recipe that matches the aesthetic of a picture that you upload to it, simply use an image that you already know the parameters of; if it can’t match it—or at least be in the general ballpark of it—then it’s not a good resource. You might actually be better off throwing darts, rolling dice, or picking the settings out of a hat at random.

Upcoming: July Travel Photography Classes & Photowalks

Fujifilm is presenting a number of summer seminars on travel lenses and travel photography across America. They’ve asked me to lead two of them: one in Austin, Texas, on July 8th, and one in Oklahoma City, Oklahoma, on July 25th. If you live in or near those two cities, mark your calendars now and be sure join in on the fun.

The Austin class and photowalk will be at Precision Camera & Video, located at 2438 W. Anderson Lane, on Wednesday, July 8th. The class will begin at 5 pm, afterwards—about 6:30 pm—we will head over to the Austin Public Library to walk around downtown with our cameras. The fee is $5, and you do need to register (click here). It’s going to be a great time of learning, community, and photography. If you live anywhere near central Texas, I hope to see you there!

Betsy the Burgundy Bullet – Austin, TX – Fujifilm X100VI – Eterna Summer

Later in the month, on July 25th, I’ll be at Bedford Camera & Video in Oklahoma City. The full details are still being worked out, but it should be along the lines of an afternoon class followed by a photowalk. As soon as it’s all finalized, I’ll get the details out to you. If you live in or near Oklahoma City, be sure to check back periodically so that you don’t miss out.

I don’t have details on the other locations, so if you live outside of Texas and Oklahoma, check with your local camera stores to see if they have any events going on. It’s possible that they are hosting one of these summer seminars, and, if so, you’ll want to join in on it. If you live in Austin or Oklahoma City, I hope to see you this July!

Eterna Bleach Bypass is an Underrated Film Simulation

Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – Ferrania Solaris FG 400

Among Fujifilm’s 20 Film Simulations, Eterna Bleach Bypass might be the second least popular, only ahead of Sepia. In my opinion, it is the most underrated and under-appreciated option. Introduced on the Fujifilm X-T4 in 2020, Eterna Bleach Bypass remains exclusive to newer-generation cameras, so those with older models don’t have it available to them. Of the recent Film Simulations—Reala Ace, Classic Negative, Nostalgic Negative, Eterna, and Eterna Bleach Bypass—this one seems to get the least love, which I think is a bit unfair.

To understand the Eterna Bleach Bypass Film Simulation, it helps to first understand what it’s trying to replicate. Bleach bypass is a film processing technique in which the bleach stage is reduced or skipped during development, leaving silver in the emulsion along with the color dyes. The result is an image with higher contrast, muted colors, and a gritty, dramatic tonality—almost as if a black-and-white and color frame were combined together into one. It’s a more common darkroom technique for motion pictures than still photography, but it has been used for both. If you have ever watched the movie Saving Private Ryan, you’ve seen actual bleach bypass. Fujifilm’s Eterna Bleach Bypass Film Simulation is essentially an approximation of their Eterna motion picture film processed this way. It has strong contrast and is the lowest saturated of all the color Film Simulations.

Tilted Saguaro – Tucson, AZ – Fujifilm X-T5 – 1960 Chrome

Eterna Bleach Bypass is not a “works for everything” type of Film Simulation like Classic Chrome, Reala Ace, etc.. It’s more for when the subject and situation are “right” for it. Because of that, many never try it, or if they do, it’s once or twice and never again. When used intentionally, it can create cinematic images with a moody character. If you want to add drama to urban environments, partially cloudy or overcast sky, mountain scenes, and much more, this Film Simulation will do it.

Technically, you can get pretty close to factory-default Eterna Bleach Bypass by using the Eterna Film Simulation and increasing both Highlight and Shadow while also lowering Color and making a WB Shift adjustment. But there are straight-out-of-camera aesthetics that are only possible with the Eterna Bleach Bypass Film Simulation. It has its own look that’s immediately recognizable once you become familiar with it. Eterna Bleach Bypass is way underrated and deserves more fanfare. If you’ve never tried it, below are seven really good Fujifilm Recipes that use Eterna Bleach Bypass. I invite you to try one today!

1960 Chrome

Bell & Cross – Tumacacori, AZ – Fujifilm X-T5 – 1960 Chrome

The aesthetic of the 1960 Chrome Recipe comes from several photographs in various 1960’s issues of Arizona Highways magazine (I collect old copies of Arizona Highways, there’s so much great photography inside), so it has a vintage feel to it. This Recipe has compatibility with fourth and fifth generation models.

Ferrania Solaris FG 400

Golden Light on Water – Buckeye, AZ – Fujifilm X-T5 – Ferrania Solaris FG 400

The Ferrania Solaris FG 400 Recipe is simply Kodak Portra 400 v2 with Eterna Bleach Bypass instead of Classic Chrome. Most Recipes don’t look particularly good when you change the Film Simulation, but in this case it does. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Off.

LomoChrome Metropolis

Winter Blooms – Buckeye, AZ – Fujifilm X-T5 – LomoChrome Metropolis

The very first Recipe that I created using the Eterna Bleach Bypass Film Simulation was LomoChrome Metropolis. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Eterna Bleach Bypass

Boardwalking – Pismo Beach, CA – Fujifilm X-E4 – Eterna Bleach Bypass

“Essentially black-and-white for color photography,” is how I described the Eterna Bleach Bypass Recipe. It’s compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Chrome City

Raindrops on a Pond – Peoria, AZ – Fujifilm X100VI – Chrome City

Chrome City is found in the Universal Negative Recipe set, and is one of my favorite Recipes for dreary, rainy days. It’s intended for fifth-generation cameras.

Kodachrome Blue

American Paint Horse – Litchfield Park, AZ – Fujifilm X-E4 – Kodachrome Blue

The Kodachrome Blue Recipe mimics improperly scanned Kodachrome slides. Due to its unique design, Kodachrome is the most difficult slide film to accurately scan, so there are a lot of examples of the film with a blue cast, including some of my own that the lab did a poor job scanning. This Recipe is compatible with “newer” X-Trans IV cameras (X-T4, X-S10, X-E4, and X-T30 II); for fifth-generation models, set Color Chrome FX Blue to Weak.

Pushed CineStill 800T

Mellow Mushroom – Tempe, AZ – Fujifilm X-T5 – Pushed CineStill 800T

The Pushed CineStill 800T Recipe was intended for daytime photography, but is actually most well suited for nighttime situations. This one is compatible with X-Trans V cameras; for “newer” X-Trans IV (Fujifilm X-T4, X-S10, X-E4 & X-T30 II) use this version, and for the X-Pro3 and X100V use this one that has Eterna as the base.

Find these Fujifilm Recipes and many more in the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

About (Typical) Exposure Compensation

I wanted to give a real quick word about the Exposure Compensation found within each Fuji X Weekly Recipe. I get questions about this fairly regularly, and there seems to be some confusion. Let me give a short explanation of what is meant when a Recipe says (for example) Exposure Compensation: +1/3 to +1 (typically).

