If you’re new to Fujifilm—or not new to Fujifilm but fairly new to Film Simulation Recipes, or just curious about your camera—and you’d like to take a deeper dive into the various Film Simulations, Fujifilm X-Photographer Nathalie Boucry has an excellent series on her blog called Colour Your Story that you need to check out and follow.
The way that this series works is that each Film Simulation gets two parts: an introduction and a deeper dive. The introduction article explains what that particular Film Simulation is and what it is good for. The sample pictures are with that film sim set with the default factory settings. The followup article, entitled Let’s take [it] to Another Level (or a similar sentiment), discusses some Recipes that use that film sim as the base. So far, Nathalie has two Film Simulations in the series complete: Provia and Velvia.
Definitely take a moment out of your day and read up on those four posts. The series is worth following—get on her mailing list (at the bottom of each article) so that you don’t miss out on the future installments. I’m looking forward to all of the rest—there are 20 film sims, so Nathalie undoubtably has her work cut out! A series like this takes a ton of effort to put together, so, if you appreciate it, be sure to leave her a comment on her page letting her know.
I get asked fairly regularly which Film Simulation Recipes are the most popular. For me, this is a fascinating topic, but it’s definitely hard to know definitively. While I get a glimpse on social media, my best gauge is the Fuji X Weekly website statistics; specifically, which Recipe articles are viewed the most. I don’t collect any data on the Fuji X Weekly App, so that’s no help—although, if I did, it would likely offer the most accurate picture; however, it would still be impossible to know which Recipes people programmed into their Fujifilm cameras, or how often they used each. Perhaps a survey would be particularly useful, yet even it has its limitations. While certainly a flawed method, page-view website statics offer the best glimpse at which Film Simulation Recipes are the most popular, so that’s what I’m using for this article. These are simply the Top 25 most-viewed Recipes on the Fuji X Weekly website last month (October 2024).
These types of lists are usually pretty predictable. There are often a few surprises—there is always some movement—but from one month to the next, it’s mostly the same. This time, I was shocked. Just shocked. Yes, some were not all that surprising, but some were highly unexpected. For just the second time this year, Kodachrome 64 has dropped out of first place, and for the first time ever a Fuji X Weekly App Patron Early Access Recipe has reached #1. Also, this is the first time that a Monochrome-based Recipe has even made the list… in October, two of them cracked the Top 10, becoming the first B&W Recipes to rank higher than Kodak Tri-X 400 in a very long time.
Johnny’s BBQ – Nashville, TN – Fujifilm X100VI – Fujicolor Blue – by Jonathan Roesch
Those Recipes with Kodak brand names in the title—Kodachrome, Portra, Gold, Tri-X, T-Max, etc., etc.—are usually the most popular. Classic Chrome is the king of film simulations, as the majority of the most-viewed Recipes are based on that film simulation; however, the Number One Recipe this month is based on Classic Negative—only the second time that has happened this year.
Without any further delay, below are the most popular Recipes of last month!
Top 25 Most Popular Film Simulation Recipes of October 2024
This is an App Patron Early Access Recipe, which means that right now it is only available in the Fuji X Weekly App to Patron subscribers. Eventually it will be available free to everyone, but that might take awhile. This Recipe uses the Classic Negative film simulation, and was published only two weeks ago. It’s highly, highly surprising that it not only cracked the Top 10, but made it all the way to the top spot. Interestingly, it beat out #2 by a very large margin.
A Classic Chrome based Recipe for X-Trans IV cameras that is the long-time most popular Film Simulation Recipe for Fujifilm cameras. It’s rare that this one isn’t Number One, and I’d be surprised if it isn’t back on top next month.
Reggie’s Portra, a popular Classic Chrome based Recipe for X-Trans IV cameras, usually ranks high. Last time it was #2, and now it is #3. This is the most versatile of the Portra Recipes, and the most popular for portrait photography.
This is a new B&W Recipe for X-Trans IV & V cameras that was published about a month ago. Acros-based Recipes are the king of black-and-white, and Kodak Tri-X 400 is usually the only one to crack the Top 25. This one uses Monochrome+G, so it is quite surprising to find it ranked so high.
This is also a new B&W Recipe for X-Trans IV & V cameras that was published about a month ago. This one, too, uses the Monochrome+G film simulation. I was shocked to find both this one and the Hard Tone version above in the Top 10.
Vintage Kodachrome, which is based on Classic Chrome, is one of the older Film Simulation Recipes on Fuji X Weekly, and is compatible with X-Trans III cameras. It usually cracks the Top 15, and sometimes the Top 10. Last month it was #11.
It is probably unfair to include the Film Dial Recipes in this list because it is not one but 14 Recipes. Last month was the first time seeing it in the Top 25, and I was faced with the choice of included it (as unfair as that might be) or not. The Vibrant Arizona article is technically four Recipes, so there is a precedence for its inclusion. I think the sudden rise in interest in the Film Dial Recipes is due to three things: 1) people buying the X-T50, 2) the announcement of the X-M5 (which also has a Film Dial), and 3) people realizing that these Recipes can be used for a lot of other cameras, and not just those with the knob. In September it was ranked #7.
This is oftentimes the highest ranked Classic Negative based Recipe, but this month it is Number Two (if you don’t include Superia Negative from the Film Dial Recipe set). This particular version of Pacific Blues is compatible with X-Trans IV models, but there is also an X-Trans V version. It also rose one spot since last month.
This version of Kodak Portra 400 was commonly the third most popular Film Simulation Recipe on Fuji X Weekly for a long time; however, it has been slowly falling. Last month it ranked #9.
This is the long-time most popular B&W Recipe on Fuji X Weekly, although it places third this time (not including Neopan Negative in the Film Dial set). It’s based on the Acros film simulation, and has compatibility with X-Trans III, X-Trans IV, and X-Trans V models. It remains in the same position.
This is an Eterna-based Recipe for X-Trans V cameras; however, it’s simply an adaptation of the X-Trans IV version that has been around awhile. It also remains in the same position.
Reala Ace used to be the most popular Classic Negative Recipe, typically found in the Top 10, and sometimes even the Top 5 (and even once at #1!), but it has fallen quite far in the rankings, including four spots since last month. This Recipe is for X-Trans V cameras.
I published this Recipe, which uses Classic Chrome and has compatibility with both X-Trans IV and X-Trans V cameras, in April. It fell two spots since September.
Published in June, this is the highest-ranked Recipe that uses the Nostalgic Neg. film simulation (aside from Nostalgic Film in the Film Dial set). It also remains in the same position compared to last month.
The Film Dial, which was introduced on the Fujifilm X-T50 and is now also found on the Fujifilm X-M5, is a lot of fun. Some people don’t like it, and that’s ok. Not every camera is for everyone, and not every feature is for everyone. It’s one of Fujifilm’s most contentious features. Personally, I like the Film Dial—it’s very useful when combined with my universal Film Dial Recipe, but, perhaps more important, it’s enjoyable.
A few days ago was Halloween. My four kids dressed up, and we went to a nearby family member’s house to pass out candy and trick-or-treat. My oldest daughter was Wednesday from The Addams Family. My oldest son was Waldo. My youngest son was a Fortnight character. And my youngest daughter was Cinderella. We passed out candy before walking around the neighborhood. It was a ton of fun!
Since it was going to be dark—starting right at sunset and continuing into the night—I wanted to use a fast lens, so I borrowed my wife’s Fujinon 56mm f/1.2 (the new version). That’s one of my favorite lenses—it has such fantastic image quality—but since it’s not mine, I don’t always get to use it. I debated between cameras, but went for the Fujifilm X-T50 because it is more lightweight and compact than the X-T5, and has IBIS, which the X-E4 does not. For this particular purpose, it seemed Goldilocks.
