My “Ultimate” Fujifilm Travel Kit

I recently set out to create an “ultimate” Fujifilm travel kit.

Over the last couple of years, as I’ve collected more and more gear, traveling with my cameras and lenses has become cumbersome, which has lead to frustrations and reduced productivity. More isn’t always better; in fact, less is often more—this is especially true when traveling. I realized that my gear wasn’t nearly as ready for adventure as I was, and I needed to make some series changes to my kit before embarking on my next road trip.

What makes a travel kit bad? If it’s big and heavy and gets in the way, it’s not good. My travel kit consisted of a backpack camera bag filled with multiple bodies and as many lenses as I could stuff inside. I went to Montana last fall, and in my bag there was an X-T1, X-T30, X100V, and X-M1, plus a handful of lenses, including the Fujinon 100-400mm and Fujinon 90mm, which aren’t small or lightweight. I hardly used any of them, except for the X100V, which I could easily carry with me, and so I did. Because I had it with me, I used it often. The rest of the gear just got in the way—literally, the backpack took up too much space in the car, and it become a point of frustration. I would have been better off just bringing one or two cameras and maybe a few small lenses—gear that might have actually been used.

I was afraid that if I didn’t have a certain camera or lens, I would regret not bringing it, if at some point I thought I might need it. You never know what you’ll need, so it’s better to be prepared, right? What I discovered over the last few trips is that the majority of what I was carrying with me I didn’t use. Or, for some of it, if I did use it, it’s only because I forced myself to use it when it wasn’t really necessary. Having too much gear actually made me want to photograph less, and made me less creative when I did. My best photography most often happened when I had limited gear—perhaps one camera and one lens—and left the rest behind.

What makes a travel kit good? It should be compact and lightweight, yet versatile. One camera and one lens is often enough, but not always. The X100V is a great travel camera, but sometimes I need something more wide-angle or more telephoto—it’s not always versatile enough, even though it is often my camera of choice. I think two bodies and a limited assortment of lenses in a small bag is good. Small enough to not get in the way. Lightweight. Something that you don’t mind having with you, so you do. A good travel kit strikes a comfortable balance between practicality and petiteness.

I put together what I hoped would be a great kit for travel photography. I was able to put it to the test on a road trip to Arizona—was it actually going to work for me?—and I discovered many good points and a few things that still need to be worked out. Let’s take a close look at this “ultimate” Fujifilm travel kit that I assembled for myself, piece-by-piece.

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

Bag

It might seem strange to begin with the bag, but in my mind it’s just that important. The camera bag needed to be very small, but it also had to be able to hold everything. Finding one that I felt was just the right size and design turned out to be a challenge, but after much research I stumbled across the National Geographic NG2344 Earth Explorer Shoulder Bag, and for only $40! The dimensions of this bag are roughly 8″ x 7″ x 6″, yet I can fit two cameras and six lenses inside. I was thrilled to learn that the bag fit into the middle storage console of my car, so it is completely out of the way on road trips, yet is easily and quickly accessible.

I subdivided the main compartment into four, using the soft dividers to create “hidden” storage under the cameras, which I use for lenses. The bottom-right holds two Fujinon lenses, and the bottom-left holds three third-party lenses. Two cameras fit on top, just as long as the interchangeable-lens camera has a pancake lens attached. The small front compartment holds charging cords, extra batteries, SD-cards, etc., while the two tiny top pockets (which are probably more for looks than anything) hold lens-wipes. While everything is packed in, I don’t feel like it’s overstuffed—there actually is a little room for more, should I need it.

One thing that I don’t like about this bag is that the shoulder strap is permanently attached. I might modify it at some point to make the strap removable, as I think that would improve it. Otherwise, the bag seems pretty darn good for the travel photographer.

National Geographic Earth Explorer Bag Amazon B&H

Cameras

I already owned a Fujifilm X100V, and that camera was going to be in this kit, no doubt about it. The other camera was a question mark for me. It needed to be small yet an interchangeable-lens model. I thought that my X-T30 might be too big, so maybe the X-E3, but it has the older sensor. I really wasn’t sure which camera was going to be the right one. Then Fujifilm announced the X-E4, and I really hoped that it would be the correct camera for this kit, so I immediately preordered it. After several weeks of waiting, and just a couple of days before my Arizona trip, it arrived at my doorstep. And it fit perfectly into the camera bag.

Fujifilm X100V

The Fujifilm X100V, which I’ve had for about 10 months, was a birthday gift from my wife. It’s such a great camera and I absolutely love to shoot with it. The X100V has a permanently attached 23mm lens, which is 35mm full-frame equivalent—a very useful focal-length. The compactness of it makes it especially great for travel.

There are some X100V features that are unique in my bag. It’s weather-sealed, has a nearly silent mechanical leaf shutter, built-in high-speed-synch fill-flash, optical viewfinder, and built-in neutral-density filter. I could photograph with this camera 90% of the time and be very happy, but the X100V isn’t always the right choice. It has strengths, but it also has weaknesses that limit its versatility.

If I could only have one camera, it would be the X100V; however, I believe that this camera demands a partner. If you have this camera, you also need an interchangeable-lens option to accompany it. That’s why I have two cameras in my kit, even though the X100V is oftentimes all that I need.

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Below are a few pictures that I captured with my Fujifilm X100V on the Arizona trip.

Putting Practice – Phoenix, AZ – Fujifilm X100V
Metal Pool Flowers – Phoenix, AZ – Fujifilm X100V
Pinnacle Peak – Phoenix, AZ – Fujifilm X100V

Fujifilm X-E4

The Fujifilm X-E4 is the smallest interchangeable-lens camera with an electronic viewfinder offered by Fujifilm. The compact size of the X-E4 is an important aspect of this travel kit. I have an X-T30, which is a small camera that’s a little bigger than the X-E4, and it does fit into the camera bag, but barely—it’s much more snug than I want it to be. In a pinch it would work, but the X-E4 is a more comfortable fit, and a better choice because of that.

When the X100V isn’t the right tool, the X-E4 fills in nicely. It adds great versatility to the travel kit. I can go more wide-angle or telephoto by changing the lens. It can store one more film simulation recipe than the X100V. It has some new JPEG features that the X100V doesn’t. Even though 90% of the time the X100V is all that I need, I found myself using the X-E4 much more than I thought I would. It’s a fun camera that’s easy to have with you because of its compact size.

Fujifilm X-E4 Black    Amazon   B&H
Fujifilm X-E4 Silver   Amazon   B&H

Below are a few pictures that I captured with my Fujifilm X-E4 on the Arizona trip.

Three Palms – Sun City West, AZ – Fujifilm X-E4 & Fujinon 27mm
That Way – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm
Blossoming Red – Phoenix, AZ – Fujifilm X-E4 & Fujinon 27mm

Lenses

In the camera bag I have six lenses—seven if you count the one permanently attached to the X100V. This provides versatility for whatever photographic situations present themselves. The lenses must be small, or else they won’t fit inside the bag.

Would a 100-400mm zoom be nice to have as an option? Yes, for sure! But it’s too big, and it would add a lot of weight—if it’s not going to be used much, it’s not worth bringing along. The Fujinon 90mm f/2 is one of my favorite lenses, but it’s also big and heavy, and not used often enough, so it’s not in this kit. A zoom lens would make a lot of sense, perhaps something like the 18-55mm f/2.8-4, but I prefer primes. My philosophy as I put this travel kit together was smaller is better. Zooms are often smaller than a few primes put together, but are rarely smaller than a singe prime. If a lens attached to the X-E4 made it possibly pocketable, that was a win. The more compact the camera and lens combo is, the more convenient it will be for travel. With those goals in mind, I chose six lenses to place inside my camera bag.

Fujinon XF 18mm f/2 R

The Fujinon XF 18mm f/2 R is Fujifilm’s second smallest lens, which makes it a great option for travel. The 18mm focal-length, which is 27mm full-frame equivalent, is very useful—great for walk-around photography and landscapes. This is my primary wide-angle lens in this kit. The 18mm f/2 is a little loud and a bit slow, but it captures beautiful pictures. The compact size and lovely image quality are what makes this lens great.

Most of the time when I want a wide-angle option, the 18mm focal-length works well; however, occasionally I would like something a little wider. I think a 14mm or 12mm lens would be preferable sometimes, but unfortunately there’s not an option that’s small enough for my camera bag—for example, my Rokinon 12mm f/2 is just a little too big. Thankfully, this lens is often a great choice when I want to shoot wide-angle, so it gets used a lot, and is an essential part of this travel kit.

Fujinon XF 18mm f/2 R   Amazon   B&H

Below are a few pictures that I captured with my Fujinon 18mm lens on the Arizona trip.