The “typical exposure compensation” provided with each Recipe is intended to be a starting point and nothing more. It was never meant to be a rule, only general directions. For some recipes it’s a little more critical than others. For example, Vintage Kodachrome really does need a little underexposure in order to look right; conversely, Bright Kodak really does need a little overexposure to render correctly. But for the most part, this isn’t a critical aspect of a Recipe. It’s simply intended to give a little direction for those unsure.

One question that I get sometimes is: what about those who shoot in all-manual, and don’t use the Exposure Compensation Dial? Well, instead of “exposure compensation”, it’s just exposure. In other words, simply increase or decrease the exposure suggested by the meter by whatever the Recipe says. If your meter says (for example) f/4, 1/250, and ISO 400, and the Recipe says +1 exposure, simply use f/2.8 instead of f/4, or select 1/125 instead of 1/250, or choose ISO 800 instead of ISO 400 (choose one, not all three).

Another question that I get is: how do I program Exposure Compensation into my camera? There are some models that can save an exposure compensation within each Custom Setting preset (it won’t save a range—like +1/3 to +1—but it can save one, such as +2/3); however, most Fujifilm cameras cannot do that. For the majority of cameras, Exposure Compensation is a manual process done by turning the Exposure Compensation Dial on the top of the camera.

Each time you activate the shutter, the appropriate exposure for each scene should be judged individually. Even though a Recipe might say Exposure Compensation +2/3 to +1 (typically), perhaps for the unique lighting scenario in front of you, maybe -1/3 is most appropriate. Aside from that, we each have our own tastes and styles, and maybe for you, a slightly brighter or darker image is better. In other words, don’t take the typical exposure compensation values of a Recipe too seriously. It’s only meant to help you go in the right direction; however, each situation should be judged for what it is, which might be different each time.

Which brings me to two Recipes specifically: Reggie’s Portra and Reggie’s Superia. For Reggie’s Portra, I had listed +1/3 to +1 as the typical exposure compensation range. For Reggie’s Superia, I had listed it as +1/3 to +2/3. But Reggie Ballesteros—the creator of those two Recipes—never gave them, nor intended for them to have, any suggested exposures. The exposure for each picture should be judged individually. At his request, I removed the suggested exposure compensation range. Reggie is not wrong in this assessment, and it’s for a similar reason that I did not include a suggested exposure range for the Video Recipes.

I never intended for the Exposure Compensation field of Fujifilm Recipes to be so confusing. I hope this clears it up a little for those who may have struggled with it. I never intended for it to be a rule, only a rough starting point for those unsure what the exposure should be. If it’s not helpful to you, feel free to ignore it.

7 Must-Try Recipes for 4th-Gen Fujifilm Cameras

Yellow Rose – Litchfield Park, AZ – Fujifilm X-E4 – Pacific Blues

Part 1: 5th-Gen

This is Part 2 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. Beginning with the latest models, we will work our way back towards the older cameras. For each article, I will suggest seven Recipes to try. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 2, is specifically for fourth-generation Fujifilm cameras, which is to say X-Trans IV, but it’s a little more complicated than that. The fourth-generation cameras that this set is specifically for are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, and GFX100S. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fourth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

Two Caballeros – Culleoka, TX – Fujifilm X-E4 – Kodachrome 64

Kodachrome was the most iconic film, so it stands to reason that we should begin this list with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. I feel like Kodachrome 64 is an essential Recipe to try.

Kodak Portra 400 v2

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

Kodak Portra 400 v2 does well anytime the sun is out, but especially for “golden hour” near sunrise and sunset. As the name suggests, it’s a good option for portrait photography, but it’s excellent for many other genres, too.

Reggie’s Portra

Mountain Sunset – Flagstaff, AZ – Fujifilm X100V – Reggie’s Portra

I like to have at least one Recipe programmed into my camera that’s highly versatile. There are several excellent options, but a personal favorite is Reggie’s Portra, which works in almost any light situation.

Pacific Blues

White Bridge across Pond – Charleston, SC – Fujifilm X-E4 – Pacific Blues

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

The Rockwell

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

This list wouldn’t be complete without a Velvia-based Recipe. When the situation calls for something bold, The Rockwell will accomplish that, delivering vibrant and sharp results.

Serr’s 500T

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

Most Recipes are intended for sunny daylight; while some can still do well at night, there are Recipes specifically intended for night photography. Of those, Serr’s 500T is one of my favorites.

Kodak Tri-X 400

Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400

No C1-C7 would be complete without at least one B&W Recipe, and Kodak Tri-X 400 is my go-to option. I love monochromatic photography, and you’ll be hard-pressed to find a better Recipe than this.

Part 3: X-T3/X-T30

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7 Must-Try Recipes for 5th-Gen Fujifilm Cameras

Sailboat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Velvia

This is Part 1 of what will be a five-part series exploring Fujifilm Recipes for each generation of cameras. We will begin with the latest models, and work our way back towards the older cameras. For each article, I will suggest seven Recipes to try on your Fujifilm camera. This is intended for those new to the whole Recipe thing, who haven’t tried them before (or perhaps only a few Recipes so far). The intention is to provide you with a list of seven that you can program into your C1-C7 Custom Setting presets. For those with only C1-C6, you’ll have to choose one to exclude; for those with only C1-C4, you’ll have to cut three out.

The list below, which are the seven Recipes for Part 1, is specifically for fifth-generation Fujifilm cameras, which is to say X-Trans V, but it’s a little more complicated than that. Fifth-generation cameras are: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. If you have one of those cameras, these are the correct Recipes for you. This is far from an exhaustive list of fifth-generation Recipes, it’s only seven really good ones to get you started. If you are unsure which Fujifilm Recipes to begin with, these are ones that I highly recommend.

Kodachrome 64

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

Kodachrome was the most iconic film, so it stands to reason that we should begin this list with the Kodachrome 64 Recipe. It’s intended for sunny daylight photography, but can sometimes be good in other scenarios, too, just depending on the subject and lighting. I feel like Kodachrome 64 is an essential Recipe to try.

Kodak Gold 200

Spinning – Anaheim, CA – Fujifilm X100VI – Kodak Gold 200

This is a classic Recipe that’s always popular. Kodak Gold 200 produces warm photos, and is intended for use in sunny daylight situations. It’s especially good for golden hour, including sunrises and sunsets.

Pacific Blues

Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

The Pacific Blues Recipe is intended for a sunny summer day at the beach; however, I have found it works wonderfully well on foggy or dreary days, too. It’s more dramatic and significantly different than the two options above, so it offers a good alternative aesthetic that’s still film-like. This is one of my personal favorite Recipes.

Reala Ace

Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace

The Reala Ace Recipe predates the Reala Ace Film Simulation release, and is based on Classic Negative. It’s more like the actual film of the same name than the Reala Ace Film Simulation, which is more like Fujicolor PRO 160C. This is a highly versatile Recipe that can be used anytime of the day or night.

