For those who watch the monthly SOOCbroadcast, the current recipe-of-the-month is Fujichrome Sensia 100. We introduced that Film Simulation Recipe in the last episode, and we will finish our discussion of it in the next show, which will be in one week, on Thursday, November 17th. I hope that you’ll join us! Don’t forget to upload your photos captured with the Fujichrome Sensia 100 Film Simulation Recipe (click here) by November 15th to be shown in the next broadcast.
Speaking of the next SOOC broadcast, after we finish our discussion of the Fujichrome Sensia 100 recipe, we’ll introduce the next recipe-of-the-month, which will be Kodak Ektachrome 100SW. It produces warm and vibrant colors, which I find especially well suited for landscape photography. Be sure to set a reminder, so that you don’t miss the episode!
For those who don’t know, SOOC is a monthly live video series, with each episode focused on a different Film Simulation Recipe. It is a collaboration between Tame Your Fujifilm (Fujifilm X-Photographer Nathalie Boucry) and Fuji X Weekly (Ritchie Roesch). SOOC is a fun and educational experience where we not only talk about Fujifilm camera settings, but also answer your questions and give tips and tricks. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow. It’s also interactive, and your participation makes it great!
Even though I have my own photography projects going on and I’m always working on new Film Simulation Recipes, I also shoot with the recipes that we discuss in each episode (plus the upcoming episode). I have been using both the Fujichrome Sensia 100 and the Kodak Ektachrome 100SW recipes. I don’t just ask you to use the recipes, myself and Nathalie both use them, too—we’re doing it together as a community.
Flag Pole – Buckeye, AZ – Fujifilm X-T30 – “Fujichrome Sensia 100”
If you have a Fujifilm X-Trans III or newer camera, I invite you to program and shoot with the Fujichrome Sensia 100 Film Simulation Recipe, and share with us your results. While you’re at it, load the Kodak Ektachrome 100SW recipe into your camera, too, and have it ready to go for next week.
If you missed the last SOOC broadcast, which really was a good one, you can watch it below. It’s a bit long (we have a little problem called “time management”… 🤣), but I believe you’ll find it worthwhile.
Specifically, I set out to create a Film Simulation Recipe that could make a good option for “golden hour” or “midday” daylight photography—potentially a solid choice for C1 or C2 in your camera. I wanted it to have a classic Kodak aesthetic—perhaps a bit nostalgic, like from the 1970’s or 1980’s, maybe somewhat similar to Kodacolor—but not modeled after any specific film. Something classic and warm and clearly Kodak-like. I really like what I came up with, and I think many of you will, too!
Saguaro Green – Buckeye, AZ – Fujifilm X-T30 – “Classic Kodak”
This “Classic Kodak” Film Simulation Recipe is compatible with the X-T3 and X-T30 cameras, and, because it doesn’t use Color Chrome Effect, it’s also compatible with X-Trans III models. To use this recipe on newer X-Trans IV (and X-Trans V) cameras, simply set Color Chrome FX Blue to Off, Clarity to 0, and choose a Grain size (either Small or Large).
Classic Chrome Dynamic Range: DR400 Highlight: -2 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: -1 Grain Effect: Strong Color Chrome Effect: Off White Balance: Shade, -1 Red & +2 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +1
Below are all camera-made JPEGs captured using this “Classic Kodak” Film Simulation Recipe on my Fujifilm X-T30:
Clocktower – Buckeye, AZ – Fujifilm X-T30
Center on Main – Buckeye, AZ – Fujifilm X-T30
5 & 6 – Goodyear, AZ – Fujifilm X-T30
Water Fountain – Buckeye, AZ – Fujifilm X-T30
Circle Around the Roofline – Buckeye, AZ – Fujifilm X-T30
Old Doll Head For Sale – Buckeye, AZ – Fujifilm X-T30
Unlit Bulbs and Rainbow – Buckeye, AZ – Fujifilm X-T30
Rainbow Hidden in the Trees – Buckeye, AZ – Fujifilm X-T30
Small Yellow Leaves – Buckeye, AZ – Fujifilm X-T30
Dressed in Pink – Buckeye, AZ – Fujifilm X-T30
Green Garden Leaves – Buckeye, AZ – Fujifilm X-T30
Palm Branches in the Sky – Buckeye, AZ – Fujifilm X-T30
Sonoran Desert Mountains – Buckeye, AZ – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
Are you somewhat new to photography? Not really sure what you’re doing with your camera? Are you intimidated by social media, especially short form video like TikTok and Reels? Do you like cars? Fast cars? Do you appreciate conversations with interesting people? If the answer is yes to any of those questions, this interview is for you, and you’re going to want to keep reading!
Those who refurbish rusty Toyota Corollas into fast racing cars likely have heard of Tim Duncan and know of his garage, Second Stage. Perhaps you’ve seen him on TikTok or Instagram, where some of his videos have been watched by millions. Otherwise, let me introduce you: Tim Duncan is an up-and-coming photographer from Adelaide, South Australia. He has a thirst for learning, and isn’t afraid to try (and fail, and try again). He also has a passion for teaching. Oh, and he’s creative. All of it comes together in this article, where Tim and I discuss all sorts of things, including Fujifilm cameras and Film Simulation Recipes.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: How did you get started turning rusty Corollas into track cars? Where did your passion for cars, mechanics, and racing come from?
Tim Duncan: The very beginning would have been my cousin taking me to drag racing when I was 14, then I watched the movie Gone in 60 Seconds at the cinema—after that I was pretty much hooked on all things cars.
The passion comes from what cars can teach. Everyday I am looking for ways to learn something new, and with cars it really is never-ending.
When I was younger I was obsessed with all things muscle car. My first project car was a Chrysler Valiant Charger with a 265 CI straight six engine—I bought that when I was 17 and spent years trying to fix it up. During this time I learned that I actually really enjoy driving cars on tight twisty roads. Where I live in South Australia we actually have some amazing driving roads right near the city in the Adelaide Hills. So I wanted a new project car that was great around a corner, but I was still so attached to muscle cars. Then I discovered that Toyota made a factory engine that came with a supercharger: the 4AGZE! A friend was selling a shell of an AE86 and all it needed was a supercharged 1.6L engine, so I bought that and never looked back. The rusty Corollas are really the end point of what I enjoy about cars
The Panel Van — Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FWX: Tell me about your Corolla panel van project. How did you get started with that, what’s your current progress, and what’s the goal?
Tim Duncan: It’s actually a silly story where the idea came from. My friends all had drift cars and they were trying to encourage me to build one, too. My good mate, Ash, did this terrible “Photoshop” picture of me sideways in a Corolla panel van. Life happened and I never built any drift car, but for some reason that stupid silly photo always stuck with me. Then years later a shell popped up for sale for $150 and it was just a perfect time for me to start a big project, to build the drift car that never happened. Never underestimate the power of a meme! The end goal is to have a reliable easy-to-maintain-and-run drift car for having fun with my family and friends.
Current progress: I have mounted a 3800cc GM v6 from a Holden Commodore, then a stronger diff from a R31 skyline. Full custom suspension for extra lock in the front and 4 link equal length rear. A complete weld-in roll cage and mounted fixed back seats for safety. The next step is to get the exhaust finished—I got a little carried away trying to make a 6-1 exhaust that collects behind the motor.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: Tell me about your passion for teaching—where did that begin? What is your teaching outlet?
Tim Duncan: It’s just something that has always come very natural to me, but only recently I have realized it’s a core value of mine. I was saying before I love to learn, and the old saying is you don’t truly understand something until you can explain it clearly to someone else. So I guess my love for learning works together with the love of teaching others.