Sunlight Through Palm Leaves – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
American Motorcycle – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm
Roundabout – Phoenix, AZ – Fujifilm X-E4 & Fujinon 18mm

Fujinon XF 27mm f/2.8 R WR

The Fujinon XF 27mm f/2.8 R WR was my most used lens on the trip to Arizona. It’s Fujifilm’s smallest lens, so I knew that it would be an essential element of my travel kit, but I didn’t know just how much I’d love using it. The 27mm focal length, which is 40.5mm full-frame equivalent, is the closest to a “normal” lens on Fujifilm X, yet it is slightly wide-angle.

If I wanted to really simplify things, I could be happy just bringing this lens and the 18mm f/2 to pair with the X-E4 (plus the X100V). That would be a lightweight and uncomplicated kit. Expanding the focal-length options with a few other lenses is a nice bonus, but the heart and soul of the camera bag are the two camera bodies and the 27mm and 18mm pancake lenses.

Fujinon XF 27mm f/2.8 R WR   Amazon   B&H

Below are a few pictures that I captured with my Fujinon 27mm lens on the Arizona trip.

Old Cars & Tires – Kamas, UT – Fujifilm X-E4 & Fujinon 27mm
Two Roses, Mary & Child – Surprise, AZ – Fujifilm X-E4 & Fujinon 27mm
Two Thirty – Surprise, AZ – Fujifilm X-T4 & Fujinon 27mm

Fujinon XF 35mm f/2 R WR

The Fujinon XF 35mm f/2 R WR has been my most used lens over the last two years. The 52.5mm full-frame equivalent focal-length makes this a slightly telephoto “standard” prime lens, often referred to as a “nifty fifty”. There’s a little redundancy between this and the 27mm, as they’re both “standard” lenses, but the 35mm has some advantages: quieter autofocus, larger maximum aperture, slightly superior optics. Despite that, I found myself using the 35mm f/2 less often than I thought I would.

Because I have the 27mm lens, this lens isn’t an essential part of the travel kit. Since there’s room for it and it’s been a favorite lens of mine for a couple years, I decided to include it anyway. I did use it a little on my trip, but more because I forced myself to and not so much because I needed to. I might rethink its inclusion in the camera bag, but for now the 35mm f/2 lens stays.

Fujinon XF 35mm f/2 R WR Amazon B&H

Below are a few pictures that I captured with my Fujinon 35mm lens on the Arizona trip.

SS At 35th – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm
Coin Prizes – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm
Lemon Tree – Phoenix, AZ – Fujifilm X-E4 & Fujinon 35mm

Pergear 10mm f/8 Fisheye

The Pergear 10mm f/8 Fisheye lens is quite limited in its usefulness, but occasionally it comes in handy, such as when I visited Horseshoe Bend, which demanded an ultra-wide-angle option for the dramatic landscape. The Fujinon 18mm lens wasn’t nearly wide-enough, so the Pergear 10mm came out and did the trick. The strong barrel distortion makes it tough to use, but it’s definitely useable in a pinch.

This compact pancake lens takes up almost no space in the camera bag, so its inclusion is a no-brainer. Even if it was only used a few times, and otherwise remained in the bag unused, it’s worth having around for those rare occasions when this lens comes in handy. It’s so small, lightweight and cheap, it just makes sense to have it in the camera bag, providing a more wide-angle option than 18mm.

Pergear 10mm f/8 Fisheye Amazon

Below are a few pictures that I captured with my Pergear 10mm lens on the Arizona trip.

Yucca – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Green Spikes – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm
Sitting Above Horseshoe Bend – Glen Canyon Nat. Rec. Area, AZ – Fujifilm X-E4 & Pergear 10mm

Asahi Pentax-110 50mm f/2.8

The Asahi Pentax-110 50mm f/2.8 was the last lens that I added to the travel kit. Why did I include it? Because, since it’s a tiny lens, there was room for it, and I really like how it renders pictures. This lens has a fixed aperture, which makes its usefulness limited, but when I do use it I enjoy the pictures that I capture with it. This Asahi lens is the only vintage lens in this kit.

I wish that I had used this lens more, but it had competition, so I ended up using it less than I should have. Next time I will use it more. This little 75mm full-frame-equivalent lens has a special quality and takes up so little space, so its inclusion in the travel kit should have been obvious. The Asahi Pentax-110 50mm lens is going to stick around awhile.

Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.

Spring Seeding – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
Closed Canopy – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm
Jon (and Yoda) Ready to Play – Phoenix, AZ – Fujifilm X-E4 & Pentax-110 50mm

7artisans 50mm f/1.8

The sixth lens in my travel kit is the 7artisans 50mm f/.8. This fully manually lens is good and all, but there are two reasons why it will be replaced: I already have a 50mm lens that I like, and focusing on distant objects is more difficult than it should be. Otherwise this a decent lens, and it has several advantages over the Asahi 50mm: closer minimum focus distance, larger maximum aperture, adjustable aperture, less vignetting—technically speaking, it’s a superior lens, but it’s missing the great character that is oozing from the vintage Asahi lens.

The reason why I selected this particular lens for this kit is because it’s the smallest 50mm X-mount lens available. I did discover that there’s actually a little more room in the bag for something slightly bigger. Ideally I’d like to replace this with a longer focal-length lens, but at the moment I’m just not sure what it will be, or when I’ll replace it. I do know that the inclusion of the 7artisans 50mm f/1.8 lens in my travel kit won’t last long.

7artisans 50mm f/1.8 Amazon

Below are a few pictures that I captured with my Asahi Pentax-110 50mm lens on the Arizona trip.

Tropical Blossom Monochrome – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm
Dark Blossoms – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm
Tattered Awning – Phoenix, AZ – Fujifilm X-E4 & 7artisans 50mm

Conclusions

How ultimate is my “ultimate” Fujifilm travel kit? It’s not perfect, but it’s significantly better than what I was traveling with before. The bag is ideal. The two cameras are wonderful. There are some excellent lenses to choose from. No doubt about it, this is a really good kit for travel photography.

If anything, it’s the lens selection that’s not quite perfect. I like the 18mm and 27mm. The 35mm is great, too, but a little unnecessary since I have the 27mm. The X100V, with its built-in 23mm lens, is awesome. I like the Asahi Pentax 50mm lens, but it’s not especially practical for everyday photography. The 10mm Fisheye is good to have around, but not especially useful most of the time. Those two lenses take up very little space, so it’s easy to keep them in the bag just in case I want to use them, but I know that I won’t be using either of them all that often. I don’t need two 50mm lenses, so the 7artisans will be replaced.

Should I replace the Fujinon 35mm f/2? If so, with what? The 16mm f/2.8 is the same size, so it’s a logical option, although it creates the same redundancy problem, just at the wide-angle end, which actually might be slightly more practical. Maybe the Fujinon 16mm f/2.8 and the Fujinon 50mm f/2 would be good options to replace the 35mm and the 7artisans models. The 50mm f/2 is a little bigger, but I believe it would fit. The Fujinon 60mm f/2.4 might be an option instead of the 50mm, which would be preferable because it has a longer reach and is also a macro lens, but it might be a tad too big for the bag. Maybe I should consider a vintage model. Or maybe replace two primes with a zoom. There’s a lot to consider, and I think replacing one or two lenses will make this “ultimate” travel kit even better. I’ll let you know when I make that modification, and how it goes.

This trip to Arizona that I recently returned from was photographically so much more pleasant than my other travels over the last couple of years. A small camera bag filled with compact and lightweight gear—a purposeful assortment of cameras and lenses—is a night-and-day difference from the heavy backpack stuffed with everything that could fit that I used to haul around. Practical and petite is preferable when it comes to travel photography. Less is often more. This might not yet be the “ultimate” Fujifilm travel kit, but it’s pretty close, and will only get better.

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Fujifilm X100V Film Simulation Recipe: Faded Negative

Country Fence in Winter – Farmington, UT – Fujifilm X100V – “Faded Negative”

I’ve created a number of film simulation recipes that require double exposures, including Faded Color, Vintage Color Fade, Faded Monochrome, Faded Monochrome for X-Trans II, Split-Toned B&W, and Bleach Bypass. These recipes are a little more difficult to use, and, because they require further explanation, you won’t find any of them on the Fuji X Weekly app. This one, called Faded Negative, won’t make the app, either (perhaps there will be a way to include them on a future update). These double-exposure recipes aren’t for everyone, but some people love them because you can create a great vintage look that you’d never expect to get straight-out-of-camera. I know that this Faded Negative film simulation recipe will be greatly appreciated by some of you.

To use this recipe, you’ll need to first select “Average” under “Multiple Exposure CTRL” in the Shooting Menu. What’s great about this particular double-exposure recipe is that the only change you will need to make in the settings between the first and second exposure is exposure compensation (many of these require more adjustments than just exposure compensation). You want the first exposure, which is the scene you are capturing, to be bright, and the second exposure, which is a green piece of construction paper, to be a little darker. You can control how much “fade” there is by the second exposure—the brighter the exposure, the more fade there will be.