Vivid Velvia

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

Boldly colorful, Vivid Velvia is intended for landscape photography where you want the scene to pop. It’s fairly versatile, but probably not the best option for portraits. If you are primarily a landscape photographer, you might find yourself using this one the most.

CineStill 800T

Quiet Corner – Tempe, AZ – Fujifilm X-T5 – CineStill 800T

While some of the other Recipes will do well for nighttime photography, CineStill 800T is specifically intended for photographing after dark. You can use it during the day if you should desire a cool blueish cast, but for the most part you’ll want to save it for after sunset. This Recipe pairs well with a weak diffusion filter, like 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.

Agfa Scala

Welcome RT 66 – Williams, AZ – Fujifilm X-T5 – Agfa Scala

Agfa Scala is a new adaptation of an old Recipe. I’ve loved the Agfa Scala Recipe for a long-time, and an update for the latest cameras was long-overdue. This is one of my current favorite B&W options.

Part 2: 4th-Gen, Part 3: X-T3/X-T30

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7 Fujifilm Recipes to Replace RAW Editing

Sailboat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF – Vivid Velvia

By moving the creative process from the computer to the camera, Fujifilm Recipes can effectively replace RAW editing for many photographers. Instead of spending hours adjusting curves and sliders after the fact, you make the aesthetic decisions before even pressing the shutter. The colors, contrast, grain, white balance, and overall mood become part of the act of photography itself. Some people—gatekeepers—insist that RAW editing is the only serious path because it offers maximum flexibility, but maximum flexibility isn’t always the best path. Sometimes, limitations improve art.

One of the great benefits of Recipes is freedom—freedom from the computer and Lightroom (or other RAW editing software), freedom from indecisive aesthetic choices, freedom from unfinished work (such as RAW files just sitting around waiting to be edited). Most photographs that are created using Recipes are finished the moment that they’re made, making the journey from vision to finished image dramatically shorter. Perhaps the greatest freedom that Recipes bring is time.

Low Clouds Over Manhattan – New York City, NY – Fujifilm X100VI – Kodak Tri-X 400

Another benefit of using Recipes is that it aligns with how a large number of people actually want to do photography. Not everyone desires photography to be half-camera and half-computer. Some simply want to capture meaningful moments, compelling scenes, and beautiful light without turning every outing into a post-processing project. There is no rule that says a photographer must shoot RAW and edit in Lightroom to be legitimate. If a Recipe delivers the look you want straight-out-of-camera, then you’ve already reached the destination. This is not to say that RAW has no place, only that it isn’t a prerequisite or requirement. There’s no right or wrong way to do photography, only whatever works best for you. That could be JPEGs, that could be RAW, it could be film, it could be all of those at different times, or something else entirely. Do whatever is best for you and your photography.

If you are looking for some Fujifilm Recipes to try that might convince you to stop editing RAW, I’ve picked seven that I think could do just that. Of course everyone has their own tastes and styles. You might like some of these and not others, or all of them, or none of them. The Recipes that could become your favorites might not even be in this list. But, if you are looking for some great ones to try, these are seven that I highly recommend.

Kodachrome 64

Red Barn – Ronks, PA – Fujifilm GFX100S II – Kodachrome 64

The Kodachrome 64 Recipe is modeled after the iconic film. It’s intended for sunny daylight photography, so it works best in those conditions, although I have had good results in some other situations, too. This particular version of the Kodachrome 64 Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 II, GFX100 II, GFX100S II, and GFX100RF. There’s also a version for fourth-generation models, one for the X-T3 and X-T30, as well as an X-Trans II iteration. You might also appreciate the McCurry Kodachrome Recipe.

Kodak Portra 160 v2

Vista View of Grand Canyon Station – Grand Canyon NP, AZ – Fujifilm X-T5 – Kodak Portra 160 v2

Kodak Portra 160 V2 is another Recipe intended for sunny daylight conditions. Interestingly, a photographer recently loaded a roll of Portra 160 into his film camera and used this Recipe on his Fujifilm camera, and shot them side-by-side. The results? The images were nearly identical, difficult to distinguish from each other. This Recipe, which is a modification by Thomas Schwab of my old Kodak Portra 160 Recipe (which was made with some help of Piotr Skrzypek), is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. Also, those with fourth-generation cameras should try my Kodak Portra 160 Recipe.

Pacific Blues

Misty Saguaro – Buckeye, AZ – Fujifilm X-T5 – Pacific Blues

While intended for a sunny day at the beach, the Pacific Blues Recipe is surprisingly excellent in a variety of conditions and for diverse subjects. It’s one of my all-time favorites. This particular version is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. There is also a version for fourth-generation models. Another Recipe to consider is Fujicolor 100 Gold.

Copenhagen Negative

Canal at Sunset – Copenhagen, Denmark – Fujifilm GFX100RF – Copenhagen Negative (XPan ratio)

Copenhagen Negative is one of the newest Recipes on Fuji X Weekly, and it’s already one of my favorites. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. You might also appreciate the 1-Hour Photo Recipe.

Fujicolor PRO 160C Warm

Service – Bisbee, AZ – Fujifilm X-T5 – Fujicolor PRO 160C Warm

A part of the Film Dial Recipe set, Fujicolor PRO 160C Warm is highly versatile, and can be used anytime of the day or night. This is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF. An alternative to consider is the PRO Negative 160C Recipe.

Vivid Velvia

Roaring Fork – Great Smoky Mountains NP, TN – Fujifilm X-E5 – Vivid Velvia

Vivid Velvia is a bold Recipe for vibrant pictures. It’s best for landscape photography, or anytime you want to emphasize vivid colors. This Recipe is for fifth-generation Fujifilm cameras, which are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, X-T30 III, GFX100 II, GFX100S II, and GFX100RF, as well as some fourth-generation models: X-T4, X-S10, X-E4, X-T30 II, and GFX100S. You might also like The Rockwell Recipe.

Kodak Tri-X 400

Pool Remnant – Rodanthe, NC – Fujifilm GFX100S II – Kodak Tri-X 400

Last but far from least is Kodak Tri-X 400, the only black-and-white Recipe in this list. Created by Anders Lindborg, this is my all-time favorite B&W option. It can be used with any fourth or fifth-generation camera. Agfa Scala is another Recipe to consider.