I only used the Film Dial Recipe that night, and turned the knob to different film simulations depending on the light, subject, and situations. The great thing is that you get a real-time preview of what the picture will look like, so you can quickly change the film sim to better match the scene, and see what each will produce. I used Classic Negative the most, but also Classic Chrome, Reala Ace, Eterna, Nostalgic Neg., and Acros+R. It worked out really well for documenting our spooky Halloween celebration.
I asked, you answered. Below you will find the top color Film Simulation Recipes for portraits and people, as chosen by you! I appreciate everyone who took time out of their busy day to answer the survey—I’m sure this information will be quite helpful to many people, so thank you!
What makes a Recipe good for portraits? There’s no objective answer to this, as everyone has their own unique style and taste. Probably the best answer is: ones that produce good skin tone rendering—Classic Chrome might be the best film simulation for that, but, of course, that’s very subjective, and opinions vary. How a certain Recipe does depends a lot on the exact light situation—one might be great in a specific scenario but not in another. All of that makes it difficult to say with any level of certainty which Recipes are best for portraiture, but there are clearly some that are more universal than others.
I’m not a portrait photographer myself. I’ve dabbled in it here and there over the years, but it’s just not my thing. My wife, however, does do portrait photography, and her favorite Recipe is Reggie’s Portra. In fact, all of her top Recipes for portraits and people (aside from the brand-new Fujifilm Negative Recipe that I just published yesterday) cracked the Top 10. There are definitely some good options, and the poll results confirm a lot of my suspicions about which ones are best.
The specific question asked was: which color Film Simulation Recipe is your favorite for portraits and people? I gave 25 Recipe options that either I have used personally or I have seen others use for people pictures, so I knew they were a good group. Then, I provided a space to add any Recipes that were left out for those whose favorites weren’t in the list—since there are approaching 400 Recipes, most were left out. The results were fascinating, so let’s jump into it!
Reggie’s Portra was unsurprisingly the top pick; however, what did surprise me was that it absolutely dominated the poll. Almost half of you chose this Recipe as a favorite for people pictures. According to you, this is the Recipe for portraits. And I concur. This Recipe is compatible with X-Trans IV models (except the X-T3 & X-T30); for fifth-generation cameras, simply set Color Chrome FX Blue to Off.
Kodak Portra 400 v2 is one of my all-time favorite Recipes. Portra film (as the name implies) is specifically intended for portrait photography, so it should not be a shock that this Recipe is popular for people pictures. One-in-five of you chose this in the poll, putting it in (a distant) second place. There is a version for fifth-generation models (linked above), one for X-Trans IV, and one for the X-T3 and X-T30.
Kodachrome 64 is the long-time number one most popular Film Simulation Recipe on Fuji X Weekly. For pictures with people, this one places third, which is still high, but far from the top spot. There is a version for fifth-generation models (linked above), one for X-Trans IV, and one for X-Trans II.
One film can produce many different looks depending on a whole host of factors (how handled, how shot, how developed, how scanned or printed, and how viewed); Kodak Portra 400 and v2 both produce a Portra-like look, but based on two notably divergent possible outcomes of the emulsion. There is a version of this Recipe for X-Trans IV models (linked above; for X-Trans V, set Color Chrome FX Blue to Off), one for the X-T3 & X-T30, and one for X-Trans III (although that one is significantly different).
Tied for Number 5 (with Kodak Portra 160 v2 below) is Reala Ace, which interestingly does not use the Reala Ace film simulation; instead, it is based on Classic Negative. It’s highly versatile and fairly popular, so I’m not surprised to see it ranked so high. It’s compatible with all fifth-generation models.
Also in fifth place is Kodak Portra 160 v2. This one has more of a softer rendering, and is especially great for taming high-contrast scenes. This is compatible with all fifth-generation models; for X-Trans IV (except the X-T3 & X-T30), simply set Color Chrome FX Blue to Strong.
Tied for seventh (with Kodak Portra 160 below) is McCurry Kodachrome, which is modeled after Steve McCurry’s famous last roll of Kodachrome 64. Think of it as scanned Kodachrome, while the Kodachrome 64 Recipe (a couple of spots higher) is more like projected Kodachrome. This recipe is compatible with all X-Trans IV cameras.
The Kodak Portra 160 Recipe, which is tied for seventh (with McCurry Kodachrome above), has a soft and warm Kodak color negative aesthetic. Recipes with Portra in the name account for five of the Top 8 in this list. There is a version of this Recipe for X-Trans IV (linked above), one for X-Trans III & X-T3/X-T30, and one for X-Trans II.
This was my very first Recipe that uses the Nostalgic Neg. film simulation. It’s an excellent all rounder, including for people pictures, but I am a bit surprised to see it at Number 9. Nostalgia Negative is compatible with all X-Trans V cameras.
Pacific Blues has a lot of contrast, so it’s not for every situation, but when it works, it really works. It’s tied for Number 10 with Fujicolor NPS 160 Pulled (below). There is a version X-Trans V (linked above), and one for X-Trans IV (except the X-T3 & X-T30).
Also tied for Number 10 is Fujicolor NPS 160 Pulled. This is a highly versatile Recipe with low-contrast and muted colors, and is especially excellent for artificial light situations. It’s compatible with X-Trans IV cameras (except the X-T3 & X-T30); for fifth-generation models, set Color Chrome FX Blue to Weak.
If you’re not sure which Recipes to try for portrait photography, I’d start with the 11 above. That’s a good group, and there’s enough variety that at least one should work well for you. But, in case those aren’t enough, I’ve included below the Recipes that received at least two votes in the poll (including a couple write-ins). I figure if at least two people voted one as a favorite, then it must be decent, and worthwhile to try. Also, there were a number of write-ins for Kodak Tri-X 400; this list was specific to color Recipes, but, for B&W, I definitely recommend that Recipe—it’s my personal favorite.
There are many Film Simulation Recipes that weren’t mentioned in this article that are probably pretty good, so just because one wasn’t listed here doesn’t mean it won’t produce good results for portraits and people pictures. Part of the fun is in the discovery. The one that could become your favorite might be in this list, or it might not, and you won’t know until you try. I invite you to pick a couple of these Recipes, and maybe one not in this list, and shoot some portraits to see if you like the results. You can find them here, or in the Fuji X Weekly App, which is available for both Apple and Android.
I’m not a portrait photographer. I have dabbled in it a little over the years, but it is just not my thing. So when people ask me which Film Simulation Recipes I recommend for portraits, it’s hard for me to provide a good answer. Now, I do have some experience to fall back on, plus I’ve seen some of your great pictures on social media, so I’m not completely clueless. I can give some recommendations that I’m confident will do well. I just wish that I could provide a bit more expert advice whenever I’m asked.
In yesterday’s post I included a survey. A couple years back I conducted a poll on Fuji X Weekly, but I was quite dissatisfied with the poll itself (how it was integrated, how it had to be configured), so I never bothered to do another. Just this week I learned of a much better and easier way to go about it, and I’m really happy with how it came together and turned out. So… you can expect a lot more surveys in the near future! I’m excited about this feedback—your opinions are immensely important.
Below you will find a poll question: Which color Film Simulation Recipe(s) is/are your favorite(s) for portraits? I want to know which Recipe you like best when photographing people. I picked 25 Recipes for the poll that I know some of you currently use or have used in the past for portrait photography, plus a couple that I have personal experience with. Pick one, two, three, or more—if you’ve used a particular Recipe for portraits and had good results, go ahead and mark it.