What makes this recipe work is the second exposure of a medium-green piece of construction paper. You want this exposure to be out-of-focus. If it’s in-focus, you’ll get the texture of the paper in the image, which is perhaps something you want, but probably not. You can manually focus a blurry image, or if you just hold the paper closer to the lens than the minimum focus distance, the paper will be blurry even with autofocus.

Me, with an X100V and green paper, photographing with this recipe. Photo by Joy Roesch.
This is what happens when the second exposure is in-focus instead of out-of-focus.

No photograph will last forever. Some films are more prone to fade than others, and some prints are more prone to fade than others. Faded pictures are a reality of photography. While some people would consider faded images to be a negative thing, there are others who appreciate the aesthetic, and want to incorporate it into their art. This Faded Negative film simulation recipe is for those who want to achieve that look straight-out-of-camera. This recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and the upcoming X-E4.

Classic Negative
Dynamic Range: DR400
Highlight: +3
Shadow: +4
Color: -2
Noise Reduction: -4
Sharpening: -2
Clarity: 0
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, +4 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 1/3 for the 1st exposure, 0 to +1/3 for the 2nd exposure (typically)

Example photographs, all camera-made JPEGs using this new Faded Negative film simulation recipe on my Fujifilm X100V:

Reeds & Blue Sky – Farmington, UT – Fujifilm X100V
Faded Tree – Farmington, UT – Fujifilm X100V
Pine Snow – Farmington, UT – Fujifilm X100V
Blackberry Leaves in Winter – Farmington, UT – Fujifilm X100V
Winter Road – Farmington, UT – Fujifilm X100V
Snow Covered Wagon – Farmington, UT – Fujifilm X100V
Dark Forest Sunlight – Farmington, UT – Fujifilm X100V
Jon Riding Shotgun – Farmington, UT – Fujifilm X100V – “Faded Negative”
Polaroid Presto Girl – Farmington, UT – Fujifilm X100V
Analog Cameras – Farmington, UT – Fujifilm X100V
Fake Plant – Farmington, UT – Fujifilm X100V
Tulip on a Table – Farmington, UT – Fujifilm X100V
Shelf Greenery – Farmington, UT – Fujifilm X100V
Broken Barn – Farmington, UT – Fujifilm X100V
Winter Forest Fence – Farmington, UT – Fujifilm X100V
Snow on a Wood Fence – Farmington, UT – Fujifilm X100V

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

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New Nostalgic Negative Film Simulation + X-Trans IV Nostalgic Negative Recipe!

Winter Berries – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

The upcoming Fujifilm GFX100S has a brand new film simulation called Nostalgic Negative. Even though this camera hasn’t even been released yet, I’ve had many requests to create a film simulation recipe for it. That’s a tough challenge because there’s so little about Nostalgic Negative that’s known and very few sample pictures floating around the internet.

Back when Eterna was new—before I had a chance to try it myself—I made a faux “Eterna” recipe, and it turned out to be not particularly close. Even though it didn’t faithfully mimic Eterna, it’s one of the more popular recipes on this website. When Classic Negative first came out, I made a faux “Classic Negative” recipe, and even though it also turned out to be not particularly close, I’ve had several people tell me that it’s their favorite recipe. There’s two important points to this: 1) this “Nostalgic Negative” recipe will likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation and 2) there are people who love it anyway. With that disclaimer out of the way, let’s get into what Nostalgic Negative is and how you can achieve a similar aesthetic on your Fujifilm X camera.

Watch and Jewelry – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

Fujifilm stated that the Nostalgic Negative film simulation is based on “American New Color” photography of the 1970’s. They studied photographs by William Eggleston, Stephen Shore, Joel Sternfeld and Richard Misrach in order to create it. Eggleston and Sternfeld largely shot on Kodachrome—II and X in the early 1970’s, 25 and 64 in the late ’70’s—while Shore shot mostly Kodacolor, and Misrach shot a lot of Vericolor. All of those are Kodak films, but with different aesthetics. These four photographers had different styles and different darkroom processes, and they each had a unique look; the commonality that Fujifilm found was an “overall atmosphere based on amber.” That’s a basic explanation of what Nostalgic Negative is.

I didn’t count, but I’d estimate that I found about 20 examples of the Nostalgic Negative film simulation on the internet. I noticed that there were some large discrepancies between the pictures, as some looked much different than others. I wondered if the default settings were used on some images and not others, and if some of them weren’t straight-out-of-camera but had received some level of post-processing. I also wondered if Nostalgic Negative behaves similarly to Classic Negative in that the aesthetic changes a little depending on the exposure. There’s a lot of uncertainty to what exactly the new film simulation looks like. Overall, I think you can expect something along the lines of Eterna gradation, the Classic Chrome color palette (however, with a warm shift), and vibrancy a little beyond Astia. Low-contrast, high-saturation and warm is a quick synopsis of Nostalgic Negative.

Reflected Red – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

Interestingly, there are some already existing film simulation recipes that come close to Nostalgic Negative. My Eterna recipe (and there are versions for X-Trans II, X-Trans III and X-Trans IV cameras) is almost identical to one of the aesthetics that I found in the sample pictures. The contrast is likely slightly too high in those recipes, but it’s very close. For some other sample pictures, I thought that the Kodachrome 64 recipes (the X-T1 recipe, the X-T30 recipe and the X100V recipe, but especially the X100V version) are pretty darn close. For some other pictures, the Kodak Vision3 250D recipe looks quite similar, while this Kodacolor recipe looks close to some others. I think that my Kodak Gold, Kodachrome II, Kodak Ultramax (both for X-Trans III and X-Trans IV), Kodak Ektar, Kodak Portra 800, Kodak Portra 400 (both X-T30 and X100V), Kodak Portra 400 v2 (both the X-T30 recipe that’s only available right now to Patrons on Fuji X Weekly App and X100V), and Polaroid (although perhaps increase Color) have some similarities to Nostalgic Negative. If you have an X-Trans II, III or IV camera, you already have some options that are in the neighborhood of this new film simulation, so don’t fret that your camera doesn’t have it. You’ll just have to decide which option you like best.

Speaking of your camera not having Nostalgic Negative: it’s not coming to X-Trans IV, in my opinion. Fujifilm said, “For Nostalgic Negative, Fujifilm needs a large sensor. It can’t be implemented simply to APS-C. Fujifilm needs time to develop Nostalgic Negative for the APS-C system.” To me, that’s code-speak for, “Expect it on X-Trans V cameras.” Of course, Fujifilm hasn’t announced that sensor yet, so they can’t talk about it, but that’s where I would expect to see it.

Stop 11 – Farmington, UT – Fujifilm X100V – “Nostalgic Negative”

I don’t know if this new recipe that I created will turn out to be accurate to Nostalgic Negative. Most likely not, but I hope that you like it anyway. I chose Clarity -5 because that’s the best I could do for imitating the gradation of Eterna, but feel free to use -4 or -3 if you feel that -5 is too much for your tastes. On cameras that can adjust by .5, I would consider setting Shadow to -0.5 instead of 0. This recipe is only compatible with the Fujifilm X100V, X-Pro3, X-T4, X-S10 and (the upcoming) X-E4.

Classic Chrome
Dynamic Range: DR200
Highlight: -1
Shadow: 0
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: -5
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, +3 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

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

Red Soccer Ball – Farmington, UT – Fujifilm X100V
Suburban Sky – Farmington, UT – Fujifilm X100V
Sky & Garages – Farmington, UT – Fujifilm X100V
JP Elect – Farmington, UT – Fujifilm X100V
Bear in the Snow – Layton, UT – Fujifilm X100V
Boy & Bear – Layton, UT – Fujifilm X100V
Red Brick Building – Salt Lake City, UT – Fujifilm X100V
Waiting Girl – Farmington, UT – Fujifilm X100V
City Fountain – Farmington, UT – Fujifilm X100V
Last Light Through Reeds – Farmington, UT – Fujifilm X100V
Mirror Image – Orem, UT – Fujifilm X100V
Window Light on Chair – Farmington, UT – Fujifilm X100V
Joshua’s Space – Farmington, UT – Fujifilm X100V
X-T1 on a Shelf – Farmington, UT – Fujifilm X100V
Film Drawer – Farmington, UT – Fujifilm X100V
Colorful Pens – Farmington, UT – Fujifilm X100V
Garage Globe – Farmington, UT – Fujifilm X100V
Jon’s Hands – Farmington, UT – Fujifilm X100V
Evening Park Joy – Farmington, UT – Fujifilm X100V
Rainbow Rays – Farmington, UT – Fujifilm X100V
Autumn Sun – Farmington, UT – Fujifilm X100V

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

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Fujifilm X100V Film Simulation Recipe: Ilford Ortho Plus 80

760 – Farmington, UT – Fujifilm X100V – “Ilford Ortho Plus 80”

Many years ago I used to develop my own black-and-white film. It required removing the film from the cassette, winding it around a developing reel, and placing the reel into a developing canister—all in complete darkness! It was very tricky. If you didn’t get the film wound onto the reel quite right, it could ruin the film during development. When people think of darkrooms, they often think of dipping photosensitive papers into tubs of chemicals in dim amber light. This red light is called a safelight, and it’s safe for photographic paper, but not safe for undeveloped photographic film—that’s why you have to get the film from the cassette to the canister in complete darkness.