I basically have two outlets: I like to make short form videos for TikTok and Instagram and now YouTube Shorts, and a lot of my content is teaching trade skills and basics about cars; my other outlet, which is really important to me, is my nephews coming to my workshop to help build the drift van. We try to do a session once a week where they come to the workshop—if I can teach them some basic skills and work ethics for when they head out into the real world, that would make me very happy.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: You’ve had some success with short form video. What advice would you give to someone interested in making short form videos but are not really sure where to start or are maybe too insecure to try?
Tim Duncan: You have to make videos about something you are passionate about, and you need to be yourself. What makes it work is being authentic. If you are trying to follow trends or just make videos purely to get views, there is no way you can sustain that. I can already hear the response, “Thanks for the super vague cliché answer, Tim—this does not help me!” (ha ha). So here’s some practical advice: the most important thing is to focus on your hook at the start of a video—you literally have 0.5 to maybe 1.5 seconds to grab someone’s attention, and if you can’t do that they’re going to keep scrolling. It’s very hard to hold someone’s attention. I started out forcing myself to only make 15 seconds videos—think back to Vine where you only had seven seconds to get across a point. Short form video is definitely hot right now, but don’t get fooled into thinking that this is easy.
Painting by Tim’s Grandfather, Thomas Allen Duncan
FXW: Your grandfather was an accomplished painter. Tell me about him. What impact did he have on your life?
Tim Duncan: He had such a huge impact on my life! I have fond memories of him trying to teach me how to draw and paint, how to play chess. When I was 12 he handed me a welder and taught me how to do my first welds. He always talked so passionately about being a tradesmen—he made being a boilermaker sound so exciting and interesting, that’s all I wanted to be when I grew up. I ended up being a maintenance fitter instead, but I have always loved fabricating with metal as much as I can. He loved my Nanny so much and wanted nothing more than to provide and give her the best life possible—I believe he did that. On top of all of this he was always painting. My whole life I had his paintings hanging up around my house. He tried his best to get me started, but it just never clicked—yet I feel the concepts he was trying to teach me has certainly shaped how I see the world. He showed me how an artist sees the world, that an old building or a tree or a small boat on a shore can be beautiful. Painting is definitely not my thing; taking photos is my artistic outlet, and I owe most of that to my Grandad.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: How did you get started in photography? What was your first camera? Why Fujifilm?
Tim Duncan: I would definitely call myself an amateur/hobbyist, but I would say I am only just now getting started. Growing up I had a few point and shoots, and I would borrow my Dad’s Canon DSLR, but my first real camera is the one I’m using now: a Fujifilm X-T30 with a 27mm f/2.8 lens. I was wanting to get a “real” camera for a little while and was looking at a few options. To be honest I was searching for a better way to record audio for YouTube videos and wanted a mirrorless camera that I could plug a mic into. For some reason I was always attracted to the Fuji cameras—for me, they’re like Nintendo. While you have Playstation and Xbox trying to be the biggest, best, and fastest with spec sheets (just look how powerful we are!), Nintendo is making console and game experiences that are fun and with way more character—that’s my Fuji camera. I get loads of comments asking, “Is that an old film camera?” It has dials that I love adjusting, it’s nice to look at, and I just really love using it.
When I got the X-T30, I decided to start taking a few photos with it to get the hang of the camera, then I’d start filming with it. But I just found myself really enjoying taking photos, and I fell in love with photography!
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: Do you use Film Simulation Recipes? If so, which ones do you use?
Tim Duncan: The film simulations were a huge selling point when looking for a camera. I first used one I found on YouTube called Muted, and I also tried his B&W settings—for the life of me I can’t remember the channel. Those were the two main ones that I had been using, but recently I tried the Nostalgic Print recipe (modified for the X-T30) from the Fuji X Weekly App and instantly loved it, and I can see this becoming a regular. I also had a crack with the Kodak Vision3 250D recipe and can see why it’s a favorite! After watching the film The Batman, I attempted to make my own recipe, but I’m not sure I really know what I’m doing (ha ha), so I definitely appreciate the Fujifilm camera community making recipes available. I’m very grateful for everyone who posts up their recipes on YouTube and explain how to set the camera up—it’s extremely helpful, especially for someone just starting out.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
FXW: What are your photographic interests? Describe your method for learning photography.
Tim Duncan: I feel like I’m only just really getting started, so up until now I have been sticking with the basics, focusing mainly on my compositions—placing interesting things in the right spots. I also set my camera to B&W for a good few months to learn about lighting and to understand contrast better. So I’m just trying lots of different things, and making many mistakes, to see what I like—for instance, I discovered that I’m not really interested in landscapes, but I love street photography.
I also have zero interest in sitting down and editing photos. Everything I shared today is straight from my camera—I like the challenge of trying to get it right when I take the photo. I love that, on the Fuji, I can see exactly what I’m taking because the screen and viewfinder match the film simulation settings. I do my best to get the framing correct, exposure, etc., and take the photo. That’s it! That’s the photo, and if it’s good, it’s good; if it’s bad, it’s bad. I’d really like to encourage everyone to get out there and make as many mistakes as possible, and don’t be afraid to learn from them.
Photo by Tim Duncan — Fujifilm X-T30 & Fujinon 27mm f/2.8
Thank you, Tim, for your willingness and openness to do this interview, and for all of your time!
Pops of Pink – Buckeye, AZ – Fujifilm X-H1 – “Melancholy Blue”
For this Film Simulation Recipe I wanted to combine the beautiful blues of the new Pacific Blues recipe with the dark moodiness of the Vintage Agfacolor recipe. The result is a slightly melancholic aesthetic that can also produce dramatic results in certain circumstances. It’s great for daylight photography—delivering interesting (yet quite dissimilar) results in both overcast and bright sunlight conditions, including Low Key photography—and it also seems like a good option for some artificial light situations. Despite its versatility, it’s not a recipe that everyone will love; however, I know that a few of you will really appreciate it.
Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change recipes. There aren’t very many recipes that use the Incandescent White Balance, but now you have another recipe option if you are using this method.
This “Melancholy Blue” Film Simulation Recipe is intended for Fujifilm X-Trans III cameras, plus the X-T3 and X-T30. I used it on my Fujifilm X-H1 and X-T30, and it did well on both. For newer X-Trans IV cameras, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to… either Small or Large, you’ll have to decide which you prefer.
Classic Chrome Dynamic Range: DR200 Highlight: +3 Shadow: -1 Color: -2 Noise Reduction: -4 Sharpness: -1 Grain Effect: Weak Color Chrome Effect: Off/NA White Balance: Incandescent, +4 Red & -9 Blue ISO: Auto up to ISO 6400 Exposure Compensation: -1/3 to -1(typically)
Example photographs, all camera-made JPEGs captured using this “Melancholy Blue” Film Simulation Recipe on my Fujifilm X-T30 & Fujifilm X-H1 cameras:
Prickly Fruit – Buckeye, AZ – Fujifilm X-H1
Yellow on Top – Buckeye, AZ – Fujifilm X-H1
Dark Saguaro – Buckeye, AZ – Fujifilm X-H1
Buddies – Buckeye, AZ – Fujifilm X-H1
Lights Along A Wall – Buckeye, AZ – Fujifilm X-T30
Backyard Blooms – Buckeye, AZ – Fujifilm X-H1
Backlit Trumpets – Buckeye, AZ – Fujifilm X-H1
Twin Blooms – Buckeye, AZ – Fujifilm X-T30
Climbing Trumpets – Buckeye, AZ – Fujifilm X-T30
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-H1
Block Wall Shadow – Buckeye, AZ – Fujifilm X-H1
Does Not Stop – Buckeye, AZ – Fujifilm X-H1
Roof Lines – Buckeye, AZ – Fujifilm X-T30
Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!
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Fujifilm officially announced the X-T30 II today. This “new” camera is just like the “old” camera (including the X-T30 nameplate on the front… it says “X-T30” and not “X-T30 II”), except for a few key things. The rear screen is higher resolution. The camera has some additional built-in memory. It has (basically) the same firmware as the X-T4, X-S10, and X-E4. Otherwise, the two models are identical.