There’s a second question: Name a Recipe not found above that you like for portraits? I’ve published nearly 400 Recipes, so 25 is barely scratching the surface. I’m sure that I left out many that are good for portraits, included the two Recipes used for the photos above. Even if you marked some in the first question, go ahead and fill-in-the-blank for the second question if a Recipe that you have experience with was left out (if you’d rather, you can leave it as a comment instead). I appreciate your help with this!
I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Settings presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it, too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them out. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
What makes Part 3 more challenging than the first two articles is that the X-T3 and X-T30 cameras cannot remember a White Balance Shift within the C1-C7 Custom Settings presets. If two Recipes share the same white balance type but not the same shift, when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program Recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite Recipes at the same time, which is the one downside to this solution. What I set out to do with this article is recommend seven Recipes, one for each C1-C7 Custom Settings preset, that don’t share the same white balance type, or, if they do, share the same shift. It’s a difficult task, but I think I came up with a good set for you; however, there were definitely some tough cuts.
Also, if you have a newer X-Trans IV camera, you can use these Recipes, too, by simply setting Color Chrome FX Blue to Off, Clarity to 0, and choosing a Grain size (either Small or Large). While the next installment will cover X-Trans III, some of these Recipes are compatible with X-Trans III cameras; the key is to look for whether they call for Color Chrome Effect or not—if not, it’s compatible with X-Trans III. Also, X-Trans III recipes are fully compatible with the X-T3 and X-T30 (just set Color Chrome Effect to Off), but I avoided those Recipes for this article because I wanted to save them for Part 4.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. This is Part 3, and covers the Fujifilm X-T3 and X-T30.
Window to the City – Salt Lake City, UT – Fujifilm X-T30 – Kodak Portra 400 v2
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-most-of-the-time Recipe, and that’s why I suggest placing it in C1. This Recipe uses the Daylight White Balance type, as do the first four of the suggested alternatives below (but not the last one).
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Classic Kodak can be used anytime the sun is out, it is a great options for middle-of-the-day situations, and proves the old adage wrong. This Recipe uses the Shade White Balance type, as do the first two suggested alternatives below (but not the bottom three).
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar. Although each of the first three have a Kodak-negative-like look, Kodak Vision3 250D produces a notably divergent aesthetic. With the ones I’ve suggested so far, you’ve got a good set for all sorts of daylight situations no matter your subject. This Recipe uses the Fluorescent 1 White Balance type, as does the first suggested alternative below (but not the bottom four).
Pink Rose Blossom – Ogden, UT – Fujifilm X-T30 – Ektachrome E100GX
Ektachrome E100GX is excellent for sunny daylight photography, but it also does pretty well for dreary overcast conditions. It uses the Fluorescent 2 White Balance type, as does the first suggested alternative below (but not the bottom four).
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. While there are not as many options for the X-T3 and X-T30 as there are for newer X-Trans IV cameras, there are still some excellent options; of those, my personal favorite is Kodak Ultramax. It uses the Auto White Balance type, as do all of the suggested alternatives below.
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 the Kelvin White Balance type, as does the first option below (but not the bottom four).
Minolta SRT303b – Farmington, UT – Fujifilm X-H1 – Analog Monochrome
Last but not least is B&W. Filling out the last slot is tricky, because most of the White Balance types have already been used. There are basically three options: choose an X-Trans III Recipe—which is 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 not likely to notice the difference.
Yellow Beanie – New York City, NY – Fujifilm X100VI – Fujicolor Blue
This Fujicolor Blue Film Simulation Recipe was actually a failed attempt at recreating a certain look, but nonetheless I really liked the results, so I decided to make it an official Recipe in the Fuji X Weekly App. Whenever I attempt to replicate a certain look, it’s largely by trial-and-error, and there are a lot of failures along the way. Occasionally one of those failures is interesting on its own merit, such as this one.
What does Fujicolor Blue resemble? It definitely has a Tungsten-balanced film vibe, although I don’t think it matches any specific Tungsten emulsion. I think it also roughly resembles a daylight-balanced film used in conjunction with an 80A or other cooling filter. It definitely has a retro Fujicolor negative film look (perhaps along the lines of Fujicolor Super HR), but maybe also a bit of an Agfa aesthetic (such as Agfacolor 200). While it’s not exactly like any specific emulsion that I’m aware of, it has a strong analog feel, and you could probably convince someone that you shot film and not a modern digital camera.
Flowers & Fruit – Austin, TX – Fujifilm X100VI – Fujicolor Blue
This Fujicolor Blue Recipe is great for adding a cold feeling to a sunny daylight photograph, toning down an overly warm scene, pretty much any indoor situation, and nighttime artificial light scenarios. It’s highly versatile, but the pronounced cool cast in sunny daylight is not going to be for everyone. This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. Those with certain X-Trans IV models and newer GFX can use it, too; however, it will render slightly different (but don’t be afraid to try it).
Fujicolor Blue is an App Patron Early Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early Access Recipe. This also means that an different Early Access Recipe is now available for everyone, so be on the lookout for it.
Example photographs, all camera-made JPEGs using this Fujicolor Blue Film Simulation Recipe on a Fujifilm X100VI:
Spain – New York City, NY – Fujifilm X100VI
Poke Poke – New York City, NY – Fujifilm X100VI
Construction Site – New York City, NY – Fujifilm X100VI
Yellow Guy – New York City, NY – Fujifilm X100VI
Fujifilm Photography – New York City, NY – Fujifilm X100VI
Hudson Yards – New York City, NY – Fujifilm X100VI
Urban Skyscape – New York City, NY – Fujifilm X100VI
Green for Siding – Austin, TX – Fujifilm X100VI
How You Doing? – Austin, TX – Fujifilm X100VI
Airborne Bike 1 – Austin, TX – Fujifilm X100VI
Airborne Bike 2 – Austin, TX – Fujifilm X100VI
Here – Austin, TX – Fujifilm X100VI
Lake Dock – Clinton, CT – Fujifilm X100VI
Boatride – Clinton, CT – Fujifilm X100VI
Houseplant – Clinton, CT- Fujifilm X100VI
Fujifilm, Y’all – Austin, TX – Fujifilm X100VI
Don’t Slip – New York City, NY – Fujifilm X100VI
Chochin Lanterns – Clinton, CT – Fujifilm X100VI
Nashville Night – Nashville, TN – Fujifilm X100VI – Photo by Jonathan Roesch
Johnny’s BBQ – Nashville, TN – Fujifilm X100VI – Photo by Jonathan Roesch
Diamonds are For Baseball – New York City, NY – Fujifilm X100VI
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Dan Allen, who created this Film Simulation Recipe after shooting with Kodak T-Max 100 film and his Fujifilm X-T5 side-by-side, noticed that there are a lot of subtle variances in the film. Even within the same roll, there can be small differences from frame-to-frame, and one Recipe can’t mimic them all; however, instead of creating five or six different versions of a Kodak T-Max 100 Recipe, Dan made two that were “close enough” to the emulsion to be convincing: Kodak T-Max 100 Hard Tone and Kodak T-Max 100 Soft Tone.