Ilford Ortho Plus 80 film is different, as it’s orthochromatic, which means it’s sensitive to blue and green light but not red, making it possible to transfer the film from the cassette to the canister under a safelight. This film was introduced in 2019, so it hasn’t been around very long. It produces sharp, fine-grain images that are fairly contrasty for a low-ISO film, and reds will be rendered dark. I’ve never used this film myself, so I relied on pictures I found on the internet to create this recipe. With film, how it’s shot, developed, and printed or scanned can have a big impact on how it looks, and that’s certainly a challenge for creating a facsimile on Fujifilm cameras, but I think this one is pretty close from the pictures I’ve seen. It also seems to be in the neighborhood of Washi S 50.

Monochrome Country – Salt Lake City, UT – Fujifilm X100V – “Ilford Ortho Plus 80

I set Monochromatic Color (Toning) to WC +1 because many of the examples that I found had some warm toning (not sure if it’s in-software after scanning or from toned prints or both), but it’s completely optional, you can set WC to 0 if you prefer. This recipe is intended for newer X-Trans IV cameras, such as the Fujifilm X100V, X-T4, X-Pro3 and X-S10, and isn’t compatible with other cameras; however, if you disregard Clarity you can achieve something similar on the X-T3 and X-T30, but it won’t be exactly the same (feel free to try).

Monochrome+G
Dynamic Range: DR400
Highlight: +2
Shadow: +3
Noise Reduction: -4
Sharpening: +2
Clarity: -2
Toning: WC +1, MG 0

Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7000K, -5 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Ilford Ortho Plus 80 film simulation recipe on my Fujifilm X100V:

Thorns of Nature – Farmington, UT – Fujifilm X100V
Monochrome Berries – Farmington, UT – Fujifilm X100V
Icy River – Farmington, UT – Fujifilm X100V
Zipping – Farmington, UT – Fujifilm X100V
Playground Boy – Farmington, UT – Fujifilm X100V
Silhouette Playground – Farmington, UT – Fujifilm X100V
Canvas Moon – Farmington, UT – Fujifilm X100V
Cat & Salmon – Salt Lake City, UT – Fujifilm X100V
Fedex Delivery – Farmington, UT – Fujifilm X100V
Locked Box – Farmington, UT – Fujifilm X100V
Emotion Through Glass – Farmington, UT – Fujifilm X100V
Tablet Play – Farmington, UT – Fujifilm X100V
Arizona Film – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

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Fujifilm X100V Film Simulation Recipe: Classic Monochrome

Signs, Poles & Wires – Farmington, UT – Fujifilm X100V – “Classic Monochrome”

For some reason, black-and-white film simulation recipes aren’t as popular as color, but Fujifilm cameras are capable of some great monochrome images straight-out-of-camera. This new “Classic Monochrome” recipe was made by Thomas Schwab (B&W Instagram), who has created several of the film simulation recipes on this website and collaborated on several others. He’s a friend of this blog, and I’m honored that he allows me to share his recipes here!

Thomas said that he started with one of the Ilford recipes, and this evolved from that. It’s called “Classic Monochrome” because it has a great old-school B&W print feel. The only change that I added was Toning, which is optional, but it seems to look nice with these settings. This recipe has quickly become one of my favorite black-and-white options! It’s most similar to Dramatic Monochrome, so if you like that recipe you’ll like this one, too. Thank you, Thomas!

Suburban Garages – Farmington, UT – Fujifilm X100V – “Classic Monochrome”

This recipe is contrasty and clean. It reminds me of Agfapan 25 printed using a high-contrast filter (maybe a #4, or even split-filtered). It’s not intended to look like it, but that’s what it reminds me of. It does have a limited dynamic range, and it’s easy to clip highlights, so the exposure should be carefully considered, or perhaps try DR-Auto if you are concerned. It’s compatible (as of this writing) with the Fujifilm X100V, X-T4, X-Pro3 and X-S10 cameras.

Monochrome (+Y, +R, +G)
Dynamic Range: DR100
Highlight: +4
Shadow: +2
Noise Reduction: -4
Sharpening: +1
Clarity: +4
Toning: WC +1, MG 0

Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 12800
Exposure Compensation: -1/3 to +1/3 (typically)

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

Marks the Spot – Farmington, UT – Fujifilm X100V
Main Line Trail – Farmington, UT – Fujifilm X100V
Empty Box – Farmington, UT – Fujifilm X100V
Empty Bench – Farmington, UT – Fujifilm X100V
Joshua Biking – Farmington, UT – Fujifilm X100V
Girl & Bike – Farmington, UT – Fujifilm X100V
Horses & Ducks – Farmington, UT – Fujifilm X100V
Country Road Bus – Farmington, UT – Fujifilm X100V
No Motor Vehicles – Farmington, UT – Fujifilm X100V
Weed 1 – Farmington, UT – Fujifilm X100V
Weed 2 – Farmington, UT – Fujifilm X100V
Ice Abstract 1 – Farmington, UT – Fujifilm X100V
Ice Abstract 2 – Farmington, UT – Fujifilm X100V

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

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Fujifilm X100V Film Simulation Recipe: Color Negative 400

Wind Rewind – Farmington, UT – Fujifilm X100V – “Color Negative 400”

I ran across a picture in an article about coffee, and that picture reminded me a lot of the Classic Negative film simulation. I don’t think the picture was captured with Classic Negative; perhaps a VSCO (or some other brand) preset was used that was intended to look something like Superia film. So, with one picture as my guide, I set out to recreate the look with my Fujifilm X100V. Ideally you want more than one sample picture to study, but that’s all I had. These settings look pretty darn close to that picture, but it’s difficult to know if it’s truly accurate because I only had one sample to work with, and I don’t know how it should look in various situations. Still, I’m happy with how it turned out.

Initially I was going to name this recipe “Fujicolor Negative” because it has a Fujicolor Superia-like look, but then I stumbled across some Kodak ColorPlus 400 photographs, and they looked quite similar to these pictures. Even though the resemblance to ColorPlus 400 is completely accidental, I thought that calling it “Color Negative 400” was more appropriate because it is in the general ballpark of a film that’s not Fujicolor. Or, more accurately, it is similar to both a Kodak stock and a Fujifilm stock, and not exactly like either. I do think, no matter how close it may or may not be to an actual film, it has a nice film-like aesthetic to it that many will appreciate.

Ability – Farmington, UT – Fujifilm X100V – “Color Negative 400”

This recipe is dark and contrasty, and can be used to create a certain moody look. I think it works best in low-contrast scenes, and does well both indoors and outdoors. This recipe is only compatible (as of this writing) with the Fujifilm X100V, X-Pro3, X-T4 and X-S10 cameras.

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: +4
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: -5
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto, -2 Red & -4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Color Negative 400 film simulation recipe on my Fujifilm X100V:

Succulent Faux – Farmington, UT – Fujifilm X100V
Fabric Leaf – Farmington, UT – Fujifilm X100V
Holga 120N & Ilford HP5 Plus – Farmington, UT – Fujifilm X100V
Table Bolsey – Farmington, UT – Fujifilm X100V
Three Indoor Plants – Farmington, UT – Fujifilm X100V
Face Masks Are Required – Farmington, UT – Fujifilm X100V
Speed Stars – Farmington, UT – Fujifilm X100V
Fish on a Wall – Farmington, UT – Fujifilm X100V
Waiting for Fish – Farmington, UT – Fujifilm X100V
Contemplation – Farmington, UT – Fujifilm X100V
Stroller Ride – Farmington, UT – Fujifilm X100V
Leaning into the Frame – Farmington, UT – Fujifilm X100V
Bicycle Here – Farmington, UT – Fujifilm X100V
Birds in a Dormant Tree – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

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Fujifilm X100V Film Simulation Recipe: Kodak Portra 400 v2

Sage Sunset – Antelope Island SP, UT – Fujifilm X100V – “Kodak Portra 400 v2”

One film can have many different looks depending on how it’s shot, developed, scanned or printed. This new Portra 400 film simulation recipe, called Kodak Portra 400 v2, is an alternative aesthetic, created by studying examples of actual Portra 400 film (thanks to Julien Jarry). The “other” Fujifilm X100V Kodak Portra 400 recipe was also created by studying examples of actual film (thanks to Thomas Schwab). They’re both good options for achieving a Portra look, and neither is more “right” than the other.