Find these Fujifilm Recipes and many more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

See also:
Fujifilm Recipe Starter Pack — 7 Recipes to Try First on Your X-Trans V Camera
The first 7 Film Simulation Recipes to use in your Fujifilm X100VI
7 Fujifilm Recipes for Midday Retro Americana Photography
10 Fujifilm Recipes for a 1970’s Aesthetic
10 Grainy Fujifilm Recipes

Your Camera’s Warranty Might Be Voided

According to Fujifilm, using any non-licensed program (including Fujifilm’s own SDK) “to connect to, or control, any compatible Fujifilm camera, will void the camera’s limited product warranty.” I spoke with Fujifilm and confirmed this to be true. I was also told that they only give licenses to large corporations “like Adobe.” I bring this up because more and more, there are programs and apps that can connect to your Fujifilm camera, to remote control it or push Recipes to it, and so forth. Very few of these seem to tell you that doing so voids your camera’s warranty. I was also told by someone at Fujifilm that each time you connect, a marker is left in the camera, which Fujifilm could find to prove that a non-licensed program was connected to the camera.

Personally, I would be extremely cautious connecting any Fujifilm model that is still under warranty to any non-licensed software or app (anything that’s not officially from or supported by Fujifilm). Depending on your country, X-series gear can have up to a three year warranty, and GFX up to five year. You may want to look into the specifics of your camera and country to determine the exact length of your manufacturer warranty; for a lot of people, it will be just one year.

I bring this up because most of these programs and apps don’t tell you this. The developers are well aware (or at least should be) that if you connect your camera to their software it will void your warranty, but I think they’re afraid that if you knew the risk, you’d be less inclined to use their program, and they’d be less profitable. They’d rather be a bit shady than lose potential customers. The risk that they themselves are taking is that if your warranty gets denied and they didn’t disclose to you that using their app would void the warranty, you could hold them accountable (although good luck with that). My guess is that thousands (maybe tens of thousands) of Fujifilm photographers have unknowingly voided their warranty—they are completely unaware, and might be learning about it for the first time right now. That’s terrible, and it should be unacceptable.

With some of these programs, it’s even more shady than that. For example, many of them aggregate Recipes; however, some of the creators of those Recipes have no idea that their Recipes are even in the apps, and much of the time they are not even given credit, which is a shame. Worse, many photographers (who create Recipes) have their photos in these apps without permission or even credit (in other words, illegally). Someone who doesn’t even make Recipes is profiting off of those who do, including off of their photos. You’ll find tons of my Recipes, and when I’ve asked them to be removed, I have been told that there’s nothing technically illegal about it, so pound sand. That might be true (there could be a strong plagiarism argument), but it’s not cool in the least to do so. Someone who doesn’t even make Recipes shouldn’t be profiting off of those who do. With regards to my photos, that’s a daily (and uphill) battle to get them removed. If you’ve ever created and published a Recipe anywhere on the internet, there’s a good chance you’ll find it in at least one of these programs, and maybe your photos, too.

My Fujicolor 100 Gold Recipe and my photo used without permission or even credit in someone else’s app.

I’ve hesitated to say anything because some will take this as sour grapes. They will think that I’m just upset over competition. Look, there are legitimate creators doing wonderful things for the community, and I’ve happily pointed them out and linked to their websites or channels many times on Fuji X Weekly over the years. I’m for the community, and I think it’s great that so many are not only using Recipes, but are creating them, too. It’s a wonderful thing, and I never imagined that all of this would grow and grow and grow so much. It’s truly an honor to have a front-row seat. What I’m saying is: does that non-official-Fujifilm program that connects to your camera, whether software or app, tell you that by doing so your warranty will be voided? If not, that’s a big problem. You should be made aware, and from there you can make an educated decision to connect or not connect. If it’s hidden in the fine print, that’s an issue, too, because few actually read the fine print, yet it absolves the developer of responsibility.

Of course, Fujifilm themselves deserve some blame. You should be able to push Recipes into the Custom Settings presets (C1-C7 for most cameras, C-C6 or C1-C4 for others) right from the X App. You can do it from X RAW Studio, but it isn’t obvious. For that matter, there should be a mobile version of X RAW Studio. There’s a lot more that Fujifilm could and should do to make adding Recipes to your camera easier (something I’ve encouraged them to do, and even offered my assistance with). And maybe it’s a bit my own fault, too, because I’ve spent more than a year trying to go about all of this “the right way” by attempting to work with Fujifilm on something that was highly unlikely to ever work out, and ultimately didn’t. Because of this, my own implementation of a similar feature has been delayed and delayed and delayed. I desperately want to avoid voiding your warranty. If I did make something that would void your warranty, I would make everyone very well aware and not hide it, so that you could make whatever informed decision that you’re comfortable with.

Anyway, I need to end this post. I truly hope nobody gets hosed by an unknowingly voided warranty. Make whatever choice that you want, but I do think it’s beyond time for someone to say something publicly, so at least you know the potential consequences of the choice that you are making. I’m sorry that it has to come from me, I’d rather not be the messenger. I’ve put this off for a very long time hoping that something would change, but it seems to only have gotten worse with time.

Edit: I want to add a few quick things. First, you should learn the warranty laws that are specific to your country and state/region. Some places have stronger protections than others, some of which may prevent your warranty from automatically being voided just because you connect to an unlicensed program. Second, just because technically speaking your warranty has been voided, that doesn’t mean that Fujifilm won’t still honor it. They may or may not—in my estimation, depending on exactly what the problem is, there is a good chance that they will honor it. Third, even if they don’t, you might still have legal options (I’m not an attorney, nor am I an expert in warranty laws). I am only trying to make people aware of the potential risk, because they should absolutely be aware that there is a risk.

Fujifilm Recipe: Provia Positive

Baltic Sea – Greve, Denmark – Fujifilm X-T5 – Provia Positive Recipe

About a month-and-a-half ago, Dan Allen sent a Recipe for me to try. It was based on Provia and was specifically intended for spring blossoms, so he called it Spring Provia. When I had the opportunity, I loaded it into my camera and tried it out. I didn’t get to use it a lot, but I did like the results. Fast forward to Fujikina Copenhagen. There was a Magnum exhibit that had a light table wall with hundreds of color transparencies displayed. It was really cool! I noticed one group of slides—I couldn’t tell you who the photographer was or what film was used or any technical information—that was reminiscent of Dan’s Recipe. I found the images I had made using his Recipe on the SD card in my X-E5, and reprocessed them in-camera to better match the slides. While I don’t think I got it completely perfect, I was very happy with the results. Then I continued to use the Recipe—a variant of Dan’s Recipe—while in Copenhagen.

My modified version, which I’ve called Provia Positive, is highly versatile. It’s hands-down my favorite Provia Recipe of all-time. As many of you may know, Provia is not my favorite Film Simulation, and I don’t personally use it often. This Recipe gave me a new appreciation for it, and is one I could see myself using regularly. It’s highly versatile, great for most subjects and situations. While portraits are probably hit-or-miss, it’s excellent for landscapes, still-life, street photography, etc., etc..