The “Hard Tone” version has a little more contrast, with brighter highlights and deeper shadows, and this Kodak T-Max 100 Soft Tone Recipe has less contrast, with softer highlights and lifted shadows. The difference between the two isn’t huge, nor should it be. And it is perfectly alright to customize them further—”season to taste”—by making small adjustments to Highlight, Shadow, etc., especially since the variances cannot be fully mimicked by just two Recipes. You might try using the Highlight setting from one version with the Shadow setting of the other—or just use them as they are, and appreciate the excellent results.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Soft Tone Recipe
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: -0.5 Shadow: +1.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Soft Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Soft Tone – Photo by Ritchie Roesch
Fujifilm X-T5 – Kodak T-Max 100 Soft Tone – Photo by Dan Allen
Comparison:
Left: Kodak T-Max 100 Hard Tone / Right: Kodak T-Max 100 Soft Tone
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Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Kodak introduced T-Max 100 and T-Max 400 in 1986, and T-Max P3200 two years later. It was touted as a fine-grained, sharp and detail-rich black-and-white negative film. Interestingly, ever since T-Max was released, there has been a divide in the photographic community around this emulsion: people either loved it or hated it. Those who loved it tended to not like Tri-X, and those who hated it tended to love Tri-X; you were likely in one camp or the other. Tri-X was more gritty, dramatic and versatile, while T-Max was softer, cleaner, and more finicky. All-in-all, you are not likely to spot huge differences between the two as a casual observer, but those who regularly shot with these films could easily distinguish the nuances.
This particular Film Simulation Recipe, called Kodak T-Max 100 Hard Tone, was created by Dan Allen after shooting some rolls of Kodak T-Max 100 film side-by-side with his Fujifilm X-T5. He did his best to match the X-T5 photos to the T-Max frames. This was not an easy task, and took a lot of adjustments and refinements. Dan spent a lot of time and effort on this. He discovered that it would take a handful of versions of the Recipe to replicate all of the variances that can be found even within the same roll, and ultimately determined that one Recipe cannot mimic them all. His solution was to create two versions—one with a higher contrast and one with a lower contrast—that are “close enough” to be acceptable facsimiles for most of the variabilities.
Above photos by Dan Allen. Left: Kodak T-Max 100 Film / Right: Fujifilm X-T5 & Kodak T-Max 100 Hard Tone Recipe
Even though this Recipe does a pretty darn good job of replicating Kodak T-Max 100, it is always ok to “season to taste” the settings. Don’t be afraid to increase or decrease Highlight and Shadow, for example. There are a lot of factors that can determine the exact aesthetic of the film, so some small tweaks might be necessary to get it precisely as you want it. Or, just leave them as Dan created, and enjoy the lovely results.
This Film Simulation Recipe is fully compatible (as of this writing) with the Fujifilm X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. Presumably it will also be compatible with the camera that Fujifilm is about to announce (rumored to be the X-M5). You can also use this Recipe on the latest GFX models, although it will likely render slightly differently (try it anyway).
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Film Simulation: Monochrome+G Monochromatic Color (Toning): WC 0 & MG 0 (Off) Grain Effect: Weak, Large Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Daylight, -6 Red & -3 Blue Dynamic Range: DR200 Highlight: +0.5 Shadow: +2.5 Sharpness: -1 High ISO NR: -4 Clarity: -1 ISO: up to ISO 6400 Exposure Compensation: -2/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Kodak T-Max 100 Hard Tone Film Simulation Recipe using a Fujifilm X-T5 and X100VI:
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X-T5 – Kodak T-Max 100 Hard Tone – Photo by Dan Allen
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Jonathan Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Joy Roesch
Fujifilm X100VI – Kodak T-Max 100 Hard Tone – Photo by Ritchie Roesch
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I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it, too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them out. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. This is Part 2, and covers X-Trans IV models (except the X-T3 and X-T30, which will be discussed in Part 3): Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II.
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.
Golden Desert Hill – Buckeye, AZ – Fujifilm X-E4 – Bright Kodak
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Bright Kodak can be used anytime the sun is out, it is one of my favorite options for middle-of-the-day situations, and proves the old adage wrong.
Denny’s Days – Beaver, UT – Fujifilm X-E4 – Kodachrome 64
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar. Although each of the first three have a Kodak-like look, Kodachrome 64 produces a more contrasty slide film aesthetic. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.
Ice Flower & Chain Link – Morro Bay, CA – Fujifilm X-E4 – Pacific Blues
Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but a personal favorite that I use frequently is Reggie’s Portra. Almost no matter the light, this one does very well.
11th Street – Astoria, OR – Fujifilm X100V – Serr’s 500T
Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, Serr’s 500T is one of my absolute favorites.
Old Window Blinds – San Luis Obispo, CA – Fujifilm X100V – Kodak Tri-X 400
I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I would choose if I could only ever photograph with one—is Kodak Tri-X 400.
There are popular Film Simulation Recipes that it seems everyone is using, and there are ones that don’t get nearly as much attention. The majority of the most popular Recipes use the Classic Chrome film simulation, so those that aren’t based on Classic Chrome tend to get less use. There are some excellent options that can get overlooked, and in this article I will highlight three specific ones that perhaps you’ve never tried.
This was actually the topic of yesterday’s SOOC Live broadcast, which I included below in case you missed it. Nathalie Boucry and I spent the first part of the show catching up on all that transpired since our last episode, and then spent the second half discussing three unsung Recipes: Astia Summer, Expired Velvia, and Monochrome Negative. Be sure to watch it now if you weren’t able to catch it when it was live.
Astia Summer is one of the 14 Fujifilm X-T50 Film Dial Recipes. My Film Dial Recipe is a universal Recipe that works well with all of the various film simulations. While the universal Recipe approach is easier on the X-T50 thanks to the Film Dial, it can be done with any Fujifilm camera simply by setting one of the FN buttons to open the film simulation submenu. By programming the Astia Summer Recipe into your camera, you potentially unlock as many as 14 Recipes in total—amazing!
What I like about the Astia Summer Recipe is that it is colorful and warm. While it’s not intended to mimic any film emulsion, it does have some vague similarities to Kodak Ektar 100, but it isn’t necessarily a great match for that. This Recipe is excellent for landscape photography, especially in situations where Velvia is too vibrant. While Astia in general can be quite good for portrait photography, Astia Summer is probably just a tad too vibrant for portraits. This Recipe is quite versatile, and can be used anytime of the day or night. It is compatible with all of the fifth-generation models, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50; also, it is compatible with the “newer” X-Trans IV cameras: X-T4, X-S10, X-E4, and X-T30 II.
Tiny Purple Blossoms – Avondale, AZ – Fujifilm X-E4
Unripe Lemon – Avondale, AZ – Fujifilm X-E4
The Expired Velvia Recipe uses Classic Negative and not Velvia. Why? Someone shot a roll of Fujichrome Velvia 50 film that was well-expired, and shared with me their scans of the film; interestingly, it looked very similar to Classic Negative, and not Velvia. This Recipe mimics those film scans very well, producing a convincing analog-like rendering. Aside from resembling expired Velvia film, this Recipe might also be reminiscent of some cross-processed emulsions or even old photographic prints from 1980’s. It’s definitely more of a lomo look, and is not true-to-life.
For best results, use this Film Simulation Recipe in sunny daylight. It might be ok in other situations, too, but definitely try it when the sun is out. You will likely have to underexpose a little, paying careful attention not to clip the highlight. The Expired Velvia Recipe is compatible with X-Trans IV cameras (except the X-T3 and X-T30) and all X-Trans V models, which (as of this writing) are the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Oleander Flower Blossom – Avondale, AZ – Fujifilm X-E4
Sago Palm Frond – Avondale, AZ – Fujifilm X-E4
Monochrome Negative is a lovely black-and-white Recipe with similarities to Agfa Scala, but a little softer. It has good contrast and nice tonality. Be very careful with the exposure, as highlights can clip easily—there’s a good chance your Exposure Compensation Dial will be set at -2/3 or even -1.