In my article Thoughts on the Upcoming Fujifilm X-T30 III basically blasted Fujifilm for not offering a firmware update to the X-T30, but selling that firmware update as a “new” camera. I also stated:
It is possible that the X-T30 doesn’t have the internal memory, processing power, or heat dispersion capacity to receive this firmware update. It is possible that there is a hardware limitation that prevents it.
It seems that “internal memory” was indeed an issue, although I believe that the memory issue has more to do with the video side of things than still pictures. That’s just my opinion, not anything I have any evidence for. So the X-T30 II firmware can’t just be uploaded onto the X-T30, but a scaled down version, perhaps without the improved video features, certain could, and definitely should! It’s long, long overdue.
Fujifilm, if you happen to read this, please visit the comments section of my previous article. These are your customers, and those are their opinions.
The X-T30 II will be available on October 21, and if you have been thinking about getting an X-T30, you are better off waiting until October and buying the X-T30 II. I assume that the “original” X-T30 will be discontinued and discounted around that time, so perhaps a good deal on that model will be coming soon.
Also announced was the X-T3 WW, which is an X-T3 without a battery charger, and a $100 cheaper price-tag. The X-T3 and X-T3 WW are 100% identical. If you don’t need a battery charger, this might be a good option to save a little money.
I told you a couple weeks ago that Fujifilm was going to release one more X-series camera before the end of the year, and I speculated what it might be. Fujirumors has let the cat out of the bag, and now we know it will be the X-T30 II, which will be an X-T30 but with “firmware on steroids.” I have a lot of thoughts (and emotions) on this, which I’ll share below.
First, I do not think this is the smartest move by Fujifilm. Last year I said, “If Fujifilm were to update the firmware on the X-T3 and X-T30 to breathe new excitement into these models, these cameras could still be sold for another two years easily.” Some people are looking for an excuse to upgrade from the X-T10 or X-T20 (and maybe a few other models), and whether the camera is the X-T30 II or an X-T30 with a major firmware update doesn’t matter to them. They’ll buy either. Those with an X-T30 aren’t likely to upgrade to the X-T30 II (I know I won’t).
All this does to X-T30 owners is make unhappy customers. I know that Fujifilm has no obligation to offer firmware updates. I was very happy with the my X-T30 when I bought it almost two-and-a-half years ago, and I’m still happy with it. But when a company does a certain practice (such as Kaizen firmware updates) for so long, it becomes expected. It’s not only expected that Fujifilm would do this, it makes sense for them to do so, as it creates happy customers, which means they’re more likely to be repeat customers and even unofficial brand ambassadors. Offering a major Kaizen firmware update to the X-T30 would thrill X-T30 owners and make them very happy customers (a.k.a. repeat customers who tell their friends how awesome Fujifilm cameras are), and it would breathe new life of excitement into the X-T30, increasing sales from those looking to upgrade from older models. It’s a win-win!
Instead, X-T30 owners will have to shell out $900 (or whatever the X-T30 II will cost) to get the firmware update that they’ve been hoping for. They won’t—I won’t, anyway. It seems like a greedy move. Fujifilm painted themselves with a seemingly negative light. They did it to themselves, I’m just pointing out the obvious that everyone sees.
That is, if indeed the X-T30 II is an X-T30 with nothing more than a firmware update. It is possible that the X-T30 doesn’t have the internal memory, processing power, or heat dispersion capacity to receive this firmware update. It is possible that there is a hardware limitation that prevents it. Maybe Fujifilm was attempting to do this firmware update when they realized they couldn’t, and thus the X-T30 II was born. I have no idea if this is the case or not. Emotionally I hope it is (because it means that Fujifilm isn’t driven by mere greed). Logically I hope it is not (because it means that a firmware update is still possible for the X-T30, although that seems unlikely at this point). Internally the X-T30 II might not be 100% identical to the X-T30—it’s impossible to know right now, but either way there’s a negative aspect to it for Fujifilm customers.
The X-T30 II is actually a much-needed camera in the Fujifilm lineup. Really, the X-T30 with a Kaizen firmware update is what was needed, but since that’s apparently not happening, X-T30 II will serve as a stop-gap between the X-T30 and future X-T40. You see, there are people who don’t want the X-S10 because of the PASM dial and non-retro design, who don’t want the X-E4 because it doesn’t have enough dials, switches and knobs, who don’t want an X-T4 because it is too big and expensive, and who don’t want the X-T30 because it doesn’t have all of the JPEG options that those newer cameras have. The X-T30 II will be the camera of choice for those people.
There’s also an implication here for the X-T3. Those who have an X-T3, like those with an X-T30, have been hoping for a Kaizen update for nearly two years. Since the X-T30 isn’t getting one, the X-T3 isn’t likely to get one, either. Want a firmware update for the X-T30? Buy an X-T30 II! Want a firmware update for the X-T3? Buy an X-T4! That’s the message, unfortunately.
The Fujifilm X-T30 II will be announced on September 2, the same day that the Fujinon 33mm f/1.4 will be announced.
I don’t think that Fujifilm regularly reads this website. I don’t think they were even aware of Fuji X Weekly until a little over a year ago. I do believe that they have mixed feelings about this blog, because I often use a competitor’s brand name (Kodak, Kodachrome, Portra, etc.), which seems silly to me as Kodak hasn’t been a major player in photography in awhile, yet I bring them a lot of new customers due to the film simulation recipes. They also don’t like articles where I mention yet-to-be-announced products (such as this one). I don’t have a voice at the company, but I wish that I did because I do believe I have a pretty good pulse of their customers—thanks to you, the greatest community in all of photography! In the off chance that Fujifilm reads this article, I would like your opinions to be included. If you’d like Fujifilm to release a firmware update for the X-T30 and X-T3, let them know by commenting. They might not ever read your thoughts and ideas, but they might, so please let them know, and maybe—just maybe—it will make a difference.
Inside City Creek – Salt Lake City, UT – Fujifilm X-T30
This film simulation recipe was an experiment. I started out with my Fujicolor 100 Industrial recipe, but instead of using a cool White Balance with a warm White Balance Shift, I did the opposite: I used a warm White Balance with a cool shift. After many adjustments to various settings, this ended up not resembling the Fujicolor 100 Industrial recipe much at all, but it does have a great vintage print-film aesthetic that I really like.
I wasn’t sure at first which film this recipe most closely resembled (since it wasn’t intended to mimic any specific film), although it seemed to have some similarities to Kodacolor VR. I already have a Kodacolor recipe, which does a great job at mimicking Kodacolor VR; this recipe and that one look somewhat similar, but definitely different. Then I ran across some pictures that looked very similar to the ones you see in this article, and it turned out that they were shot on Kodacolor VR film that had expired. So I think this recipe, while it does resemble Kodacolor VR, as well as ColorPlus 200 (which is a direct descendant of that film), it most closely looks like Kodacolor VR that’s been stored a little past its expiration date. Of course, one film can have many different looks, depending on how it was shot, developed, scanned and/or printed, and (in this case) stored, so this recipe serves as a nice alternative to my original Kodacolor recipe.
Leaning Tower – Salt Lake City, UT – Fujifilm X-T30
The Fuji X Weekly app is free, yet becoming a Fuji X Weekly Patron unlocks the best app experience! One benefit of being a Patron is you get early access to some new film simulation recipes. These early-access recipes will eventually become available free to everyone in time, including this new one. In fact, many early-access recipes have already been publicly published on this blog and the app, so now everyone can use them. Patrons help support Fuji X Weekly and, really, without them there would be no app. So I want to give a special “thank you” to all of the Patrons!
This new Patron early-access recipe is compatible with Fujifilm X-Trans III and X-Trans IV cameras. For those with newer cameras, set Color Chrome FX Blue to Off, Clarity to 0 (or perhaps -2), and I’d suggest Grain size Large, but use Small if you prefer.