For Dan’s original Recipe—Spring Provia—use Provia, DR400, Grain Effect Off, Color Chrome Effect Strong, Color Chrome FX Blue Off, White Balance Daylight, WB Shift +1 Red & -1 Blue, Highlight -1, Shadow +1, Color +3, Sharpness 0, High ISO NR -4, and Clarity 0. I invite you to try Dan’s Recipe, it’s pretty good. My variant adds Grain (because grain was visible in the slides, and I like it personally), Color Chrome FX Blue Strong (to mimic the blue sky in some of the slides, perhaps the photographer used a polarizer filter), Auto White Priority (some of the pictures in the group were in different light situations, and Daylight didn’t match those), WB Shift +2 Red & -3 Blue (I went back-and-forth between +1 and +2 Red… +1.5 Red would have probably been most appropriate if it was possible, so I settled on +2), Color +4, Sharpness -1, and Clarity +2. I made quite a few small changes, but the core idea of Dan’s Recipe remains, so I want to give him credit for the original concept.

Studio Ghibli Scene – Copenhagen, Denmark – Fujifilm X-E5 – Provia Positive Recipe

This Provia Positive Fujifilm Recipe is compatible with “newer” fourth-generation models—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras—X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III—and “newer” GFX models, like the GFX100S, GFX100 II, GFX100S II, and GFX100RF. For the X-Pro3 and X100V, simply use Auto WB instead of Auto White Priority (outside of artificial light scenarios, it will look the same). For the X-T3 and X-T30, try Dan’s Spring Provia Recipe, which is compatible with those cameras.

Film Simulation: Provia/STD
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: Auto White Priority, +2 Red & -3 Blue
Dynamic Range: DR400
Highlight: -1
Shadow: +1
Color: +4
Sharpness: -1

High ISO NR: -4
Clarity: +2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Provia Positive Film Simulation Recipe on a Fujifilm X-E5, X-T5, and GFX100RF:

M/S Garde – Copenhagen, Denmark – Fujifilm X-E5
Yellow Bike, Yellow Wall – Copenhagen, Denmark – Fujifilm GFX100RF
Front Bike Tire – Copenhagen, Denmark – Fujifilm X-T5
Promenade – Copenhagen, Denmark – Fujifilm GFX100RF
Red Wall, Yellow Wall – Copenhagen, Denmark – Fujifilm X-E5
Red Building at Kastellet – Copenhagen, Denmark – Fujifilm X-E5
Red Cafe – Copenhagen, Denmark – Fujifilm X-E5
Bike Bags – Copenhagen, Denmark – Fujifilm X-E5
Bikes at the Bay – Copenhagen, Denmark – Fujifilm X-E5
North Atlantic Shore – Copenhagen, Denmark – Fujifilm X-E5
Bicyclist through Arch – Copenhagen, Denmark – Fujifilm X-E5
Boat Captain in Red – Copenhagen, Denmark – Fujifilm X-E5
Oskar Swan – Copenhagen, Denmark – Fujifilm X-E5
Hidden Kitesurfer – Copenhagen, Denmark – Fujifilm X-T5
Paddling the Canal – Copenhagen, Denmark – Fujifilm GFX100RF
Canal Tour – Copenhagen, Denmark – Fujifilm GFX100RF
Canal View – Copenhagen, Denmark – Fujifilm GFX100RF
Boat Dash – Copenhagen, Denmark – Fujifilm GFX100RF
Fence Between Blossoms – Copenhagen, Denmark – Fujifilm GFX100RF
Sisters on a Bench – Copenhagen, Denmark – Fujifilm GFX100RF
Closed Tulip – Copenhagen, Denmark – Fujifilm GFX100RF
Wet Tulip – Copenhagen, Denmark – Fujifilm X-T5
Little Blossoms Along Fence – Copenhagen, Denmark – Fujifilm X-E5
Blooming Wall – Copenhagen, Denmark – Fujifilm X-E5
Peace, Love & Ice Cream – Copenhagen, Denmark – Fujifilm X-E5
End of the Fence – Copenhagen, Denmark – Fujifilm X-E5
Gran Torino – Copenhagen, Denmark – Fujifilm X-E5
Red & Purple Flowers – Copenhagen, Denmark – Fujifilm X-E5
Amusement – Copenhagen, Denmark – Fujifilm X-E5
Mismatched Towers – Copenhagen, Denmark – Fujifilm X-E5
Kastelsmøllen – Copenhagen, Denmark – Fujifilm X-E5
Accordion Player – Copenhagen, Denmark – Fujifilm X-T5
PLH Sunset – Copenhagen, Denmark – Fujifilm X-E5
Lunch Behind Glass – Copenhagen, Denmark – Fujifilm X-E5
Coffee – Copenhagen, Denmark – Fujifilm X-E5
NEMAR – Copenhagen, Denmark – Fujifilm X-E5
Rainbow Stairs – Copenhagen, Denmark – Fujifilm GFX100RF
Sunset From Lille Langebro – Copenhagen, Denmark – Fujifilm GFX100RF

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Copenhagen Negative — A Fujifilm Recipe for Fifth-Generation Cameras

Baltic View – Greve, Denmark – Fujifilm X-E5 – Copenhagen Negative

A few months back, Fujifilm invited me to Fujikina Copenhagen. They wanted me to lead a couple of photowalks, give a brief presentation on Film Simulations and Fujifilm Recipes, and to display six of my photos on a wall at the event. They also asked if I could create a brand-new Recipe made for Copenhagen, which would be revealed at Fujikina. Of course I said yes! It was an incredible honor to be at Fujikina. It was a great experience, and I loved meeting a number of you in-person. I just got back home, and I wanted to get this Recipe published right away.

After some research and experiments, I narrowed it down to three options: one that was especially vibrant, one that matched some film scans someone made in Denmark, and one that was a variant of the middle option. I tested and refined each of them, and tested and refined some more. Then I put all three to a larger test. After reviewing the results, I knew right away the winner, which is this Recipe (the third option). I named it Copenhagen Negative in honor of the city that it is intended for. This Recipe has become one of my favorites, and I know that many of you will love it, too.

Docked Boats – Avalon, CA – Fujifilm GFX100RF – Copenhagen Negative

The two Fujifilm Recipes that Copenhagen Negative beat out have already been published. The vibrant one is called Vivid Chrome, and the middle option is called Avalon Ace. I really like those Recipes, too, and used both of them in Copenhagen. They would have been good choices for this project, but Copenhagen Negative edged them out, so it has the honor of being the only Recipe to ever be unveiled at a Fujikina event. Those who attended Fujikina Copenhagen have already had access to this Recipe for over a week.

Copenhagen Negative is great for sunny daylight, cloudy days, fog, natural light indoors, and golden hour. It’s not a good option for artificial light, though, so I would avoid it for nighttime photography. It works well for landscapes, urban scenes, street photography, still-life, portraits, and I’m sure many other genres. I have enjoyed using this Recipe over the last couple of months—in fact, even though I included a ton of sample pictures in this article, I left a whole bunch out that I would have liked to include, just because there were way too many pictures.