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, and now another early-access recipe has replaced it, so this one is now available to everyone! You might remember that this Kodak Porta 400 v2 recipe was mentioned in the Kyle McDougall preset comparison article.

Ford Truck – Centerville, UT – Fujifilm X100V – “Kodak Portra 400 v2”

If you like my other Portra recipes, you’re sure to like this one, too. Because it uses Clarity, it slows down the camera considerably. I hope that Fujifilm speeds this up with a firmware update at some point, but in the meantime, if you can, my recommendation is to embrace the slowdown. This recipe is only compatible with the latest Fujifilm X cameras: the X-Pro3, X100V, X-T4 and X-S10.

Classic Chrome
Dynamic Range: DR400
Highlight: 0
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpening: -2
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 5200K, +1 Red & -6 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Portra 400 v2 film simulation recipe on my Fujifilm X100V:

Stacked Pallets – Farmington, UT – Fujifilm X100V
Now Hiring – Centerville, UT – Fujifilm X100V
Double-Double – Centerville, UT – Fujifilm X100V
Burger Roof – Centerville, UT – Fujifilm X100V
Julien Jarry with RED Camera – Antelope Island SP, UT – Fujifilm X100V
Julien Filming – Antelope Island SP, UT – Fujifilm X100V
Yellow Rabbitbrush – Antelope Island SP, UT – Fujifilm X100V
Frary Peak Peeking – Antelope Island SP, UT – Fujifilm X100V
Desert Brush – Antelope Island SP, UT – Fujifilm X100V
Light Log – Big Fork, MT – Fujifilm X100V
Sunlight Through the Forest Trees – Big Arm, MT – Fujifilm X100V
One Lane Bridge – Big Fork, MT – Fujifilm X100V
String of Lightbulbs – Flathead Lake, MT – Fujifilm X100V
Dock at Night – Flathead Lake, MT – Fujifilm X100V
Moon Over RV – Antelope Island SP, UT – Fujifilm X100V
Sunset RED – Antelope Island SP, UT – Fujifilm X100V
Buffalo Point Sunset – Antelope Island SP, UT – Fujifilm X100V

See also: Film Simulation Recipes

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One-Step Photography

I believe that it’s often better to spend money on experiences rather than new gear. Sometimes a book can be just as good as an experience; perhaps it can be an experience in and of itself. For Christmas my family gifted me three photography books, each one featuring the legendary photographer Ansel Adams. One of the three books was especially surprising: Polaroid Land Photography by Ansel Adams.

Did you know that Ansel Adams, the renown black-and-white landscape photographer who invented the Zone System and who was celebrated for his darkroom mastery, loved Polaroid photography? I didn’t. I was surprised to learn that one of his well-known Yosemite pictures was a Polaroid (Type 55), and this picture was found in one of the other two books I was gifted. Adams’ Polaroid book is a thorough and highly technical look at instant film. It’s the ultimate guide to Polaroid, at least from 1978 when this second edition was published. I want to share a few quotes from the book, then circle it back to this blog and Fujifilm.

“It is unfortunate that so many photographers have thought of the Land camera as a ‘toy,’ a casual device for ‘fun’ pictures, or, at best, a gadget to make record pictures! The process has revolutionized the art and craft of photography….”

—Ansel Adams

It’s clear right from the beginning of the book that Adams considered the Polaroid camera a serious photographic tool. He felt it was under-appreciated and underutilized by the photographic community at large.

“By making it possible for the photographer to observe his work and his subject simultaneously, and by removing most of the manipulative barriers between the photographer and the photograph, it is hoped that many of the satisfactions of working in the early arts can be brought to a new group of photographers. The process must be concealed from—non-existent for—the photographer, who by definition need think of the art in taking and not in making photographs. In short, all that should be necessary to get a good picture is to take a good picture, and our task is to make that possible.”

—Edwin H Land, co-founder of Polaroid

Adams included that Edward Land quote in Chapter 13, Principles of One-Step Photography, and he immediately followed it with this:

“The effect of one-step processing on both amateur and professional creative photography has been revolutionary.”

—Ansel Adams

Polaroid Land Photography is an extensive user’s manual—Adams referred to it as such many times—yet it is full of inspiration, both in written words and great photography. There is so much that I could quote, but I will refrain myself and add just one more.

“As with all art forms, we must accept the limitations of the medium as well as revel in the advantages.”

—Ansel Adams

I was reading all this as I was simultaneously celebrating the fact that I had so easily finished the pictures of my kids opening their Christmas presents. By finished, I mean finished. I captured the pictures, and in the time it takes most people to load their RAW files onto their PC or Mac, I had already uploaded them to my phone, put them into storage, and shared them to loved ones. Done. It occurred to me that this is the modern equivalent of one-step processing.

Over the last several months I have been pondering why my different film simulation recipes are so popular. Tens of thousands of photographers across the globe, from newbies to experienced pros, are using these camera settings on their Fujifilm cameras. I get feedback daily from people telling me how these recipes have changed their photographic lives. There’s been a very real impact that this blog has had on the photography continuum. Yet the why has been illusive to me, until today.

Polaroid changed photography 50, 60, 70 years ago. The biggest name in photography not only embraced it but called it revolutionary. There are a few parallels to Polaroid cameras and film simulation recipes on Fujifilm X cameras, but the biggest is perhaps one-step processing. Yes, if you shoot RAW+JPEG, you can always reprocess the RAW, but there is fun in not having to do so if you don’t want to. There’s a certain satisfaction, not to mention time saved, in having a completed picture right out of camera that needs no editing, or maybe only some small, quick adjustments. I wonder if Ansel Adams were still around today, if he would embrace the film simulation recipe the same as he did the Polaroid. Honestly, the answer isn’t important, because so many photographers are embracing it, and it’s revolutionizing photography.

Here is a small sampling of those pictures that I captured on Christmas morning. I used my Fujifilm X100V camera loaded with my Superia Premium 400 film simulation recipe.

Little Angel – Farmington, UT – Fujifilm X100V
Christmas Joy – Farmington, UT – Fujifilm X100V
Sister & Brother – Farmington, UT – Fujifilm X100V
Girl, Christmas Morning – Farmington, UT – Fujifilm X100V
Learn To Draw – Farmington, UT – Fujifilm X100V
Time to Open Gifts – Farmington, UT – Fujifilm X100V
Pokemon – Farmington, UT – Fujifilm X100V
Small Gifts – Farmington, UT – Fujifilm X100V
The Big Box – Farmington, UT – Fujifilm X100V
Girls Love Horses – Farmington, UT – Fujifilm X100V
Christmas Brothers – Farmington, UT – Fujifilm X100V – Photo by Amanda Roesch
How-To Draw Book – Farmington, UT – Fujifilm X100V
Santa Was Here – Farmington, UT – Fujifilm X100V
Josh Playing Christmas Songs – Farmington, UT – Fujifilm X100V

Montana Autumn + Fujifilm X100V

Autumn Aspen – Big Arm, MT – Fujifilm X100V

Back in October I took a quick vacation to Montana. I’ve shared some of those pictures on this website, but many of them I haven’t, because I’ve been busy with other things. Today marks Winter Solstice, which means fall is officially over, yet I’ve finally just now found the time to post some of my autumn pictures from that Montana trip!

All of these pictures were captured with my Fujifilm X100V. The film simulation recipes that I used were Kodak Portra 400 v2 (currently only available on the Fuji X Weekly App for iOS), an experiment (which I had actually forgotten about until I was reviewing these pictures) where I used Classic Negative instead of Classic Chrome with the Kodak Portra 400 v2 recipe (I might have also adjusted the WB Shift a little, I don’t remember), and The Rockwell for a few pictures (I think I might have made an adjustment or two to that recipe on this trip, but, again, I don’t really remember). Most of these pictures were captured with that Classic Negative experiment, and I realize that I need to revisit it, because the results are pretty good!

The Fujifilm X100V is such a great camera to carry around on vacation. It’s small enough that it’s not in the way, yet it’s capable of capturing amazing pictures. It rained while I was there, and the camera survived getting a little wet. The X100V is my favorite travel camera hands down, and I enjoy it immensely. It’s not the right tool for every situation, but it’s the camera that I use most often, especially when on vacation.