If you are a Fuji X Weekly Patron, it’s available to you right now on the app!
Example photographs, all camera-made JPEGs captured using this “Kodacolor VR” film simulation recipe on my Fujifilm X-T30:
Summer Reeds – Farmington, UT – Fujifilm X-T30
Corner Through Leaves – Salt Lake City, UT – Fujifilm X-T30
Stones & Glass Ceiling – Salt Lake City, UT – Fujifilm X-T30
Glass – Salt Lake City, UT – Fujifilm X-T30
Building a Building – Salt Lake City, UT – Fujifilm X-T30
Small Spaces Between – Salt Lake City, UT – Fujifilm X-T30
Twilight Telephone Poles – Salt Lake City, UT – Fujifilm X-T30
Stoneground – Salt Lake City, UT – Fujifilm X-T30
Goes for Gold – Salt Lake City, UT – Fujifilm X-T30
Night Parking – Salt Lake City, UT – Fujifilm X-T30
Doki Doki – Salt Lake City, UT – Fujifilm X-T30
Escalators – Salt Lake City, UT – Fujifilm X-T30
Downtown Buildings – Salt Lake City, UT – Fujifilm X-T30
Coming Train – Salt Lake City, UT – Fujifilm X-T30
Trax – Salt Lake City, UT – Fujifilm X-T30
Waiting on the Platform – Salt Lake City, UT – Fujifilm X-T30
Glass & Sky – Salt Lake City, UT – Fujifilm X-T30
Tall Downtown Buildings – Salt Lake City, UT – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Walking on a Bridge – Farmington, UT – Fujifilm X-T30 – “Kodak Portra 400 v2”
This film simulation recipe is a slight variation of my Kodak Portra 400 recipe. It came about after I made a Portra 400 v2 recipe for the newer X-Trans IV cameras, which was created after studying actual examples of the film provided to me by a reader. I wanted to create a similar modification for the X-T3 and X-T30, which became this recipe. One film can have many different looks, depending on how it’s shot, developed, and scanned and/or printed, so this isn’t necessarily a “better” recipe, just a slightly different take on recreating the film’s aesthetic. I really like this one, and I think you will, too!
Portra 400, which is a color negative film, was introduced by Kodak in 1998. It was redesign in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made. Interestingly, Kodak briefly made a black-and-white version of Portra 400!
Downtownscape – Salt Lake City, UT – Fujifilm X-T30 – “Kodak Portra 400 v2”
This isn’t exactly a brand-new recipe. It was published as a Patron early-access recipe on the Fuji X Weekly App back on December 1st, so Patrons have had access to it for quite some time. Now another early-access recipe has replaced it, so this one is available to everyone! If you are a Fuji X Weekly Patron, be sure to check out the new early-access recipe in the app.
Classic Chrome Dynamic Range: DR-Auto Highlight: -1 Shadow: -1 Color: +2 Noise Reduction: -4 Sharpening: -2 Grain Effect: Strong Color Chrome Effect: Strong White Balance: Daylight, +2 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Portra 400 v2” film simulation recipe on my Fujifilm X-T30:
Blackberry Forest Evening – Farmington, UT – Fujifilm X-T30
Three Backlit Leaves – Farmington, UT – Fujifilm X-T30
Tiny Red Berries – Farmington, UT – Fujifilm X-T30
Broken and Boarded – Farmington, UT – Fujifilm X-T30
Window to the City – Salt Lake City, UT – Fujifilm X-T30
Lululemon – Salt Lake City, UT – Fujifilm X-T30
Two Tall Buildings – Salt Lake City, UT – Fujifilm X-T30
Hotel – Salt Lake City, UT – Fujifilm X-T30
Two Cranes – Salt Lake City, UT – Fujifilm X-T30
A Downtown Cityscape – Salt Lake City, UT – Fujifilm X-T30
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Pink Roses – Farmington, UT – Fujifilm X-T30 – “Fujicolor Pro 400H Box Speed”
In my last post, entitled A Different Approach, I shared Anders Lindborg‘s new take on film simulation recipes, which included seven different Fujicolor Pro 160NS recipes that he invented. This is Part 2 of that article. Below you’ll find another seven recipes, this time for Fujicolor Pro 400H! If you haven’t read the first post, you’ll want to do that now, because this will make a lot more sense if you have that prerequisite understanding.
If you don’t want to take the time to read it (or if you’ve already forgotten), here’s a quick summery. Anders’ approach is to have a good base recipe that works well in most circumstances, but also have subtle variations of that recipe, that mimic pushed and pulled film, for when the conditions require either less contrast (pulled) or more contrast (pushed). You can use all seven Custom Presets in the Q Menu to save each of these recipes if you want, or just save the base recipe (called “Box Speed”) and adjust to the various variations on-the-fly, or save the base setting and have the variations programmed into X RAW Studio. Also, by design these recipes will work with any film simulation, even though they call for PRO Neg. Hi.
Like the 160NS recipe, I’m only including the “Box Speed” version in the Fuji X Weekly app, and I encourage you to use the Notes section under the recipe to store the pushed and pulled variations. These seven Fujicolor Pro 400H recipes are compatible with the Fujifilm X-T3 and X-T30 cameras. If you have a newer X-Trans IV camera (X-Pro3, X100V, X-T4, X-S10 and X-E4), Anders recommends setting Clarity to -3 and Grain to Weak & Large. If you have an X-Trans III camera, ignore Color Chrome Effect; the results will be slightly different, but it will still produce good results. For Pushed +3 and Pushed +4, feel free to try Grain Strong.
This recipe wasn’t intended to mimic Fujicolor Pro 400H film, but it does resemble it fairly well. A lot of people like to overexpose real 400H film to get a pastel look; unfortunately, this recipe won’t achieve that particular aesthetic (but look here and here). Anders created this recipe by modifying his Pro 160NS settings; I made a couple of small modifications to it, but mostly these settings are created by him. Thank you, Anders, for creating these recipes and allowing me to share them!
Fujicolor Pro 400H Box Speed
Pops of Red – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: 0 Shadow: 0 Color: +1 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Free Pie – South Ogden, UT – Fujifilm X-T30
Birthday Girl Coloring – Farmington, UT – Fujifilm X-T30
Shelf Plant – Farmington, UT – Fujifilm X-T30
Fujicolor Pro 400HPulled -1
Snail – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: -1 Shadow: -1 Color: +1 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pulled -1: HL & SH -1.
Green Aspen Leaves – Farmington, UT – Fujifilm X-T30
Tank Cars – Uintah, UT – Fujifilm X-T30
Yellow Cat – Layton, UT – Fujifilm X-T30
Fujicolor Pro 400H Pulled -2
Hazy Mountain – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: -2 Shadow: -1 Color: 0 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pulled -2: HL -2, SH -1, CLR 0.
Box Cars – Uintah, UT – Fujifilm X-T30
Suburban Sunset – Farmington, UT – Fujifilm X-T30
Hazy Tree – Farmington, UT – Fujifilm X-T30
Fujicolor Pro 400H Pushed +1
Yucca Leaves – Uintah, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: +1 Shadow: 0 Color: +1 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pushed +1: HL +1.
Red Tree – Farmington, UT – Fujifilm X-T30
Tree & Dark Clouds – Farmington, UT – Fujifilm X-T30
David Baldwin – Farmington, UT – Fujifilm X-T30
Fujicolor Pro 400H Pushed +2
Wood Stripes – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: +2 Shadow: 0 Color: +2 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pushed +2: HL +2, CLR +2.
Mountain Biking – Farmington, UT – Fujifilm X-T30
Radar Mountain – Farmington, UT – Fujifilm X-T30
Bloomin’ Onion – Farmington, UT – Fujifilm X-T30
Fujicolor Pro 400H Pushed +3
Three Artificial Plants – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: +2 Shadow: +1 Color: +3 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -3 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pushed +3: HL +2, SH +1, CLR +3.