Graffiti Wall – Copenhagen, Denmark – Fujifilm X-E5 – Copenhagen Negative

This Copenhagen Negative Recipe is compatible with all fifth-generation X-series cameras, which are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. It works well on the latest GFX cameras, like the GFX100 II, GFX100S II, and GFX100RF. You can use it on “newer” fourth-generation cameras like the X-T4, X-S10, X-E4, and X-T30 II; however, it will render slightly different (don’t be afraid to try it, though). This Recipe works great with a little underexposure. Keep an eye out on the highlights, being careful not to blow them out.

Film Simulation: Classic Negative
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome FX Blue: Strong
White Balance: 5700K, +1 Red & +1 Blue
Dynamic Range: DR400
Highlight: +2.5
Shadow: -2
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 Copenhagen Negative Film Simulation Recipe on a Fujifilm X-E5, GFX100RF, and GFX100S II:

Red Boat at Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Tour Boat – Copenhagen, Denmark – Fujifilm GFX100RF
Strolling Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Nyhavn – Copenhagen, Denmark – Fujifilm GFX100RF
Yellow Tricycle – Avalon, CA – Fujifilm GFX100S II
Houses on a Hill – Avalon, CA – Fujifilm GFX100S II
House on a Foggy Hill – Avalon, CA – Fujifilm GFX100S II
Light Pouring through Lifting Fog – Avalon, CA – Fujifilm X-E5
Fogbow – Avalon, CA – Fujifilm GFX100RF
Shoreboats – Avalon, CA – Fujifilm X-E5
Waterfront – Avalon, CA – Fujifilm GFX100RF
Seaweed – Greve, Copenhagen – Fujifilm X-E5
Pond – Greve, Denmark – Fujifilm X-E5
Path in the Grass – Greve, Denmark – Fujifilm X-E5
Spiral Stairs – Copenhagen, Denmark – Fujifilm X-E5
Light Pouring Over Graffiti – Copenhagen, Denmark – Fujifilm X-E5
Smoker – Copenhagen, Denmark – Fujifilm X-E5
Nicklas – Copenhagen, Denmark – Fujifilm GFX100RF
QuickSnap Panorama – Copenhagen, Denmark – Fujifilm GFX100RF
Serving Chicken – Copenhagen, Denmark – Fujifilm X-E5
Bicycles – Copenhagen, Denmark – Fujifilm X-E5
Vibe – Copenhagen, Denmark – Fujifilm GFX100RF
Fujikina Posters – Copenhagen, Denmark – Fujifilm X-E5
Doorway & Windows – Copenhagen, Denmark – Fujifilm X-E5
Window Seats – Copenhagen, Denmark – Fujifilm X-E5
Window Shopping – Copenhagen, Denmark – Fujifilm X-E5
Studio Space – Copenhagen, Denmark – Fujifilm X-E5
Red Windows Behind Fence – Copenhagen, Denmark – Fujifilm X-E5
Yellow Bike – Copenhagen, Denmark – Fujifilm X-E5
Kiosk – Copenhagen, Denmark – Fujifilm X-E5
Round Tower Replica – Solvang, CA – Fujifilm GFX100S II
Rooflines – Solvang, CA – Fujifilm GFX100S II
Rooftop Sunset – Solvang, CA – Fujifilm GFX100S II
Hamlet Square – Solvang, CA – Fujifilm GFX100RF
Spring Flower Garden – Solvang, CA – Fujifilm GFX100RF
Red Blossoming Flower – Avalon, CA – Fujifilm GFX100RF
Field of Blossomed Flowers – Buellton, CA – Fujifilm GFX100S II
Tree & Golden Light – Copenhagen, Denmark – Fujifilm X-E5
Sunstar Over Urban Tree – Copenhagen, Denmark – Fujifilm X-E5
Sunlight Through the Ceiling – Greve, Denmark – Fujifilm X-E5
White Bicycle – Copenhagen, Denmark – Fujifilm X-E5
Boyz B2 Bike – Copenhagen, Denmark – Fujifilm X-E5
Spray Painted Van – Denmark, Copenhagen – Fujifilm X-E5
Redeye – Copenhagen, Denmark – Fujifilm X-E5
Bike Path – Copenhagen, Denmark – Fujifilm GFX100RF
Gasoline Grill – Copenhagen, Denmark – Fujifilm GFX100RF
Canal at Sunset – Copenhagen, Denmark – Fujifilm GFX100RF

Find this Fujifilm Recipe and over 400 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Capture One & Fujifilm Recipes

Fujifilm X-E5 and Fujinon 33mm f/1.4 plus Copenhagen Negative Recipe

Fujikina Copenhagen was incredible! It was such an honor to have been invited. I had many wonderful discussions, and learned a lot. I’m still in Denmark, and I wasn’t intending to write about any of it until after I returned. I’ve shared a little on Instagram, so be sure to follow me if you don’t already. I have a ton to talk about, so this is just the start. You can expect a lot more over the next couple of weeks, including the new Copenhagen Negative Recipe, which I unveiled at the event—those who attended Fujikina Copenhagen have already seen the new Recipe, and maybe have already used it. You can expect it on this website and in the Fuji X Weekly App next week.

One of the sponsors of Fujikina was Capture One, the photo editing software company. Probably many of you have Capture One on your computer right now. I do. I rarely use it personally, but Amanda uses it regularly. One cool thing they offered was negative film scanning using a GFX100 II tethered to their software. There were a lot of Capture One employees (and even former employees) and representatives of their brand at the event, and I got to talk with many of them. I learned things that surprised me, and something that some of you might appreciate, which we’ll get to in just a moment.

Captured with a Fujifilm QuickSnap camera, scanned by Capture One

Whenever a new camera is released, Capture One has to extensively test it out. Any and every camera that is supported by the software has been put through the paces before they add it as compatible with the software. Even if it has the same sensor and processor as another model, it still has to be tested. The folks at Capture One have used a heck-of-a-lot of cameras! Whenever they’re not at work and are doing their own personal photography, the brand of choice for many of them is Fujifilm.

Not only do many use Fujifilm cameras, but also Fujifilm Recipes. I would have expected the folks behind Capture One to be strictly RAW-only photographers, but they’re not. Many of them have the Fuji X Weekly App on their phones. One told me, “I went out photographing, and the light wasn’t great. When I got back, I really didn’t want to edit them. I shot RAW+JPEG with one of your Recipes, and when I reviewed the pictures, the JPEGs were perfect just as they were.” Another told me that they also shoot RAW+JPEG, and sometimes they edit the RAW, sometimes they edit the JPEG, and sometimes they just use the JPEG unedited.

Fujifilm X-E5 and Fujinon 23mm f/2.8 plus Copenhagen Negative Recipe

There’s no right or wrong way to do photography, and there’s no right or wrong way to use Recipes. For example, I know a couple photographers (not associated with Capture One) who are strict RAW-only types, but they found a Recipe that is similar to their style, so it helps them to better pre-visualize the finished photograph while in the field, and since the RAW software applies some of the JPEG settings, it speeds up their workflow. Some edit the RAWs for certain pictures and use the camera-made JPEGs for others. Amanda sometimes edits her JPEGs, while I’m more strictly unedited myself. It’s about finding what works best for you and your photography, whatever that is.