Yellow Spots – Big Arm, MT – Fujifilm X100V
Wet Red Leaves – Big Arm, MT – Fujifilm X100V
Turning Red – Big Arm, MT – Fujifilm X100V
Red – Big Fork, MT – Fujifilm X100V
Yellow in the Forest – Big Fork, MT – Fujifilm X100V
Changing to Yellow – Big Fork, MT – Fujifilm X100V
Early Autumn Forest – Big Fork, MT – Fujifilm X100V
Golden Forest – Big Fork, MT – Fujifilm X100V
Light Log – Big Fork, MT – Fujifilm X100V
Sunlight Through The Forest Trees – Big Arm, MT – Fujifilm X100V
One Lane Bridge – Big Fork, MT – Fujifilm X100V
One Car – Big Fork, MT – Fujifilm X100V
Red on Pine – Big Fork, MT – Fujifilm X100V
443 Osborn – Big Fork, MT – Fujifilm X100V
Whitefish Lake – Whitefish, MT – Fujifilm X100V

Fujifilm X100V Film Simulation Recipe: Superia Premium 400

Ivy Leaves – Farmington, UT – Fujifilm X100V – “Superia Premium 400”

After publishing film simulation recipes for Superia 100, Superia Xtra 400, Superia 800 and Superia 1600 film stocks, as well as Reala 100 and Luis Costa’s Classic Negative (which are both in the Superia realm), I’ve been asked a few times to create a Superia Premium 400 recipe. I’ve never shot actual Premium 400 film, and had to rely on the internet, which isn’t ideal, especially since there are limited examples for this particular film, but I think these settings are pretty good.

Superia Premium 400 is a variant of Superia Xtra 400, sold only in Japan, intended to better replicate Japanese skin tones. It seems to have more of an orange color-cast. Premium 400 doesn’t have the “4th cyan color layer” that every other Superia film has, and that seems to be the biggest difference between it and Xtra 400. The way that this recipe came about is a Fuji X Weekly reader (sorry, I forgot who, and I can’t find the message) sent me his or her best guess of some settings to replicate Premium 400, and wanted advice on how to improve it. I took a look, made some changes, and sent it back, but it wasn’t right, so I kept working on it. After a couple weeks of experimenting, I settled on these settings, which I’m quite satisfied with.

Amanda’s Camera – Farmington, UT – Fujifilm X100V – “Superia Premium 400”

There are a whole bunch of options for achieving a Superia look with your Fujifilm camera. Even though this recipe is based on a more obscure variation, the results are quite interesting, and I think a lot of people are going to really appreciate it. It’s compatible with the Fujifilm X100V, X-Pro3, X-T4 and X-S10 cameras.

Classic Negative
Dynamic Range: DR200
Highlight: -2
Shadow: 0
Color: +4
Noise Reduction: -4
Sharpening: -1
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 4700K, +4 Red & -3 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Superia Premium 400 film simulation recipe on my Fujifilm X100V:

Masked Reflection – Farmington, UT – Fujifilm X100V
Waiting Girl – Farmington, UT – Fujifilm X100V
Shrub & Fountain – Farmington, UT – Fujifilm X100V
Nutcracker – Farmington, UT – Fujifilm X100V
Cinemark Sun – Farmington, UT – Fujifilm X100V
Hill House – Farmington, UT – Fujifilm X100V
Jon on a Bridge – Farmington, UT – Fujifilm X100V
Setting Sun Forest – Farmington, UT – Fujifilm X100V
Rural Fence – Farmington, UT – Fujifilm X100V
Forget Me Knots – Farmington, UT – Fujifilm X100V
Chainlink Berries – Farmington, UT – Fujifilm X100V
Yellow Blackberry Leaf – Farmington, UT – Fujifilm X100V
Rural Autumn Leaves – Farmington, UT – Fujifilm X100V
Late Autumn Sunstar – Farmington, UT – Fujifilm X100V
Neighborhood in Evening Light – Farmington, UT – Fujifilm X100V
Intent – Farmington, UT – Fujifilm X100V

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

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Fujifilm X100V Film Simulation Recipe: Superia Xtra 400

Red Leaf – Fruit Heights, UT – Fujifilm X100V – “Superia Xtra 400”

I’ve had a lot of requests for a Superia Xtra 400 film simulation recipe. Fujifilm introduced Superia Xtra 400, a consumer-grade color negative film, in 1998, replacing Super G Plus 400. This film has been updated a couple of times, first in 2003 and again in 2006. It’s been widely used, thanks to its low cost and versatility. I’ve shot several rolls of this film over the years.

Thomas Schwab, who has invented a few film simulation recipes, and who I’ve collaborated with on a number of others, created this Superia Xtra 400 recipe. He did this by capturing a roll of actual Superia Xtra 400 film with a film camera while capturing identical exposures with his Fujifilm cameras, then, using X RAW Studio, worked on the settings until he found a match. As you can imagine, he put a lot of time and effort into creating this! He shared with me some of his side-by-side pictures—comparing the film with this recipe—and it was tough to figure out which was which, they looked so close!

Creek Through Autumn Forest – Fruit Heights, UT – Fujifilm X100V – “Superia Xtra 400”

What I find interesting is that this recipe isn’t all that much different than Luis Costa’s Classic Negative recipe. I said of Luis’ recipe, “It reminds me a lot of Superia Xtra 400 with a warming filter, or maybe Superia 200 pushed one stop.” Turns out it was pretty darn close to Xtra 400. This recipe by Thomas is even closer! But, of course, with film, so much depends on how it’s shot, developed, and scanned or printed, and the aesthetic can vary significantly. So, really, both recipes mimic Xtra 400, but this one proudly carries the name, as it is a very close match to the film.

Thank you, Thomas, for creating this recipe and sharing it! I know that many of you will love it. I love it! This Superia Xtra 400 film simulation recipe is compatible with the Fujifilm X100V, X-Pro3, X-T4, and X-S10.

Classic Negative
Dynamic Range: DR400
Highlight: 0
Shadow: -1
Color: +4
Noise Reduction: -4
Sharpening: -1
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: Auto, +3 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1 (typically)

Example photographs, all camera-made JPEGs using this Superia Xtra 400 film simulation recipe on my Fujifilm X100V:

Eats & Treats – Farmington, UT – Fujifilm X100V
Fireplace – Farmington, UT – Fujifilm X100V
Brick & Fire – Farmington, UT – Fujifilm X100V
Red & Yellow Fire Hydrant – Layton, UT – Fujifilm X100V
November Pumkin – Farmington, UT – Fujifilm X100V
Fall Leaf in a Forest – Fruit Heights, UT – Fujifilm X100V
Forest Creek – Fruit Heights, UT – Fujifilm X100V
Autumn Branch Over Creek – Fruit Heights, UT – Fujifilm X100V
Autumn Creek – Fruit Heights, UT – Fujifilm X100V
Golden Path – Fruit Heights, UT – Fujifilm X100V
Trail Through the Forest – Fruit Heights, UT – Fujifilm X100V
Three Leaves – Fruit Heights, UT – Fujifilm X100V

See also: X-Trans IV Film Simulation Recipes

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Fujifilm X100V Film Simulation Recipe: Kodak Portra 800

November Cherries – Farmington, UT – Fujifilm X100V – “Kodak Portra 800”

Kodak introduced Portra 800 in 1998. The Portra line has seen a number of revisions and updates over the years, but I couldn’t find any information if the current Portra 800 film is the exact same emulsion from 1998, or if it’s gone through some changes over the years like the ISO 400 and 160 versions. Portra 800 is one of the best options for high-ISO color photography, but I’ve never shot it myself.

There are some good online resources that are helpful when creating film simulation recipes for films that I’ve never used, which I did consult, but that’s not how these settings came about. You see, there’s a new version of my Portra 400 recipe (which I know you’ll love) that’s coming soon, and this recipe is a variant of that. Thomas Schwab, who I’ve collaborated with on a number of different recipes (including Portra 400), and who has actually shot Portra 800, helped me out with this one. Thanks, Thomas!

Cabela’s Boy – Farmington, UT – Fujifilm X100V – “Kodak Portra 800”

I know that many of will love this Kodak Portra 800 film simulation recipe! It’s really nice, and has a good film-like aesthetic. Does it faithfully resemble real Portra 800? I think it does, but film can look different depending on how it’s shot, developed, scanned or printed, and this recipe won’t mimic every aspect of the film. Even so, I think this one will be quite popular, and many of you will use it regularly. It’s only compatible (as of this writing) with the Fujifilm X100V, X-Pro3, X-T4 and X-S10 cameras.

Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: 0
Color: +3
Noise Reduction: -4
Sharpening: -2
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: 5200K, +1 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this new Kodak Portra 800 film simulation recipe on my Fujifilm X100V:

Brown Tree Leaves – Farmington, UT – Fujifilm X100V
Small Shrub – Farmington, UT – Fujifilm X100V
Backyard Tree Leaves – Farmington, UT – Fujifilm X100V
Yellow House – Farmington, UT – Fujifilm X100V
Suburban Mailboxes – Farmington, UT – Fujifilm X100V
Red Fire Hydrant – Farmington, UT – Fujifilm X100V
Suburban Peek – Farmington, UT – Fujifilm X100V
Evening Commute – Farmington, UT – Fujifilm X100V
Smith’s – Farmington, UT – Fujifilm X100V
Drug – Farmington, UT – Fujifilm X100V
Suburban Dusk – Farmington, UT – Fujifilm X100V
Parked Car in the Dark – Salt Lake City, UT – Fujifilm X100V
Tunnel Bench – Farmington, UT – Fujifilm X100V
Night Mall Architecture – Farmington, UT – Fujifilm X100V
Empty Sidewalk at Night – Farmington, UT – Fujifilm X100V
Christmas Decor Display – Farmington, UT – Fujifilm X100V
Succulent & Globe – Farmington, UT – Fujifilm X100V
Jon Wearing Cabela’s Hat – Farmington, UT – Fujifilm X100V
Potted Plant on End Table – Farmington, UT – Fujifilm X100V
Accidental Exposure – Farmington, UT – Fujifilm X100V
Sunlight Through a Tree – Farmington, UT – Fujifilm X100V

See also: Fujifilm X-Trans IV Recipes

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Fujifilm X100V Film Simulation Recipe: CineStill 800T

Suburban Night – Farmington, UT – Fujifilm X100V

I created my original CineStill 800T film simulation recipe about two-and-a-half years ago. That recipe has remained quite popular. It’s received a lot of positive feedback and I remain quite proud of it. That recipe was created for X-Trans III cameras, but newer models have more JPEG options. I’ve been asked a few times if that recipe can be improved using the new features that weren’t around when I created it.

This new version is something that I’ve been working on for months and months. My CineTeal recipe is actually one of the failed attempts. I’ve been trying to achieve either an accurate CineStill 800T or Kodak Vision3 500T look straight-out-of-camera. These two films are actually the same film, but the CineStill version has the RemJet layer removed, which means that it is more prone to halation and can be processed in C-41 chemistry. Vision3 500T is meant to be developed using the ECN-2 process. With either CineStill 800T or Vision3 500T, how the film is shot, developed, and scanned and/or printed can significantly effect the aesthetic.

Lone Light – Farmington, UT – Fujifilm X100V – “CineStill 800T”

I’m not 100% satisfied with this recipe. I think in some situations and in certain lighting, it looks pretty darn accurate to the film. In other situations and in other lighting, it’s a little off. There’s a lot of variation in how the film can look, and it’s just not possible to encapsulate it all in one recipe. In any event, if you are looking for a recipe that produces results similar to Tungsten film, this is one to consider. It is only compatible (as of this writing) with the Fujifilm X100V, X-Pro3 and X-T4.

Eterna
Dynamic Range: DR400
Highlight: 0
Shadow: +2
Color: +4
Noise Reduction: -4
Sharpening: -3
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Fluorescent 3 (Cool White Fluorescent), -6 Red & -4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this new CineStill 800T film simulation recipe on my Fujifilm X100V:

Garage Door Light – Farmington, UT – Fujifilm X100V
Inside Looking Out – Farmington, UT – Fujifilm X100V
Fuel Stop – Farmington, UT – Fujifilm X100V
Quick Quack Centerville, UT – Fujifilm X100V
Old Navy – Farmington, UT – Fujifilm X100V
Brick at Night – Farmington, UT – Fujifilm X100V
Empty Bench – Farmington, UT – Fujifilm X100V
40% Off – Centerville, UT – Fujifilm X100V
Hi – Farmington, UT – Fujifilm X100V
Navy Surplus Baskets – Farmington, UT – Fujifilm X100V
Ghost Shoppers – Farmington, UT – Fujifilm X100V
Remodel – Farmington, UT – Fujifilm X100V
Red Cotton – Farmington, UT – Fujifilm X100V
Lit Corner – Centerville, UT – Fujifilm X100V
Chillin’ in the Drive Thru – Centerville, UT – Fujifilm X100V
Tree Leaves at Night – Farmington, UT – Fujifilm X100V
Night Rose – Farmington, UT – Fujifilm X100V
Hot Beans – Farmington, UT – Fujifilm X100V
Kitchen Ornament – Farmington, UT – Fujifilm X100V
Book Table – Farmington, UT – Fujifilm X100V
End Table – Farmington, UT – Fujifilm X100V
Girl in Window Light – Farmington, UT – Fujifilm X100V
Home Umbrella Farmington, UT – Fujifilm X100V

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Fujifilm X100V Film Simulation Recipe: B&W Superia

White House – Farmington, UT – Fujifilm X100V – “B&W Superia”

Sometimes it’s fun to experiment with the settings on different film simulation recipes—make small changes and see what the results are. My Ektachrome 100SW recipe come about because someone took my Kodachrome II recipe and used Velvia instead of Classic Chrome. I did a similar experiment recently with my Kodachrome 64 recipe. This B&W Superia film simulation recipe came about that same way.

Fuji X Weekly reader Thomas Schwab took my Fujicolor Superia 1600 recipe and made a few changes, most notably Acros instead of Classic Negative. There are a few other differences, such as Grain and White Balance, but it’s mostly the Superia 1600 recipe, yet in monochrome instead of color. There never was a black-and-white Superia film, but it is possible to develop Superia in black-and-white chemistry as a monochrome film (technically, this is cross-processing). While there might be some similarities to Superia film developed as B&W and this recipe, they’re completely coincidental, as these settings aren’t intended to mimic anything specific.

Lamp Shadow – Farmington, UT – Fujifilm X100V – “B&W Superia”

Even though this B&W Superia recipe isn’t intended to look like any particular film, it nonetheless produces very nice results. It calls for a little Toning, which resembles a quick Sepia bath, a common archival technique in monochrome printing, but that’s optional. The Clarity setting will slow down the camera considerably, so be aware of that. This recipe is only compatible (as of this writing) with the Fujifilm X100V, X-Pro3 and X-T4 cameras.

Acros (+Y, +R, +G)
Dynamic Range: DR400
Highlight: 0
Shadow: +2
Noise Reduction: -4
Sharpening: -1
Clarity: -4
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 12800
Exposure Compensation: +1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this B&W Superia film simulation recipe on my Fujifilm X100V:

Sunlight & Structure – Farmington, UT – Fujifilm X100V
Urban Canopy – Farmington, UT – Fujifilm X100V
Bakery Thriftshop – Ogden, UT – Fujifilm X100V
Curved Corner – Ogden, UT – Fujifilm X100V
We’re Open! – Ogden, UT – Fujifilm X100V
Oct 09 – Ogden, UT – Fujifilm X100V
Window Vase – Ogden, UT – Fujifilm X100V
Monochrome Leaf – Farmington, UT – Fujifilm X100V

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Fujifilm X100V Film Simulation Recipe: Nature Neon

Setting Sun Trees – Bountiful, UT – Fujifilm X100V – “Nature Neon”

This film simulation recipe isn’t mine. It was created by Fuji X Weekly reader Immanuel Sander, who has actually posted several different recipes on his Instagram account (@captn.look). Thomas Schwab was the one who tipped me off to this. There are several really nice recipes that Immanuel has shared, but this one is my personal favorite. I asked him if I could share it with you on this website, and he graciously agreed. Immanuel calls this recipe Captn Look Nature Neon.

I’m not sure what film this might most closely resemble. It’s kind of similar to my Golden Negative recipe (although not exactly), which is kind of similar to FPP Retrochrome (expired high-speed Ektachrome). It’s also almost redscale-ish, a little more subtly than my Redscale recipe. Cross processed film can sometimes have a red/orange color cast, particularly (non-Velvia) Fujifilm transparencies, but I don’t think these settings are especially close to that. Even if this recipe doesn’t look exactly like any particular film, it nonetheless produce very interesting results.

The Road Less Traveled – Antelope Island SP, UT – Fujifilm X100V – “Nature Neon”

It’s called “Nature Neon” in part because it uses the Fluorescent 1 white balance, which is also called Daylight Fluorescent or Neon Light. It gives a look as if a red neon light is illuminating the scene. The change that I made to Immanuel’s recipe is that I set Sharpness to -2; he had it set to -4. Thomas prefers it set to 0. Really, whatever Sharpness you prefer to use from -4 to 0 is acceptable.

This film simulation recipe is compatible with the Fujifilm X100V, X-Pro3 and X-T4. This article is a bit unusual in that it features example photographs from three photographers: Immanuel Sanders, Thomas Schwab, and myself. You can see how three different photographers used these settings. I want to give a big thank-you to Immanuel for creating and sharing this recipe, and to Thomas for showing it to me. Thank you, guys! I encourage you to check out their Instagram pages to see more of their pictures.