There are a number of excellent B&W Recipes, and it can be difficult to know which one to choose. They can seem quite similar, too, which might make it even more difficult. My personal favorite is Kodak Tri-X 400, but Monochrome Negative is also an excellent choice. Because it uses Grain size Small, Color Chrome Effect and Color Chrome FX Blue Off, and Clarity 0 (no Clarity pause!), it is highly compatible across sensor generations—simply ignore the settings that your camera doesn’t have. Monochrome Negative can be used on all X-Trans III, IV and V models, which (as of this writing) are the X-Pro2, X-T2, X-T20, X100F, X-E3, X-H1, X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
I get asked all of the time when to use which Film Simulation Recipe. With over 350 in the Fuji X Weekly App to choose from, it can be difficult to know when each Recipe should be chosen, especially since many of them are specifically intended for sunny daylight conditions. With only seven Custom Presets on your Fujifilm camera (for most of you, anyway), which ones should you have programed? When should you select them?
The problem with trying to answer this question is that it’s a highly subjective endeavor. While I might like a certain Recipe for a particular situation, you might not. There’s not a right or wrong answer, just what works for you and what doesn’t—and I cannot say whether any particular Recipe will work for you or not. Only you can answer that for yourself, and you have to try a Recipe to know. With that said, I do attempt to give good advice. I’ve written many articles related to this topic, including the series Which Film Simulation Recipes, When? While that has likely been the most helpful, it’s nearly two-years-old now, and a lot of new Recipes have been published since. I think it’s time to update the series for 2024.
Red Rock at Sundown – Sedona, AZ – Fujifilm X-T50 – Reala Ace Recipe
The premise of the original series is that Jason Kummerfeldt of Grainydays, a YouTube channel about film photography, gave some advice on when to use which film emulsion in a video entitled Which Film Stock, When? Since film choice is such a personal thing, how do you say when to use which? It’s the same thing for Film Simulation Recipes. His solution was simply to demonstrate what he uses and state what he likes, and maybe you’ll like it too. In my series, I copied that approach for Recipes—I told you my preferences, and invited you to try them too. We’re going to follow that same formula for this update with just a small twist, which I think makes a little more sense.
Below are seven Recipe suggestions for you to program into C1-C7 on your Fujifilm camera, with advice on when to use each. Since Recipes are (for the most part) generationally specific, each article will cover a different group of cameras. Part 1 is X-Trans V models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. You can use these Recipes on the latest GFX cameras; however, they will render slightly differently (try them anyway).
Motor Hotel – Buckeye, AZ – Fujifilm X-T5 – Kodak Portra 400 v2
Kodak Portra 400 v2 does well anytime during daylight hours, but especially for “golden hour” near sunrise and sunset. As the name suggests it is a good option for portrait photography, but is excellent for many genres. This really could be your primary use-all-of-the-time Recipe, and that’s why I suggest placing it in C1. Personally, I use this one frequently.
I like to reserve C2 for bright midday photography. The old rule of thumb was once the sun was high in the sky, it’s time to put the camera away. While Vibrant Arizona can be used anytime the sun is out (also, try it at dusk and dawn), it is my favorite option for middle-of-the-day situations, and proves the old adage wrong.
Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film
This is a good spot to have an alternative aesthetic compared to C1 and C2—as I don’t think you’d want to have all three up to this point to be essentially similar—and the Fujicolor Film Recipe provides exactly that. With the ones I’ve suggested, you’ve got a good set for all sorts of daylight situations no matter your subject.
Pacific Blues is excellent for sunny daylight photography—it was specifically designed for a summer day at the beach—but I have fallen in love with it for overcast and foggy days. For dreary conditions, this Recipe is hard to beat.
Mountain Pines at Sunset – Flagstaff, AZ – Fujifilm X-T5 – Reala Ace
I like to have at least one Recipe programmed into my camera that’s highly versatile and can be used no matter the situation. There are several excellent options, but my personal favorite is the Reala Ace Recipe (which, incidentally, uses Classic Negative and not the new Reala Ace film sim).
Most Recipes are intended for sunny daylight; while some can still do well at night, and the versatile options above are definitely good for after-dark, there are some Recipes that are specifically intended for night photography. Of those, CineStill 800T is my top recommendation.
I love black-and-white photography. As far as Recipes go, the monochrome options tend to be less popular than color; however, my favorite Recipe—and the one that I choose if I could only ever photograph with one—is Kodak Tri-X 400.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Film Dial “Cinematic Film”
Whether or not you have a Fujifilm X-T50, you can program the universal Film Dial Recipe into your IQ Menu as a bonus option (explained here). With the X-T50, the Film Dial allows you to achieve up to 12 different looks (essentially 12 bonus Recipes); with other cameras, program one of the FN buttons to activate the Film Simulation submenu, and you can achieve up to 14 different looks (14 bonus Recipes). This adds a ton of versatility to your camera.
Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film Recipe
As a part of the Philadelphia photowalk that I co-led last month, I gave a presentation at Unique Photo on Fujifilm’s Film Simulations and my Film Simulation Recipes. While I was researching for that presentation, I came across a statement by Fujifilm where they dubbed the new Reala Ace film sim as “a negative for the new era.” That slogan—negative for the new era—caught my imagination, and made me consider what it might mean, and how that could translate into a Recipe aesthetic.
Fujifilm claims that the Reala Ace film simulation is modeled after the Reala Ace 100 color negative film, which was a variant of Fujicolor Superia Reala 100 that was only sold in Japan; however, I believe that is more marketing than reality. The emulsion that the Reala Ace film sim is the most similar to is Fujicolor PRO 160C. In my opinion, Fujifilm should have called it PRO Neg. C, as it is clearly in the same family as PRO Neg. Std and PRO Neg. Hi, and is not a Superia aesthetic, which is what the Classic Negative film simulation mimics. But, either way, the Reala Ace film simulation is quite nice, and definitely has a color negative film quality to it.
Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe
Prior to making this Fujicolor Film Recipe, I pulled out a photobox from my closet, and begin sorting through some of my prints from 15-20 years ago that I knew I had captured using a Fujicolor negative film. All of them were printed on Crystal Archive paper at Ritz camera. While I used those pictures to help create this Recipe, I didn’t try to closely copy any specific aesthetic, but was more just generally inspired by those prints. Later, I dug out the negatives (stored in a different box), and I was a little surprised by what films were actually used for those photos: Fujicolor PRO 160S, Fujicolor NPS 160, Fujicolor PRO 400H, Fujicolor Superia Reala 100, Fujicolor Superia 100, and Kodak Gold 100 (oops… I guess I got that one wrong).
I would describe this new Fujicolor Film Recipe as generally similar to a Fujicolor negative film printed on Fujicolor Crystal Archive paper. It’s true-to-life, and not particularly punchy. It definitely has the right feel for printed Fujicolor PRO 160S, although it’s not specifically closely modeled after that—it’s more of a happy accident than on purpose; however, it was inspired in part by that emulsion, so it shouldn’t be too surprising.
Palm & Blue Sky – Buckeye, AZ – Fujifilm X100VI – Fujicolor Film Recipe
This Film Simulation Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can also use it on the latest GFX models; however, it will render slightly different (try it anyway). For best results, use in sunny daylight; however, as you can see from the photos in this article, it can be used in a variety of light conditions. It is intended to be your Fujicolor “negative” for the new era.