Over the years I’ve been asked many times to create LUTs or Lightroom presets out of my Film Simulation Recipes, and I even once collaborated with one of the foremost experts on RAW software in an effort to make that happen; however, for several reasons it did’t work out. One of the Capture One employees shared with me what he does, and I think some of you will find this fascinating. He shoots RAW+JPEG with Recipes, and if he wants to edit the RAW but keep the look of the JPEG, he simply uses the Match Look tool in Capture One. It isn’t 100% perfectly the same, but it gets you much closer to the JPEG aesthetic, yet with the flexibility of the RAW to adjust highlights and shadows and such. It is apparently more accurate when you Match Look the JPEG to the RAW of the same image, rather than some other exposure captured of a different scene with a different light, but even that works to a degree.

The people at Capture One are really great. It was wonderful to meet them and talk with them, and I hope it’s not the last time. If you edit RAW images, Capture One is probably the best software available for Fujifilm cameras. Whether you are RAW-only, JPEG-only, or anywhere in-between (or something else entirely), we’re all photographers just trying to express ourselves and create something meaningful through our images. The way we get there matters much less than the destination itself, which is our photographs.

Introducing Video Recipes for Fujifilm Cameras!

I’m thrilled to finally release an exciting project that has been in the works for over a year: Video Recipes for Fujifilm cameras! This has taken tremendous effort to complete. Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. A lot of care went into them. I’m extremely happy to share these new Recipes with you today.

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be 100% exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

I just published eight brand-new video Recipes. All of them are compatible with fifth-generation cameras (Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III), while some can also be used with fourth-generation models. Additionally, these Recipes are compatible with newer GFX cameras, like the GFX100 II, GFX100S II, GFX100RF, and Eterna 55. If you are a video content creator who wants to take advantage of Fujifilm’s excellent colors and spend less time—or even eliminate—color grading, these Video Recipes are for you!

All of the footage in the sample videos are straight-out-of-camera, completely unedited other than length (and sometimes cropped and/or stabilized). The clips were not color graded or manipulated. If you were to use these Recipes for your cinematography, you can expect the same type of results. What you see is what you’ll get.

This Video Recipe project was a team effort. I developed the Recipes myself with input and feedback from my lovely wife, Amanda. The footage in the sample videos were made by several creators, who I’ll introduce in just a moment. Amanda edited all of clips into YouTube videos. The Fuji X Weekly App had to be modified, made possible by the talents of my app developer, Sahand Nayebaziz.

Now, let’s take a look at the six Video Recipes!

Chrome Color

The Chrome Color Video Recipe is warm and subtly colorful, with a strong Kodak-like aesthetic. It’s great for a summertime vibe. While it’s especially good for sunny daylight situations, it’s also quite versatile, and can be used anytime of the day or night.

Reala Color

The Reala Color Video Recipe is warm, light, and vibrant—yet somehow true-to-life—with an analog feel. It’s quite versatile, and can be used anytime of the day or night.

Nostalgic Color

The Nostalgic Color Video Recipe is soft, warm, and slightly muted—an aesthetic that feels like a memory. This Recipe evokes nostalgia, and is quite versatile.

Natural Negative

The Natural Negative Video Recipe is soft, light, and warm, yet true-to-life. It has a strong cinematic feel. This Recipe is extremely versatile, great for day or night or any other light situation.

Retro Fujicolor

The Retro Fujicolor Video Recipe is muted and contrasty, with a vintage Fujicolor look reminiscent of the ’80’s and ’90’s. The Recipe is highly versatile, and can be used anytime of the day or night.

Vivid Fujichrome

The Vivid Fujichrome Video Recipe is vibrant and leans warm; slightly contrasty with deep blacks. This is a bold Recipe for colorful subjects, and has a distinctive Velvia quality. It’s specifically intended for sunny daylight, but it can sometimes produce good results in other light situations. It’s especially great for sunset and blue hour.

Retro Cinematic

The Retro Cinematic Video Recipe emphasizes both warm and cool tones. In the right light, it almost has a split-tone effect. Depending on the situation, it can appear to have a warm cast or a cool cast. While this Recipe is intended for use in sunny daylight, it’s great for showcasing the blues of twilight and for emphasizing the warmth of artificial light.

Vision Daylight

The Vision Daylight Video Recipe is warm, somewhat contrasty (yet with great tonality), and subtly colorful—very summer-like—with a cinematic feel. It has a strong Kodak-esque motion picture aesthetic. This Recipe is specifically intended for sunny daylight situations, but can be interesting in other light, too.

Now let’s meet the cinematographers! I want to give a big shoutout and thank you to them, as they each played an important role in this project. Also, I want to give a special acknowledgement to my wife, Amanda, who produced the sample videos above, and was instrumental in this whole project—without her, none of this would have happened.

Kyler Steele

A New York City-based travel photographer and videographer, Kyler’s content evokes a feeling of nostalgia through his use of color and composition. He has collaborated with Hasselblad, Leica, and Fujifilm. His reviews, guides, newsletter, and educational content are popular on Instagram and YouTube.

AV

Austin, also known as AV and AVdidit, is a New York City-based landscape and travel photographer and videographer who aims to capture the emotion or atmosphere of a scene rather than strict realism. He has worked with B&H, Fujifilm, OM Systems, Cruise America, and more. You can find him on Instagram and YouTube.

Dave Geffin

A New York City-based photographer and cinematographer, Dave has worked with Fujifilm, Adidas, Amazon, Phase One, Elle, Harpers Bazaar, Cosmopolitan, and many, many more. Dave has extensive experience with fashion, commercial, and editorial clients around the world.

B.Monét

B.Monét is an award-winning writer and director, who’s various short films have screened in dozens of film festivals and streamed on BET, Hulu, and Max. She has worked with Levi’s, Estée Lauder, Disney, Uber, and more.

Sahand Nayebaziz

Sahand is a Los Angeles-based portrait photographer and filmmaker since 2011. He’s also an app developer, and a vital part of the Fuji X Weekly team for over six years.

Jeffrey Sun

Jeffrey is an up-and-coming New York City-based photographer, content creator, and YouTuber who specializes in street and travel images. He has worked with various musicians, events, and brands, including Fujifilm.

Chrome Color — A Video Recipe for Fujifilm Cameras

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Chrome Color Recipe looks like. I would describe it as warm and subtly colorful, with a strong Kodak-like aesthetic. It’s great for a summertime vibe. While it’s especially good for sunny daylight situations, it’s also quite versatile, and can be used anytime of the day or night.