Berry Bush Leaves #1 – Farmington, UT – Fujifilm X-T30
Berry Bush Leaves #2 – Farmington, UT – Fujifilm X-T30
Sky Leaves – Farmington, UT – Fujifilm X-T30
Fujicolor Pro 400H Pushed +4
Old Phone – Farmington, UT – Fujifilm X-T30
PRO Neg. Hi Dynamic Range: DR400 Highlight: +3 Shadow: +2 Color: +4 Color Chrome Effect: Strong Grain: Weak Noise Reduction: -4 Sharpness: -4 White Balance: Daylight, +1 Red & -3 Blue ISO: Auto up to ISO 6400 Exposure Compensation: -1/3 to +2/3 (typically)
If you are adding this recipe to the Notes in the app, consider using this abbreviation: Pushed +4: HL +3, SH +2, CLR +4, SHARP -4.
Berry Bush Leaves #3 – Farmington, UT – Fujifilm X-T30
Green – Farmington, UT – Fujifilm X-T30
Landscape Leaves – Farmington, UT – Fujifilm X-T30
Below are examples of using the Fujicolor Pro 160NS Box Speed recipe using other film simulations. You can do this with all of the pull and push variants, too, although I didn’t supply any examples of those because this article is already very long.
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Don’t Walk Under Falling Bicycles – Farmington, UT – Fujifilm X-T30 – “Chrome Bypass”
There are a number of X-Trans IV film simulation recipes that I’ve had multiple requests to create versions for that are compatible with X-Trans III and X-T3 and X-T30 cameras. LomoChrome Metropolis and Bleach Bypass are two that are commonly requested. These recipes require JPEG settings that don’t exist on the “older” cameras, including the Classic Negative or Eterna Bleach Bypass film simulations. I knew it would be impossible to recreate those recipes for X-Trans III and the X-T3 and X-T30 cameras, but I wanted to get as close as I could. After much experimenting, I came up with some settings that are sometimes similar to the LomoChrome Metropolis recipe and are sometimes similar to the Bleach Bypass recipe, and sometimes not like either.
What the LomoChrome Metropolis and the Bleach Bypass recipes have in common are that they’re both high in contrast and low in color saturation. There are some other similarities between them, but there’s plenty that’s different, too. This recipe with certain subjects and in certain light situations can resemble one or the other, or neither. It’s as close as I could get. If you like the LomoChrome Metropolis and Bleach Bypass recipes, this is your best bet for X-Trans III and X-T3 and X-T30 cameras (aside from doing double-exposures). While it’s not as “perfect” as I was hoping to achieve, I think it’s a pretty good recipe for capturing dramatic pictures. It’s kind of (but not really) the low saturation version of Dramatic Classic Chrome.
Because these settings resemble both the LomoChrome Metropolis and the Bleach Bypass film simulation recipes, I decided to name this recipe Chrome Bypass, taking a little from each name. I don’t currently have access to an X-Trans III camera, so I don’t have any samples captured with a Fujifilm X-Trans III camera, but it should look very similar.
PRO Neg. Std Dynamic Range: DR200 Highlight: +3 Shadow: +4 Color: -4 Color Chrome Effect: Off or N/A Sharpness: -1 Noise Reduction: -4 Grain Effect: Strong White Balance: Auto, +2 Red & -5 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Sample photographs, all camera-made JPEGs, captured with a Fujifilm X-T30 using this “Chrome Bypass” film simulation recipe:
Mountain Teasels – Farmington, UT – Fujifilm X-T30
Cloudy Branches – Farmington, UT – Fujifilm X-T30
Summer Tree – Farmington, UT – Fujifilm X-T30
Country Fence & Old Tires – Farmington, UT – Fujifilm X-T30
Tulip Pot – Farmington, UT – Fujifilm X-T30
Colorful Tulips – Farmington, UT – Fujifilm X-T30
Handy Dandy Grill – Farmington, UT – Fujifilm X-T30
Little Bit of Green – Farmington, UT – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
I’ve been wanting to create a new Velvia recipe for awhile now. The previous version is bold, but sometimes produces too much contrast. This recipe is actually a little closer to my original Velvia recipe, but with even less contrast yet with more saturation. This Velvia v2 recipe doesn’t closely mimic any specific version of Velvia film, yet it still retains an overall Velvia-like aesthetic.
Velvia is a high-saturation, low-ISO color reversal (slide) film introduced in 1990. I’ve shot many rolls of it, mostly the original ISO 50 version, but also the “new” Velvia 50, Velvia 100F and Velvia 100 emulsions. Of those films, this recipe is probably closest to Velvia 100, but not exactly like it.
Brown Reflection – Farmington, UT – Fujifilm X-T30 – “Velvia v2”
This film simulation recipe is intended for the Fujifilm X-T30 and X-T3 cameras. If you have “newer” X-Trans IV cameras, you might consider Color Chrome Effect Blue set to Weak, Grain set to Weak and Small, and Clarity set to +2 perhaps. If you have an X-Trans III camera, which doesn’t have Color Chrome Effect, you can still use this recipe, but the results will be slightly different. Those with GFX cameras can also use this recipe, and it will look very close but not exactly the same.
Velvia Dynamic Range: DR200 Highlight: -1 Shadow: -1 Color: +4 Noise Reduction: -4 Sharpening: 0 Grain Effect: Weak Color Chrome Effect: Strong White Balance: Auto, 0 Red & 0 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs, captured using a Fujifilm X-T30 with this Velvia v2 film simulation recipe:
March Reeds – Farmington, UT – Fujifilm X-T30
Reeds in Evening Light – Farmington, UT – Fujifilm X-T30
Water Under The Bridge – Farmington, UT – Fujifilm X-T30
Muddy Water – Farmington, UT – Fujifilm X-T30
Ducks in the Shallow Water – Farmington, UT – Fujifilm X-T30
Flying Seagull – Farmington, UT – Fujifilm X-T30
Evening Gull – Farmington, UT – Fujifilm X-T30
Utah Reeds – Farmington, UT – Fujifilm X-T30
Evening Cloud Over The Ridge – Farmington, UT – Fujifilm X-T30
Grass, Pond & Mud – Farmington, UT – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Fujifilm North America sent me a GFX-50S medium-format camera and Fujinon 23mm lens to go with it. The camera and lens aren’t mine; I get to use them for a few weeks, then return them to Fujifilm. The camera is $5,500 (it was $6,500 when it came out four years ago), and the lens is $2,600, so just over $8,000 altogether. This is the most expensive camera and lens that I’ve ever put my hands on!
There are two questions that I want to answer: how much better is medium-format GFX over the APS-C X cameras, and which film simulation recipes, if any, are compatible with GFX. By the way, this isn’t my review of the camera. I’ll write that after I’ve had it for longer. This article is the first step towards a review. I’m simply trying to answer a couple of questions about the GFX-50S camera.
Yesterday I did a little survey on my Instagram account: can you tell the difference between pictures captured on my Fujifilm X-T30 with a Rokinon 12mm lens (a $1,200 combo) and those captured on a GFX-50S with a Fujinon 23mm lens? By far, most photographs are viewed on social media. People post their pictures on Instagram and Facebook and other platforms, and that’s how we see them. Printed photographs are far less common. That’s just the way it is. I wanted to know: on social media, is it even possible to tell the difference between pictures captured using $1,200 gear and $8,000 gear?
Before I get into the responses to that survey, I want to briefly talk about the technical stuff—the why. The reason that I chose the X-T30 is because its JPEG settings are very similar to the GFX-50S’ JPEG settings. I used the same film simulation recipes, Kodak Ultramax for color and Kodak Tri-X 400 for black-and-white, on both cameras (this also allowed me to see how similar or dissimilar recipes are rendered on these cameras). I chose the Rokinon 12mm lens because it has the same 18mm full-frame-equivalent focal length as the 23mm lens on the GFX camera. I used f/8 on the Rokinon and f/16 on the Fujinon (to better match the depth-of-field) and adjusted the shutter speed to compensate; otherwise, the settings on both cameras were identical.