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Weak White Balance: 5500K, -1 Red & -1 Blue Highlight: -1 Shadow: -0.5 Color: -2 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 captured using this “Fujicolor Film” Film Simulation Recipe on a Fujifilm X100VI:
Floating on the Ocean – Plymouth, MA – Fujifilm X100VI
New York – Plymouth, MA – Fujifilm X100VI
Happiness is a Beach – Plymouth, MA – Fujifilm X100VI
Yankees Girl – Plymouth, MA – Fujifilm X100VI
Low Tide – Plymouth, MA – Fujifilm X100VI
Salt Pond – Plymouth, MA – Fujifilm X100VI
Atlantic Through Trees – Plymouth, MA – Fujifilm X100VI
Clothes Pins – Plymouth, MA – Fujifilm X100VI
Sunstar & Clothesline – Plymouth, MA – Fujifilm X100VI
Chimney – Plymouth, MA – Fujifilm X100VI
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI
Garden Flowers – Plymouth, MA – Fujifilm X100VI
Bunches of Blossoms – Plymouth, MA – Fujifilm X100VI
Yellow Blooms – Philadelphia, PA – Fujifilm X100VI
Independence – Philadelphia, PA – Fujifilm X100VI
Independence Hall – Philadelphia, PA – Fujifilm X100VI
Sky Rainbow – Philadelphia, PA – Fujifilm X100VI
Carrabba’s Twice – Maple Shade, NJ – Fujifilm X100VI
Fruitstand – Hoboken, NJ – Fujifilm X100VI
Firetrucks – Hoboken, NJ – Fujifilm X100VI
Fuji – Hoboken, NJ – Fujifilm X100VI
Black Bike – Jersey City, NJ – Fujifilm X100VI
Don’t Walk – New York City, NY – Fujifilm X100VI
Yankees Stadium – New York City, NY – Fujifilm X100VI
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The new Film Dial on the Fujifilm X-T50 has become one of the most controversial features ever included on a Fujifilm camera. There’s been a lot of hate for it expressed on the internet. There seems to be two camps who dislike it: those who shoot RAW, and those who use Film Simulation Recipes. I believe that the Film Dial has been largely misunderstood, and that it will become more appreciated over time.
The RAW-only group dislikes the Film Dial because they don’t care much for in-camera film simulations. Some will say that they don’t use film simulations at all (of course, they say this while using Provia… film simulations cannot be disabled, so they’re always using one…), and some will say that they apply the film simulations in-post using Lightroom or Capture One, and not in-camera. For this group, the Film Dial is a complete waste of space, they say.
The Film Simulation Recipe group dislikes the Film Dial because you cannot program it with Recipes; it only changes the film simulation and nothing else. They would prefer that each “film” on the Dial could be custom set as a Recipe. That would be really cool, actually, and think that’s a great idea—maybe Fujifilm could do it in the future. Also, a C1-C7 Dial (or increase it to 10 or 12 or more) would have been most ideal. Still, the Film Dial can be useful for this group by utilizing a “universal Recipe” technique, which I used extensively in August traveling across the country. So I think there are two parts to this: 1) a frustration that it could have been implemented better, and 2) not fully realizing the potential that it does have in its current iteration. Nothing can be done about the first point (aside from Fujifilm changing it either with a firmware update, or how it is implemented on future models), but for the second point its a matter of getting the word out—once people try my solution (or something similar… Reggie’s Portra works pretty well for this, too), I think it will be much more liked.
This year I’ve traveled quite a bit, and met hundreds of fellow Fujifilm photographers across the country, and even some from other countries. In doing so, I’ve learned that there are a variety of ways that people are using film simulations and Recipes. Some of these things I would have never even thought of. It’s truly amazing! I want to briefly share them with you.
The number one way that Film Simulation Recipes are being utilized is for straight-out-of-camera photography. This is how I use Recipes, personally, for my own pictures. Basically, the JPEG produced by the camera is the finished photo, aside from sometimes cropping/straightening and maybe some small/minor adjustments occasionally. This saves so much time, and can make the processes more enjoyable—I could list a whole bunch of benefits, but that’s not the point of this article. Straight-out-of-camera photography was once highly shunned by the photographic community at large, but now it is much more acceptable and common, and I believe that—as a pendulum swing response to years of over-editing and now AI—photography as a whole is moving in this direction; authenticity is a big buzzword right now. Another approach is to shoot RAW+JPEG and utilize X RAW Studio or the in-camera RAW reprocessing to change the Recipe after-the-fact.
Another way that people use Recipes is similar to above, just in-conjunction with more robust editing. The SOOC JPEG isn’t the end, it’s the starting point. Camera-made JPEGs have a lot more tolerance for manipulation than they used to, and a light-to-moderate amount of editing is perfectly ok. So the camera gets you a significant distance to the finished picture, and a little editing finishes the job. Sometimes this group will shoot RAW+JPEG and edit the RAW instead of the JPEG when faced with a challenging light situation.
Some people use Recipes, but they shoot RAW+JPEG and don’t usually utilize the camera-made JPEG. If a picture needs to be shared quickly, the JPEG is there, but otherwise the RAW is used. Since software can/will apply its version of its interpretation of some (but not all) of the JPEG data to the RAW file, the Recipe provides a shortcut to a finished RAW-edited picture. It shaves off a little time at the computer, while also producing a ready-to-share JPEG whenever that is needed.
A much less common use—which I was actually quite surprised by but it makes a lot of sense—is Recipes for pre-visualization. JPEGs are rarely or never used; instead, the Recipe allows the RAW photographer to get a better idea of what the finished picture will look like while in-the-field. Utilizing a Recipe that is similar to the photographer’s aesthetic, they can basically see the end result even before opening the shutter. It’s such a great tool for the RAW photographer, but it seems to be highly underutilized, likely because it just never occurred to most to try it.
One last method, which might surprise a lot of you, is the combination of RAW and JPEG photography. There’s an extraordinarily talented photographer (there’s a good chance you’ve seen his pictures) who told me that one of his techniques is to shoot RAW+JPEG with Recipes, edit the RAW file, then blend the SOOC JPEG overtop of the edited RAW. He told me that he does this because the camera-made JPEG has a certain quality or soul that can’t be replicated with RAW-editing and he doesn’t want to lose that, but he needs a certain level of control for his style of photography, and by combining the two, he has the best of both worlds. Amazing!
There’s no right or wrong way to use film simulations and Recipes, there’s only what works for you and your photography. It’s your art, so do it however you want to. My point, though, is that the Film Dial, which I suspect will make its way onto more Fujifilm cameras in the future, can actually be quite useful to both groups who have decried it. I think the potential has yet to be fully explored or understood.
I bring all of this up because Fujirumors posted an article entitled Reframing the Debate: Fujifilm Film Simulations as a RAW Photographer’s Ally and with the subtitle Stop Hating Film Simulations. This is my two cents. There was such a big (and generally unfair) stigma towards JPEGs for such a long time; since film simulations have been heavily associated with SOOC photography, some people look down on them and their use. They see it as being beneath them or for amateurs-only. In doing so, they might be overlooking something that could actually be much appreciated. So I think it’s important to bring awareness to how film simulations and Recipes are being used—perhaps they can be helpful to your photography, but maybe you’ve never tried or have never considered how they might be. My hope is that this article will be enlightening to some of you, and that someone reading this will give Film Simulations Recipes a try for the first time.
Travel by Train – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
Like film, the majority of Film Simulation Recipes are intended for daylight photography, and it can be difficult to know which ones are good for nighttime use. Once the sun goes down and the street lamps begin to glow, some of the Recipes that are great for sunny conditions won’t produce particularly good results. Which ones should you use instead? Well, I’ve got you covered!