Chrome Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Chrome Color Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

***Update: The Chrome Color Recipe was initially published on this website with incorrect parameters (however, it was correct in the Fuji X Weekly App). It has now been fixed below. I apologize for this mistake.***

Film Simulation: Classic Chrome
White Balance: Auto, +2 Red & -4 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1.5
Color: +3
Sharpness: 0

High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Sahand Nayebaziz, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Reala Color — A Video Recipe for Fujifilm Cameras

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Reala Color Recipe looks like. I would describe it as warm, light, and vibrant—yet somehow true-to-life—with an analog feel. It’s quite versatile, and can be used anytime of the day or night.

Reala Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Reala Color Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

***Update: The Chrome Color Recipe was initially published on this website with incorrect parameters (however, it was correct in the Fuji X Weekly App). It has now been fixed below. I apologize for this mistake.***

Film Simulation: Reala Ace
White Balance: Auto, 0 Red & -3 Blue
Dynamic Range: DR400
Highlight: +1
Shadow: -1
Color: +3
Sharpness: -1

High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, Sahand Nayebaziz, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Nostalgic Color — A Video Recipe for Fujifilm Cameras

This is the Recipe that began the whole Video Recipe project. Early last year, my family and I participated in a 72-hour short film challenge. We had three days to write, record, edit, and submit a five minute short film. The overall theme (heroic), some dialog that must be included (“This better be useful”), and a prop that must be used (a sticky note) were not given until the very start of the 72 hours, so we couldn’t preplan much. The short film was a team effort—probably my biggest contribution was the Video Recipe. Prior to this, we primary used Reggie’s Portra for videography (ignoring the settings unavailable in Move Mode), but we wanted a softer, warmer, more muted aesthetic for this movie (something that seemed more like a memory), to better convey the intended feelings. There were nine contest entries, all of which were played in a local movie theater. To our surprise, we won Best Film (and several other trophies). If you are interested, it’s called Will You Play With Me? (click here to watch). Amanda recorded most of the clips, and all of it was filmed on an X-T5 using this Nostalgic Color Recipe.

From there, I was inspired to create even more Video Recipes for Fujifilm cameras. Nostalgic Color was the first, so it has a special place in my heart. It’s quite versatile. The aesthetic of this Recipe evokes nostalgia. I can imagine a full-length documentary filmed with this someday—in fact, the inspiration for this Recipe came from some shots in the documentary American Symphony. The YouTube video that I’ve embedded below is a good sampling of what the Nostalgic Color Recipe looks like.

Nostalgic Color is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Nostalgic Color Recipe is compatible with all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Nostalgic Neg.
White Balance: Auto Ambiance Priority, +3 Red & -3 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: -2
Sharpness: 0

High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Natural Negative — A Video Recipe for Fujifilm Cameras

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Natural Negative Recipe looks like. I would describe it as soft, light, and warm, yet true-to-life. It has a strong cinematic feel. This Recipe is extremely versatile, great for day or night or any other light situation.

Natural Negative is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Natural Negative Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II, as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Eterna
White Balance: Auto White Priority, +2 Red & -4 Blue
Dynamic Range: DR400
Highlight: 0
Shadow: +1
Color: +2
Sharpness: -1

High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 12800

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s and X-S20. No color grading, just straight-out-of-camera clips. Footage by AV, Dave Geffin, B.Monét, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Retro Fujicolor — A Video Recipe for Fujifilm Cameras

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

The Retro Fujicolor Video Recipe is my personal favorite for videography. My wife, Amanda, used this Recipe for two Fuji X Weekly YouTube videos last year: Fujifilm X-E5 + 11 Recipes — Roadtrip to the Oldest Building in Arizona and California Coast in Infrared — Fujifilm X-T4 ES & Aerochrome v2 Recipe. It was inspired by old television shows and commercials filmed on Fujifilm’s AX, A, and F motion picture films in the ’80’s and ’90’s. It has a muted and contrasty vintage Fujicolor look. I especially love how greens and blues are rendered. The YouTube video that I’ve embedded below is a good sampling of what the Retro Fujicolor Recipe looks like.

Retro Fujicolor is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Retro Fujicolor Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II, as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

Film Simulation: Classic Negative
White Balance: Auto White Priority, -1 Red & -3 Blue
Dynamic Range: DR400
Highlight: -1.5
Shadow: -1.5
Color: -1
Sharpness: -2

High ISO NR: -4
Interframe NR: Auto
ISO: up to ISO 6400

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips. Footage by AV, Sahand Nayebaziz, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.

Vision Daylight — A FXW App Patron Early-Access Video Recipe for Fujifilm Cameras

Any Fujifilm Recipe can be used for video, but there are some caveats. First, not all of the options that are available for still photography are available for video (and, to a much lesser degree, vice versa). Also, the various Film Simulations look very subtly divergent for video than stills, simply because the pipeline is different for color sampling, curves, sharpening, and noise reduction—the output is nearly the same, but there are some small inherent variations, with some Film Simulations affected more than others. All of this is to say that Recipes intended for still photography will work for cinematography if you ignore the settings that aren’t available in movie mode, but the outcome will not be exactly the same. Aside from that, what works well for still photography does not always work well for video (and vice versa)—that’s why film manufacturers have some emulsions specifically for photographs and some specifically for motion pictures. With that in mind, I decided to create Fujifilm Recipes that are specifically designed for cinematography.

Even though there are significantly fewer settings available for video than for stills, I found that creating Recipes for video to be much more difficult. I began this project over a year ago, and only now am I publishing the results. It’s been a lot of fun, but also very challenging. The YouTube video that I’ve embedded below is a good sampling of what the Vision Daylight Recipe looks like. I would describe it as warm (with a hint of green), somewhat contrasty (yet with great tonality), and subtly colorful—very summer-like—with a cinematic feel. It has a strong Kodak-esque motion picture aesthetic. This Recipe is specifically intended for sunny daylight situations, but can be interesting in other light, too.

The Vision Daylight Video Recipe is a Fuji X Weekly App Patron Early-Access Recipe, which means that it is currently only available to App Patrons; however, in time it will be available to everyone. If you are a Fuji X Weekly App Patron subscriber, it’s available to you right now. This is a video Recipe, and is not intended for still photography; however, you can use it for stills by choosing a Grain size (either Off or Weak/Small), setting Color Chrome Effect and Color Chrome FX Blue to Off, and set Clarity to 0. I did not include a “typical exposure compensation” because you’ll want to carefully consider the exposure for each individual scene, and whether it should be brighter or darker will depend on the exact light situation and desired mood. This Vision Daylight Recipe is compatible with some fourth-generation Fujifilm cameras—X-T4, X-S10, X-E4, and X-T30 II—as well as all fifth-generation cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, X-E5, and X-T30 III. You can also use this with newer GFX cameras, too.

The stills below are from the video above. The video footage was captured using a Fujifilm X-H2s, X-S20, and GFX100 II. No color grading, just straight-out-of-camera clips.Footage by AV, Dave Geffin, Sahand Nayebaziz, Kyler Steele, and Jeffrey Sun.

Click here to find more Video Recipes!

Find this Fujifilm Recipe and hundreds more in the Fuji X Weekly App. Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.