Here are the pictures that I posted to Instagram, in the same order:
Fujifilm X-T30
Fujifilm GFX-50S
Fujifilm X-T30
Fujifilm GFX-50S
Fujifilm X-T30
GFX-50S
Fujifilm X-T30
Fujifilm GFX-50S
Now to that survey! The majority of the comments were something to the effect of, “I can’t tell which camera took which pictures.” There were 10 people who took a guess, and five got it right and five wrong. I was actually surprised that five people figured it out—some of you have very keen eyes! There were three sets of two pictures to allow for direct comparisons, but the final two pictures weren’t a set, and those two pictures tripped up a few people who otherwise figured out the rest. Even a couple of those who guessed correctly said that they weren’t certain on those last two. The takeaway is that, on social media, if you study the pictures carefully and can side-by-side compare, there is a barely noticeable difference between images captured on GFX cameras and those captured on X cameras, but otherwise you can’t tell.
Of course, you’re not spending $8,000 for good-looking social media pictures, but for good-looking prints. So I printed the pictures! All of the prints were 8″ x 12″, but I made some crops that would be about 16″ x 24″, 24″ x 36″, and 40″ x 60″ if the rest of the picture was there. Here are a few of those crops:
Fujifilm X-T30
Fujifilm GFX-50S
Fujifilm X-T30
Fujifilm GFX-50S
Fujifilm X-T30
Fujifilm GFX-50S
The prints!
I studied the prints, then I had my wife, Amanda, look at them. We both came to the same conclusion: printed at 8″ x 12″ it’s really difficult to tell which camera captured which picture; at 16″ x 24″ it’s a little easier to tell but still very tough; at 24″ x 36″ it’s more obvious, but the X-T30 still looks pretty good; and at 40″ x 60″ the GFX is the clear winner, but the X-T30 image isn’t awful.
The Fujifilm GFX-50S costs six times as much as the Fujifilm X-T30. Does it produce six times better image quality? No. Does it produce twice as good image quality? No. Is it a pixel-peeper’s dream? Yes! If you like to zoom into your images and admire the fine details that can only be noticed when you look closely, the GFX-50S is a great option. If you need to crop deeply and still have good-looking pictures, the GFX-50S will deliver. If you print really, really big, the GFX-50S is indeed a fine photographic tool. Outside of that, there’s not a big advantage to the medium-format camera. In fact, there might be as many disadvantages as there are advantages, but that’s a discussion for another time. Did I mention that those files look really nice when you look really close?
Forest Creek – Farmington, UT – Fujifilm GFX-50S – Classic Negative
I have seven different film simulation recipes programmed into the GFX-50S right now, and here’s my probably-too-soon opinion: X-Trans III recipes and X-Trans IV recipes that are compatible with the X-T3 and X-T30 are usable on the GFX-50S… but they don’t look exactly the same. One difference is that the JPEGs from the GFX-50S are slightly less saturated and a hair less warm; it’s very minor but noticeable when side-by-side comparing. The GFX-50S has a larger dynamic range, which not only gives you more latitude for highlight and shadow recovery, but also produces a more flat picture; that’s not necessarily bad, just different. The GFX-50S has Classic Negative—yea!—but not the other JPEG options, such as Clarity and Color Chrome FX Blue, that the newer X-Trans IV cameras have.
I look forward to shooting more with the GFX-50S, and I know it will be difficult to send back. Using it reaffirms that X series cameras are fantastic and that the gap between APS-C and medium-format isn’t as big as what one might think. There are people who would benefit from the larger sensor and higher resolution that the GFX-50S offers, and those people likely know who they are. If I could, I would definitely own this camera, but it’s not a big deal that I don’t because my other Fujifilm cameras are pretty darn good, too.
My most expensive lens, by far, is the Fujinon 100-400mm, which retails for $1,900. Despite the hefty price tag, I find myself not using that lens very often. Why? There are several reasons. First, the camera that I reach for the most is my Fujifilm X100V, which has a fixed lens, so I can’t use the 100-400mm with that camera. Another reason is that the focal length is very long and sometimes difficult to use; it’s not the right tool for many situations. The final reason is that it’s big and heavy, especially compared to my other lenses, and it works best when attached to a tripod, so it’s kind of a hassle to use. I paid a lot of money for this lens, so I need to use it more often.
One recent opportunity I had to use the Fujinon 100-400mm lens was photographing the sunset in Bountiful, Utah. Some distant clouds and haze created the potential for a great sunset. I set my tripod at the top of a hill that overlooked the valley below, attached the lens to the tripod, then attached my Fujifilm X-T30 to the lens. I had my Velvia film simulation recipe loaded into the camera, which is a great recipe for sunset photography because of its contrast and vibrant colors. In the film days, Velvia 50 was a top choice if you wanted stunning sunset pictures, and now with Fujifilm X cameras the Velvia film simulation is a top option.
Temple – Bountiful, UT – Fujifilm X-T30 & Fujinon 100-400mm
The sunset didn’t disappoint. Actually, it was more vibrant and lovely than I could have hoped for! It was a great show that lasted about 10 minutes. Even though I had the lens on a tripod, I still kept the shutter speed high to prevent blur from shake because I didn’t tighten everything down so that I could swing the lens around. To get a faster shutter speed I had the ISO set higher than one might expect. I was doing manual exposure. I zoomed in and out, trying to find different compositions. These seven pictures were captured from that one spot within the 10 minutes of the sunset show. The 100-400mm lens allowed me to capture a variety of pictures without moving places.
These photographs aren’t in sequential order. The picture at the top of this article was actually the last exposure, and the picture above of the temple was second-to-last. The very first exposure is the last picture at the bottom of this post. The order of the rest are scrambled up. In some pictures, I think the saturation is a little too much, and perhaps the recipe too bold, but in some other pictures it was the right choice. The X-T30 is a good camera, and the 100-400mm a good lens, and they worked very well together to make these pictures possible. I need to use these together more often.
Lava Sky over Stansbury Mountains – Bountiful, UT – Fujifilm X-T30 & Fujinon 100-400mm
South End of Antelope Island – Bountiful, UT – Fujifilm X-T30 & Fujinon 100-400mm
Street Lamp Sunset – Farmington, UT – Fujifilm X-T30 – “Kodak Ultramax”
I’ve received a lot of positive feedback from my Fujifilm X100V Kodak Ultramax 400 film simulation recipe, which I published two weeks ago. I’ve had a ton of requests to make a version of this recipe that’s compatible with X-Trans III sensor cameras, plus the X-T30 and X-T3. Well, I’ve done it, and here it is!
This version of the Ultramax recipe is pretty close to the original, but not precisely the same. Because the new cameras—the X100V, X-T4 and X-Pro3—have different tools, that recipe isn’t compatible with “older” Fujifilm cameras, but I made some adjustments and changes, and created this new version, which produces similar results. It’s fully compatible with the X-Pro2, X100F, X-E3, X-T2, X-T20, X-H1, X-T3 and X-T30 cameras. While not 100% exactly the same as the original recipe, it definitely has the same overall Ultramax aesthetic.
Sunstar Through Peach Leaves – Farmington, UT – Fujifilm X-T20 – “Kodak Ultramax”
Ultramax 400 is Kodak’s consumer grade ISO 400 color negative film. Kodak has sold Ultramax 400 under many different names, beginning in 1987 with Kodacolor VR-G 400, rebranded Gold 400 one year later, called simply GC at one point, and finally, in 1997, Kodak settled on Ultramax 400. Kodak still sells Ultramax 400, although it’s not the same film as Kodacolor VR-G 400. This film has been tweaked and updated at least nine times over the years; however, the overall aesthetic is still substantially similar between all variations.