In this article I have 10 Recipe suggestions for nighttime photography. Each exact lighting scenario is different, and everyone has their own unique style, so not all of these will necessarily be for everyone; however, if it’s after-dark, at least one of these 10 should work quite well for you. Also, there are a lot of other Recipes not in this list that could potentially give you good results—in other words, this is not comprehensive in the least; mostly, I just wanted to include a variety of options. Don’t be afraid to try a Recipe not in this list for night pictures, but, if you are at a loss for which one to use after-dark, try one of the options below.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
This is one of the 14 Film Dial Recipes made for the Fujifilm X-T50, but it’s not limited to use on that camera. It’s compatible with all fifth-generation models; for the X-T4, X-S10, X-E4, or X-T30 II, simply set Color Chrome FX Blue to Off. This is such an excellent Recipe for after-dark photography, and is at the top of my suggestion list for a reason. Also, many of the other Film Dial Recipes also do quite well at night, so don’t be afraid to try those, too.
This is another personal favorite for nighttime photography—in fact, it’s specifically intended for this purpose. There are also versions for X-Trans IV, X-Trans III, and X-Trans II cameras. This Recipe pairs especially well with a weak diffusion filter, such as a 5% or 10% CineBloom or 1/8 or 1/4 Pro Mist.
This version of CineStill 800T was actually intended for daytime photography, but works particularly well at night. It’s more of an alternative-process type rendering, but can be a lot of fun. There are also two versions for X-Trans IV cameras (here and here).
Birria – Surprise, AZ – Fujifilm X-T5 – Fluorescent Night Recipe
Under the right lighting situation, this Recipe can look really good; however, it’s not necessarily a versatile nighttime option. It definitely needs artificial light, preferably some fluorescent tubes. You might love it, or you might not, but you won’t know until you try.
PARK – Goodyear, AZ – Fujifilm X-T5 – Agfa Ultra 100 v2 Recipe
This Recipe is for sunny daylight, but I was quite surprised at some of my nighttime results. I don’t think it will be good for every after-dark situation, but it is certainly good for some, particularly blue-hour light.
Boat Shack at Sunset – Tempe, AZ – Fujifilm X-T5 – Fujicolor Super HG v2 Recipe
This is a versatile Recipe that works really well for nighttime photography. This is a great one just to always have programmed into your camera. There’s a version for X-Trans IV.
This Recipe uses Classic Negative (not the new Reala Ace film sim). It’s very versatile, and as such works well for nighttime photography. It’s another Recipe that you can just always have programmed into your camera.
This Recipe uses the new Reala Ace film simulation. It’s not specifically intended for nighttime photography, but is versatile, and works quite well for it.
Pulaski Bridge View – New York City, NY – Fujifilm X100VI – PRO Negative 160C Recipe
Another Reala Ace-based Recipe, and another that is great for night simply due to its versatility. As Fujifilm put it, Reala Ace is the “Negative for the new era.”
Veterans Bridge at Night – Nashville, TN – Fujifilm X-T50 – Fujicolor PRO 160C Warm Recipe
Like Cinematic Film at the top, this is one of the 14 Film Dial Recipes. Many of the Film Dial Recipes are great for nighttime photography—not just the two in this list—but some are better than others, and Fujicolor PRO 160C Warm is one of my personal favorites.
Salt River & Mountain Reflection – Mesa, AZ – Fujifilm X-T5 – Astia Azure Recipe
Since I included two of the Film Dial Recipes in the Top 10, I thought that it would be more fair to add an 11th Recipe. Astia Azure is intended for sunny daylight photography, but I’ve had good luck with it after-dark, particularly in blue-hour light. This is currently a Fuji X Weekly App Patron Early-Access Recipe, and is only available to App subscribers at this time; however, it will eventually be made available to everyone. It’s compatible with X-Trans V cameras, and some X-Trans IV models.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Find these Film Simulation Recipes and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
The Fujifilm X-T50 has a Film Dial, a new feature that likely will begin to appear on other Fujifilm models in time. It’s possible that it might eventually find its way onto most bodies (or some alternate iteration of the concept). While the Film Dial has been controversial, I think it has been largely misunderstood, and I don’t believe a lot of people realize the great potential of it. Back in May, I created a strategy—a universal Recipe—for getting the most out of the Film Dial, which really makes it a useful feature. I thought it would be worthwhile to show what that looks like in real-life practice.
In August I had the wonderful opportunity to travel from coast-to-coast, leading photowalks in San Diego, Denver, Nashville and Philadelphia. It was so great to meet you all! Throughout the tour I had a Fujifilm X-T50, and utilized the Film Dial several times. Interestingly, even if you don’t own an X-T50, you can still use this strategy by programing a Fn button to open the Film Simulation menu—the Film Dial Recipe doesn’t actually require the Film Dial to use. In this case, though, I used the X-T50 and the Film Dial, and I want to share with you four times where I put it into practice. I think seeing the results from actual use will help to demonstrate just how nice the Film Dial is.
The universal Film Dial Recipe (click here) works well with every film simulation. Some are better than others, but all of them are decent enough (even Sepia). Since the Film Dial only changes the film simulation and nothing else, the universal Recipe parameters—other than the film sim—remain exactly the same when you turn the Film Dial. Each time you turn the Film Dial and select a different film simulation, it is like having a different Recipe (even though the Recipe parameters didn’t budge), because each film simulation is so unique. Essentially, the Film Dial gives you up to 12 bonus Recipes right at your fingertips!
Denver Nighttime Street Photography
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
Classic Chrome a.k.a. “Kodak Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Exploring Nashville
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros a.k.a. “Neopan Negative”
Eterna a.k.a. “Cinematic Film”
Eterna a.k.a. “Cinematic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Chrome a.k.a. “Kodak Film”
Classic Negative a.k.a. “Superia Negative”
Velvia a.k.a. “Velvia Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
New York & New Jersey
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Acros a.k.a. “Neopan Negative”
Acros+G a.k.a. “Neopan Negative”
Massachusetts
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Reala Ace a.k.a. “Fujicolor PRO 160C Warm”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Nostalgic Neg. a.k.a. “Nostalgic Film”
Acros+G a.k.a. “Neopan Negative”
Acros a.k.a. “Neopan Negative”
Classic Negative a.k.a. “Superia Negative”
Classic Negative a.k.a. “Superia Negative”
Eterna a.k.a. “Cinematic Film”
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Oysters & Seafood – Denver, CO – Fujifilm X-T50 – Cinematic Film Recipe
This isn’t a new Film Simulation Recipe, but one of the 14 Fujifilm X-T50 Film Dial Recipes that I published in May when the Fujifilm X-T50 was announced. I stated in that article, “It would be absurd to include all 14 versions of this Recipe in the Fuji X Weekly App; even adding eight to the App is too much, but (with hesitation) that’s what I’ve done.” Those eight Recipes—Standard Film, Velvia Film, Astia Summer, Kodak Film, Fujicolor PRO 160C Warm, Superia Negative, Nostalgic Film, and Neopan Negative—are all identical other than the film simulation, and are found in the App.
I left six of the 14 Recipes—Fujicolor PRO Film, Fujicolor PRO 160S, Cinematic Film (which is this Recipe), Reduced Bleach, Monochrome Film, and Sepia Print—out of the App. In the months since, I have had a number of requests to include the Cinematic Film Recipe in the Fuji X Weekly App, so—by popular demand—Cinematic Film is now available on your phone!