Classic Chrome Dynamic Range: DR400 Highlight: +2 Shadow: +2 Color: +4 Sharpening: +2 Noise Reduction: -4 Grain: Strong Color Chrome Effect: Off or N/A White Balance: Auto, +1 Red & -6 Blue ISO: Auto up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Ultramax film simulation recipe on a Fujifilm X-T20 and X-T30:
Creek – Farmington, UT – Fujifilm X-T20
Shadow Catcher – Farmington, UT – Fujifilm X-T30
Boy by a Window – Farmington, UT – Fujifilm X-T30
Jonathan in Window Light – Farmington, UT – Fujifilm X-T30
Pencils on the Table – Farmington, UT – Fujifilm X-T30
Balcony – Farmington, UT – Fujifilm X-T20
Panda Express – Farmington, UT – Fujifilm X-T20
Window Flag – Farmington, UT – Fujifilm X-T30
American Tree – Farmington, UT – Fujifilm X-T30
Green Mountain Summer – Farmington, UT – Fujifilm X-T30
Summer Pear Tree – Farmington, UT – Fujifilm X-T30
Greens of Summer – Farmington, UT – Fujifilm X-T30
Backyard Tree Evening – Farmington, UT – Fujifilm X-T20
Backyard Aspen Leaves – Farmington, UT – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Wasatch Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm
Over the last few days I’ve captured a number of pictures from my house of the nearby Wasatch Mountains. I’m very fortunate that I live so close to such a majestic and beautiful landscape. I can see it from my living room. I can sit on my patio and watch the light change and the seasons change on the mountains. It’s right there! I feel very lucky to witness this and be able to capture it with my camera.
It’s been between overcast and partly-cloudy lately, with conditions changing rapidly and dramatically. It’s gone from fairly uninteresting to amazing and back to mostly uninteresting in a matter of moments. This has repeated over and over. I’ve tried to keep an eye out for it, and tried to be quick enough to photograph it before it disappeared. That’s not always possible, and many times I wasn’t successful, but sometimes I was.
The film simulation recipe that I chose for these pictures is my Velvia recipe (I also used my Ilford HP5 Plus recipe, and those pictures are in Part 2). These settings are bold and vibrant, much like actual Velvia film. I really appreciate this film simulation recipe for landscape photography where I want colors to pop. The mountain is covered in the fresh green of spring, and these settings are the best for highlighting that. If I want vivid colors, my Velvia recipe is what I choose.
The gear that I used for these pictures is a Fujifilm X-T30 with a Fujinon 100-400mm lens attached to it. I like to use a tripod or monopod with the 100-400mm lens, but these pictures are all hand-held. If I had waited to attach a tripod to the lens, I would have missed many of these shots. The long telephoto lens allows me to bring the mountains up-close, like I travelled into the mountains to capture these pictures, yet I didn’t even leave home. It really is amazing that I was able to make these photographs without going anywhere.
Clearing Clouds Above the Ridge – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm
Cold Spring – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm
Francis Peak Veiled – Farmington, UT – Fujifilm X-T30 & Fujinon 100-400mm
Gone Fishin’ – Farmington, UT – Fujifilm X-T30 & 90mm
I get asked frequently what film simulation recipes are good for which situations. It can be hard to know when to use each one. When faced with a scene, which recipe should you choose? I hope that this Film Simulation Review series helps to bring clarity to this.
On grey-sky days there’s one film simulation recipe that I love to use: Fujicolor Superia 800. When I invented this recipe, I had no idea how good it was for dreary days. Fuji X Weekly reader Luis Costa shared his use of this recipe on a grey day, and it blew me away! Ever since, when there’s overcast sky and a little rain, for color pictures, my Fujicolor Superia 800 film simulation recipe is what I use.
This series of pictures were captured on a recent dreary day using the Superia 800 recipe. I used a Fujifilm X-T30 with a Fujinon 90mm f/2 lens attached to it. This 90mm lens can be difficult to use just because of its focal length, which is full-frame equivalent to 135mm, but it delivers excellent results. It’s super sharp and nearly flawless. It’s such a great lens!
My Superia 800 recipe is based on Fujicolor Superia X-tra 800 film. Fujifilm introduced this consumer grade high ISO color negative film in 1998 and discontinued it in 2016. It was a common film to find at the local store. It was an excellent choice for low-light situations, and it was commonly used by photojournalists. All of the pictures in this article are camera-made JPEGs using my Superia 800 film simulation recipe.
Raining in the Alley – Farmington, UT – Fujifilm X-T30 & 90mm
Goodyear – Farmington, UT – Fujifilm X-T30 & 90mm
Drop in the Bucket – Farmington, UT – Fujifilm X-T30 & 90mm
Wet Slide – Farmington, UT – Fujifilm X-T30 & 90mm
Wish Maker – Farmington, UT – Fujifilm X-T30 & 90mm
Green – Farmington, UT – Fujifilm X-T30 & 90mm
Drop of Water on a Blackberry Leaf – Farmington, UT – Fujifilm X-T30 & 90mm
Green Tree Tops – Farmington, UT – Fujifilm X-T30 & 90mm
Trees – Farmington, UT – Fujifilm X-T30 & 90mm
King – Farmington, UT – Fujifilm X-T30 & 90mm
Catching a Lost Float – Farmington, UT – Fujifilm X-T30 & 90mm
Geese – Farmington, UT – Fujifilm X-T30 & 90mm
Swimming Duck – Farmington, UT – Fujifilm X-T30 & 90mm
A Fuji X Weekly reader asked me to create a film simulation recipe that mimics Kodak Vision3 250D motion picture film. Kodak introduced Vision3 250D in 2009. While it’s a color negative motion picture film, it can also be used for still photography. I’ve never used this film, but as I researched it, I came to realize that this one film can produce many different looks, depending on how it’s shot and developed. In fact, you can develop it using either the C-41 or ECN-2 process, and you can even develop it as black-and-white. You can push-process several stops. There’s a lot of latitude for over and under exposure.
As you can imagine, it would be impossible to create a film simulation recipe that mimics every possible look from this film, or even most. I focused in on one specific aesthetic, although I can’t say for sure how that aesthetic was achieved, and made a recipe that mimics it. I think I came pretty darn close. Perhaps more importantly, these settings look good. There’s a certain quality to the pictures made using this recipe that’s especially lovely. Some of you are really going to love these settings!
Flowers on a Tree Branch – Farmington, UT – Fujifilm X-T30 “Kodak Vision3 250D”
Since Kodak Vision3 250D is a motion picture film, I had fun using this film simulation recipe in the 16:9 aspect ratio from time-to-time because it is a more cinematic shape. If you used the film for still photography, most likely the frame would be a 3:2 aspect ratio, which is what I chose for most of these pictures. You can choose any aspect ratio that you’d like. If you have an X-H1, which doesn’t have Color Chrome Effect but does have Eterna, you can still use this recipe, but the results will be slightly different.
Eterna Dynamic Range: DR100 Highlight: +3 Shadow: +4 Color: +3 Noise Reduction: -4 Sharpening: -2 Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Fluorescent 1 (Daylight Fluorescent), -3 Red & -1 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)
Below are all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation recipe on my Fujifilm X-T30 camera:
Blue Bokeh – Farmington, UT – Fujifilm X-T30
Nighttime Fire Hydrant – Farmington, UT – Fujifilm X-T30
Yellow Tree – Farmington, UT – Fujifilm X-T30
Lights Strung Across The Road – Farmington, UT – Fujifilm X-T30
Forever the Perfect Accessory – Farmington, UT – Fujifilm X-T30
Artificial Light Rays – Farmington, UT – Fujifilm X-T30
Reserved Parking – Syracuse, UT – Fujifilm X-T30
Grass by a Waterfall – Syracuse, UT – Fujifilm X-T30
Three Ducks – Farmington, UT – Fujifilm X-T30
Pond – Syracuse, UT – Fujifilm X-T30
Tree & Purple Flowers – Farmington, UT – Fujifilm X-T30
Green Leaves & White Blooms – Farmington, UT – Fujifilm X-T30
Webs in the Grass – Farmington, UT – Fujifilm X-T30
Sky Reeds – Farmington, UT – Fujifilm X-T30
Clouds & Roof – Farmington, UT – Fujifilm X-T30
Chopped Logs – Farmington, UT – Fujifilm X-T30
Fake Flower Decor – Farmington, UT – Fujifilm X-T30
Shy & Uninterested – Farmington, UT – Fujifilm X-T30
Sunglasses Indoors – Farmington, UT – Fujifilm X-T30
Boy in Evening Light – Farmington, UT – Fujifilm X-T30
Beans in the Grinder – Farmington, UT – Fujifilm X-T30
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Around The Bend – Layton, UT – Fujifilm X-T30 “Kodak Portra 400”
Portra 400, which is a color negative film, was introduced by Kodak in 1998. It was redesign in 2006 and again in 2010. As the name implies, it’s intended for portrait photography, but can be used for many other types of photography. It’s similar to Portra 160, but with more contrast, saturation and grain. Believe it or not, ISO 400 was considered “high ISO” by many photographers back in the film days, and Portra 400 was one of the absolute best “high ISO” color films ever made. Like all films, results can vary greatly depending on how it’s shot, developed and printed or scanned, and even which version of the film you’re talking about. Interestingly, Kodak briefly made a black-and-white version of Portra 400!
I’ve been meaning to revisit Kodak Portra 400 for some time now. As you may know, I already have a Kodak Portra 400 recipe, which I created two years ago, but it requires a difficult-to-achieve custom white balance measurement. I was never really satisfied with that recipe, even though it can produce interesting results. I have been eager to create a new Portra 400 recipe, and, In fact, I’ve tried a couple of times, but without success.
Blue Sky Day – Syracuse, UT – Fujifilm X-T30 “Kodak Portra 400”
A Fuji X Weekly reader suggested to me that if I use my Kodak Portra 160 recipe, except increase Shadow, Highlight and Color by one, that should be pretty close to Portra 400. Indeed it is! I liked what I saw, but I played around with the settings more to see if I could improve on it. Turns out not much needed to be tweaked. I liked the results better with Color Chrome Effect set to Strong, but if you have an X-Trans III camera, which doesn’t have that feature, you can still use this recipe, but it will look slightly different. The only other change that I made was I set Grain to Strong.
Classic Chrome
Dynamic Range: DR-Auto
Highlight: -1
Shadow: -1
Color: +2
Noise Reduction: -4
Sharpening: -2
Grain Effect: Strong
Color Chrome Effect: Strong
White Balance: Daylight, +4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodak Portra 400 film simulation recipe on my Fujifilm X-T30:
Mountain in the Evening Light – Farmington, UT – Fujifilm X-T30
Reeds To The Sky – Farmington, UT – Fujifilm X-T30
Jensen Pond – Syracuse, UT – Fujifilm X-T30
Water Beyond The Trees – Layton, UT – Fujifilm X-T30
Paved Trail – Layton, UT – Fujifilm X-T30
Spring Green & White – Layton, UT – Fujifilm X-T30
Fries in the Sky – Syracuse, UT – Fujifilm X-T30
Royal Lunch – Layton, UT – Fujifilm X-T30
Evening Suburban Home – Farmington, UT – Fujifilm X-T30
Boy in the Striped Light – Farmington, UT – Fujifilm X-T30
Boy Sitting – Farmington, UT – Fujifilm X-T30
Sunlight Through The Pink Blooms – Farmington, UT – Fujifilm X-T30
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
In Part 1, I hiked a path in a local park using my Ektar recipe. Part 2, which is what you are reading now, are the pictures from my stroll back down the trail using my Kodak Portra 160 film simulation recipe. As before, the gear I used was a Fujifilm X-T30 with a Fujinon 35mm f/2 lens attached to it. The only thing that I did differently was select my Portra 160 recipe instead of Ektar. I mentioned in the previous article that my Ektar film simulation has high contrast and perhaps is not ideal because of that. Since my Portra 160 recipe has very low contrast, would it be a better option?
Actual Portra 160 is a low contrast, low saturation film intended for portrait photography. It wasn’t made for landscape photography, but sometimes a low contrast, low saturation film is what’s needed. The same is true for this film simulation recipe. It might be too dull for landscape photography, but sometimes it might fit the scene well. In this case, it balances the high contrast landscapes quite well. If what you are photographing has bright highlights and deep shadows, Portra 160 might be a good option to combat that. However, if it’s low contrast, a film simulation recipe like Ektar could be a better choice.
The day of the hike was a beautiful blue-sky spring day with lots of sunshine. There are an abundance of those type of days in Utah during this time of year. It’s perfect for a walk in the park with a camera in hand. Choosing a film simulation for such an outing can be a difficult choice because you have so many options. It’s important to judge the light and subject to determine what might serve it best. The photographs in this article are all straight-out-of-camera JPEGs using my Kodak Portra 160 film simulation recipe.
Finally Spring – Layton, UT – Fujifilm X-T30 & 35mm
Mountain Behind The Trees – Layton, UT – Fujifilm X-T30 & 35mm
Sunlight Through The Branches – Layton, UT – Fujifilm X-T30 & 35mm
Lake Peek – Layton, UT – Fujifilm X-T30 & 35mm
Can’t See the Lake for the Trees – Layton, UT – Fujifilm X-T30 & 35mm
White Trees & Fingernail Moon – Layton, UT – Fujifilm X-T30 & 35mm
Oh, Deer – Layton, UT – Fujifilm X-T30 & 35mm
Rock & Log – Layton, UT – Fujifilm X-T30 & 35mm
Trees & Creek – Layton, UT – Fujifilm X-T30 & 35mm
Last week I went for a walk in a local park here in Utah. This park has trails that pass through forests. There’s a stream and a small lake. The snow-capped peaks are visible to the east. It’s a beautiful place, especially in the spring when the green is fresh and the flowers are blossomed. On this hike I brought along my Fujifilm X-T30 with a Fujinon 35mm f/2 lens attached to it, which is one of my absolute favorite lenses. It’s sharp, small, and plenty fast, plus it’s a versatile focal length. On the way up the trail I used my Kodak Ektar 100 film simulation recipe, which are the pictures that you see here in Part 1, and on the way back down I used my Portra 160 recipe, which you’ll find in Part 2.
Ektar is a color negative film made by Kodak. It’s known for vibrant colors, high contrast and fine grain. It’s the closest negative film to reversal film. In fact, when Kodak discontinued Ektachrome 100VS, they recommended Ektar 100 as the best alternative. It’s a great film for landscape photography, which is why I chose it for this walk in the park.
Ektar film, and especially this Ektar film simulation, can be difficult to use because of the contrast. With the film, there are things that can be done in development and/or printing to reduce the contrast if it’s too much. With these settings, one could use +2 Shadow instead of +3, which is what the recipe calls for, if they wanted less contrast. These pictures are straight-out-of-camera (with the exception of some minor cropping) with the settings exactly as the recipe states.
My opinion is that my Ektar recipe is best suited for low-contrast landscapes, where a boost in contrast and vibrancy is needed. But it can do well in other situations, as well. I thought it served this photographic outing well, although it was borderline too contrasty for the scene. Ektar was a good choice for a walk in the park, but was it the best choice? How does it compare to Portra 160? We’ll take a look at that in Part 2.
Sunlight Through The Leaves – Layton, UT – Fujifilm X-T30 & 35mm
Old Log – Layton, UT – Fujifilm X-T30 & 35mm
Forest Stream – Layton, UT – Fujifilm X-T30 & 35mm