Hotel Chelsea – New York City, NY – Fujifilm X-T50 – Cinematic Film Recipe
This Recipe is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. For the X-T4, X-S10, X-E4, and X-T30 II cameras, I recommend setting Color Chrome FX Blue to Strong (instead of Weak). For the latest GFX models, I recommend setting Shadow to -0.5 (instead of -1). For more information on how I setup and use the X-T50 Film Dial Recipes, watch this video (click here). If you don’t have an X-T50 and still want to use the Film Dial strategy, simply add the Recipe to one of your C1-C7 slots, and program a Fn button to activate the film simulation menu. The Cinematic Film Recipe is especially great for taming high-contrast light, for a soft aesthetic, and for after-dark photography.
Film Simulation: Eterna Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: Auto White Priority, +2 Red & -4 Blue Highlight: -1.5 Shadow: -1 Color: +3 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Cinematic Film” Film Simulation Recipe on a Fujifilm X-T50:
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Hey, everyone! I will be at the NAB Show in New York City on October 9th and 10th, leading three photowalks. These photowalks will be small groups, meaning that there will be tons of opportunity for one-on-one conversations. This is a teaching photowalk—I’m there to help you—so bring whatever questions you might have, and I’ll make it as informative and educational as I can. The photowalks will take place in the vicinity of the Jacob Javits Convention Center in Midtown West Manhattan.
Fujifilm will be offering “an immersive journey into the world of photography and videography.” As a part of this, there will be 24 photowalks hosted by a variety of extraordinarily talented creators. Seriously, I would love to attend all of these photowalks myself—this is a don’t-miss opportunity!
I will be leading three photowalks: October 9th at 10:30 AM, October 9th at 2:00 PM, and October 10th at 11:00 AM. The theme of my photowalks are Straight Out of Camera Photography—we’re going to “put the legendary Fujifilm colors to the test and learn to craft polished images in-camera to streamline your process.” Basically, we’re going to use various Film Simulation Recipes to photograph New York City. Bring your favorite Fujifilm camera; also, this will be an opportunity to get hands-on with some of the latest X-series gear, so bring a spare SD card.
The themes of the other photowalks are Video Visuals, Camera-to-Cloud, Film Simulations, Couples Portraiture, Street Photography, and Social Reels. These photowalks are free; however, you must preregister for the photowalk that you want to attend, and also be registered for NAB. While NAB is not free, if you follow this link (click here), you can get free registration! Those of you who live in the NYC area will want to come for certain. Spaces are very limited, so don’t procrastinate—sign up today!
Yellow Bus – Plymouth, MA – Fujifilm X-T4 ES – Aerochrome v2
I’m in love with this Aerochrome v2 Film Simulation Recipe! It’s for full-spectrum infrared cameras like the Fujifilm X-T4 ES, and not “normal” cameras. You must have a full-spectrum X-Trans IV or X-Trans V model, which requires an expensive and invasive procedure from a third-party vendor; otherwise, the X-T4 ES (“Extended Spectrum”) is a full-spectrum camera briefly offered by Fujifilm (it’s very difficult to find, but in my opinion totally worth owning). So if you have the right gear, you’ll want to try out this Aerochrome v2 Recipe today!
Not only do you need the “right” camera—a full-spectrum model like the Fujifilm X-T4 ES—but you also need the “right” filters. This Recipe requires three: Kolari Vision IR Chrome filter, Hoya G(XO) Yellow-Green filter and Tiffen Yellow 2 #8 filter. The IR Chrome filter is intended for infrared photography, while the Yellow-Green and Yellow filters are for B&W film. I’m not sure if the order matters, but I have the Yellow filter first (closest to the lens), the IR Chrome next, and the Yellow-Green last (furthest from the lens).
Architecture – San Diego, CA – Fujifilm X-T4 ES – Aerochrome v2
This Recipe produces Aerochrome-like pictures, but it doesn’t behave exactly like the film. Even so, the fact that you can get this look straight-out-of-camera is amazing! If this was the only Recipe that I could ever use on my Fujifilm X-T4 ES, I’d be very happy. I do have an Aerochrome v1 Recipe that has less green and yellow hues and a more pronounced blue tint, plus I’m working on a handful of others, so if this isn’t the look that you want, there are (or will be shortly) other options. But this Recipe… it’s what I hoped to achieve when I purchased the camera a couple of months ago. Oh, and surprisingly, it’s excellent for night photography.
Filters: Kolari Vision IR Chrome, Hoya G(XO) Yellow-Green & Tiffen Yellow 2 #8 Film Simulation: Velvia Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Daylight, +7 Red & +6 Blue Highlight: +2.5 Shadow: -0.5 Color: +4 Sharpness: 0 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Aerochrome v2 Film Simulation Recipe on my Fujifilm X-T4 ES:
Grass & Sand – Plymouth, MA – Fujifilm X-T4 ES
Driftwood Log – Plymouth, MA – Fujifilm X-T4 ES
Red Beach – Plymouth, MA – Fujifilm X-T4 ES
Red Rock – Plymouth, MA – Fujifilm X-T4 ES
Boards & Boats – Plymouth, MA – Fujifilm X-T4 ES
Vans – Plymouth, MA – Fujifilm X-T4 ES
Red Trees Behind Rooftop – Plymouth, MA – Fujifilm X-T4 ES
House at Dusk – Plymouth, MA – Fujifilm X-T4 ES
Flowers in the front Yard – Plymouth, MA – Fujifilm X-T4 ES
Seaweed by the Rocks – Plymouth, MA – Fujifilm X-T4 ES
Girl Holding a Dead Crab – Plymouth, MA – Fujifilm X-T4 ES
Mayflower – Plymouth, MA – Fujifilm X-T4 ES
Boats in the Bay – Plymouth, MA – Fujifilm X-T4 ES
Tree behind Columns – Plymouth, MA – Fujifilm X-T4 ES
Parthenon – Nashville, TN – Fujifilm X-T4 ES
Parthenon Pillars – Nashville, TN – Fujifilm X-T4 ES
Patina – Buckeye, AZ – Fujifilm X-T4 ES
Kids at a Lake – Nashville, TN – Fujifilm X-T4 ES
Steps to the Water – Plymouth, MA – Fujifilm X-T4 ES
Reflected Red – Nashville, TN – Fujifilm X-T4 ES
CSX Train – Nashville, TN – Fujifilm X-T4 ES
Turning – Nashville, TN – Fujifilm X-T4 ES
City Trees – Nashville, TN – Fujifilm X-T4 ES
Boats off the Water – Nashville, TN – Fujifilm X-T4 ES
Little Dam – Nashville, TN – Fujifilm X-T4 ES
Palm, Architecture & Moon – San Diego, CA – Fujifilm X-T4 ES
Lily Pond – San Diego, CA – Fujifilm X-T4 ES
Palms & Structure – San Diego, CA – Fujifilm X-T4 ES
Kelp Washing Ashore – San Diego, CA – Fujifilm X-T4 ES
Surfer – San Diego, CA – Fujifilm X-T4 ES
Sidecar Dog – Philadelphia, PA – Fujifilm X-T4 ES
Not Always Sunny – Philadelphia, PA – Fujifilm X-T4 ES
Autumn in August – Philadelphia, PA – Fujifilm X-T4 ES
Window with a View – Philadelphia, PA – Fujifilm X-T4 ES
Lifeguard Tower 5 – San Diego, CA – Fujifilm X-T4 ES
Luke’s 32 – Nashville, TN – Fujifilm X-T4 ES
Cookin’ & Drinkin’ – Nashville, TN – Fujifilm X-T4 ES
Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe
I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.
Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.
Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe
This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -3 Red & -2 Blue Highlight: +1.5 Shadow: +2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:
Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
Find this Film Simulation Recipe and over 350 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