Classic Chrome
Dynamic Range: DR400
Highlight: 0
Shadow: +2
Color: +3
Noise Reduction: -4
Sharpness: -2
Clarity: -4
Grain Effect: Weak, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Fluorescent 1, +2 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)

Example photographs, all camera-made JPEGs using this Nature Neon film simulation recipe:

Immanuel Sanders

Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander
Photo by Immanuel Sander

Thomas Schwab

Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab
Photo by Thomas Schwab

Ritchie Roesch

Salt Lake from Ladyfinger Point – Antelope Island SP, UT – Fujifilm X100V
Peeking Peak – Antelope Island SP, UT – Fujifilm X100V
Rocks & Shrubs – Antelope Island SP, UT – Fujifilm X100V
Bison in a Meadow – Antelope Island SP, UT – Fujifilm X100V
Lava Sunset – Antelope Island SP, UT – Fujifilm X100V

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Fujifilm X100V Film Simulation Recipe: Agfa Vista 100

Daisies at the Dock – Big Arm, MT – Fujifilm X100V – “Agfa Vista 100”

In the film era, Agfa was not as big as Fujifilm or especially Kodak, but they were popular nonetheless, particularly in Europe. Vista 100 was a general purpose color negative film made by Agfa between 2001 and 2005. It was preceded by Agfacolor HDC+ 100, which produced similar (but not identical) results. There were two films, AgfaPhoto Vista 100 and AgfaPhoto Vista Plus 100, that were manufactured for a time, neither of which are the same emulsion as Agfa Vista 100. Similar names, different films.

This Agfa Vista 100 film simulation recipe came about after someone asked for settings similar to an Agfa Vista 100 Lightroom preset. It was sample pictures from that preset that I most consulted for this recipe, but I did look at examples of the film that I found online. This recipe produces results similar to the film, but is closer to the preset than the film. This might be more similar to Agfa Vista 200, which had a bit more saturation, contrast and grain; really, it’s in the ballpark of both the ISO 100 and 200 versions of the film, as they’re both pretty close to each other.

Newstand – Polson, MT – Fujifilm X100V – “Agfa Vista 100”

Because this requires the Classic Negative film simulation, as well as Clarity (which will slow your camera down, unfortunately) and Color Chrome Effect Blue, this film simulation recipe is only compatible (as of this writing) with the Fujifilm X100V, X-T4 and X-Pro3. I think many of you are going to really appreciate this recipe and it will be an instant favorite for some of you.

Classic Negative
Dynamic Range: DR200
Highlight: +1
Shadow: -2
Color: +2
Noise Reduction: -4
Sharpening: -0
Clarity: +3
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: 5600K, -4 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)

Example photographs, all camera-made JPEGs using this Agfa Vista 100 film simulation recipe on my Fujifilm X100V:

Lake McDonald Driftwood – Glacier NP, MT – Fujifilm X100V
Vuja de – Big Arm, MT – Fujifilm X100V
Boy, Fishing – Big Arm, MT – Fujifilm X100V
Shore of Wild Horse Island – Flathead Lake, MT – Fujifilm X100V
Evening at the Lake – Big Arm, MT – Fujifilm X100V
Three Sailboats – Big Arm, MT – Fujifilm X100V
Yellow Kayak – Big Arm, MT – Fujifilm X100V
Green Canoe – Big Arm, MT – Fujifilm X100V
Lunch Date – Polson, MT – Fujifilm X100V
Man in the Hat – Polson, MT – Fujifilm X100V
Brick & Metal – Polson, MT – Fujifilm X100V
Bank Building – Butte, MT – Fujifilm X100V
Cafe Open – Butte, MT – Fujifilm X100V
Drinking Fountain – Layton, UT – Fujifilm X100V
Circle Slide – Layton, UT – Fujifilm X100V
Yard Sale – Layton, UT – Fujifilm X100V
If a Tree Falls in the Forest – Glacier NP, MT – Fujifilm X100V
Cabin Flowers – Polebridge, MT – Fujifilm X100V

See also: Film Simulation Recipes

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Fujifilm X100V Hack: Turn Daylight Into Blue Hour

Duskflower – Bountiful, UT – Fujifilm X100V – captured during daylight.

I love photographing during the “blue hour” of dusk and dawn. The time right before sunrise and just after sunset, called twilight, is great for photography. While it’s called the blue hour, twilight is technically closer to an hour-and-a-half, but for practical photographic purposes, you have around 30 minutes in the morning and 30 minutes in the evening where the light is great for capturing pictures, so an hour total each day. That’s a small window of opportunity that’s easy to miss.

There are challenges to blue hour photography because the available light is limited and constantly changing. You’re using slow shutter speeds, large apertures and high ISOs. Or you are lugging around a tripod. These aren’t necessarily “bad things” they’re simply a part of blue hour photography, but there is an alternative that eliminates these challenges.

You can do faux blue hour photography anytime of the day with your Fujifilm X100V. It’s a simple trick, really. It requires three things: underexposure, warm high-shutter-speed flash, and a white balance adjustment. With a little slight-of-hand—I mean, technical knowhow—you can create pictures that appear to have been captured during the blue hour but are in fact daytime images.

The first thing you’ll need to do is underexposure your pictures by at least 3 stops from what the meter says that it should be. Most of the pictures that I captured required the exposure to be adjusted to -3 2/3 to -4 1/3, which means you’ll have to go manual, since the exposure compensation dial only goes to -3. You are basically setting the luminance of the background in your pictures, and you want it to be dark. It can be tough to judge in the moment what the exact exposure should be, and it takes a little trial-and-error to get it right, so be patient, as it might take a few tries to get an image that you’re happy with.

Next is the flash, which you’ll use to illuminate the foreground of your pictures. Because you are photographing during daylight, you’ll be using a fast shutter. I typically used a shutter speed between 1/500 and 1/4000, just depending on the picture, which would be a problem for most cameras when combined with flash photography, but on the X100V it’s no problem whatsoever. You see, the X100V’s mechanical shutter is a leaf shutter, which means that you can use the flash at high shutter speeds (something that you cannot do with a focal plane shutter). The X100V’s built-in fill-flash does marginally work for this, but I got much better results when using the EF-X500 shoe-mount flash. I taped a DIY yellow “gel” (plastic that I cut off of a pear bag that was semi-transparent and yellow) to the flash to make the foreground warmer.

White balance is the third key to this trick. While it varies depending on the exact light, I found that 2500K with a shift of +5 Red and +9 Blue produced good results. Basically, you’ll want the white balance to be very cool, and you’ll need it to be 3200K at the warmest, which will likely will be a tad too warm.

Here are some examples comparing pictures shot normal and pictures shot with this faux blue hour trick:

The difference is huge! The normal daylight and the faux blue hour versions of the pictures above look dramatically dissimilar from each other, even though they were captured only seconds apart. This little trick produces convincing results!

The settings that I used for most of my faux blue hour pictures are:

Classic Chrome
Dynamic Range: DR400
Highlight: -1 to +1
Shadow: -2 to 0
Color: -2 to +2
Sharpness: -3
Noise Reduction: -4
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
Grain: Weak, Large
Clarity: -2
White Balance: 2500K, +5 Red & +9 Blue
ISO: 640
Flash: On, with yellow “gel”
Exposure: -3 2/3 to -4 1/3 (typically)

This isn’t a film simulation recipe, so I didn’t strictly stick with one set of settings, but instead looked at each exposure individually. Still, all of my faux blue hour pictures had similar settings, and I didn’t stray very far from it.

Even though this technique is a great way to achieve a blue hour look, there are some limitations. First, you might have shadows that don’t make sense for an after-sunset image. Second, there won’t be any lights on, such as streetlamps, car lights and indoor lights, which you’d expect to find after dark. If you want to use a slow shutter speed, you’ll need to activate the built-in ND filter, but you won’t likely get it to be as slow as you would if it were actually twilight. While the shoe-mounted flash does a decent job of lighting the foreground, you’d likely get even better results if you used strobes or off-camera flashes, but that further complicates the situation.

Despite the limitations, the technique of underexposure, warm flash, and cool white balance makes for convincing blue hour images in daylight conditions. While these settings are intended for the Fujifilm X100V, they can be applied to any camera with a leaf shutter—because of the fast shutter speeds you’ll be using, the leaf shutter is the real key to this trick. Below are out-of-camera JPEGs made using this faux blue hour technique on my X100V camera during daylight.

Night Reeds – Farmington, UT – Fujifilm X100V
Shark Boy – Farmington, UT – Fujifilm X100V
Red Tree Berries – Farmington, UT – Fujifilm X100V
Changing Oak – Bountiful, UT – Fujifilm X100V
September Autumn – Bountiful, UT – Fujifilm X100V
Night Trunk – Bountiful, UT – Fujifilm X100V
Night Trees – Bountiful, UT – Fujifilm X100V
Sunflowers at Night – Bountiful, UT – Fujifilm X100V
Bridge Under Moonlight – Bountiful, UT – Fujifilm X100V

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Fujifilm X100V Film Simulation Recipe: Kodachrome 1

Kodak Blossoms – Farmington, UT – Fujifilm X100V – “Kodachrome 1”

Kodachrome
They give us those nice bright colors
They give us the greens of summer
Makes you think all the world’s a sunny day

Kodachrome is probably the most iconic photographic film ever made. It was legendary, and many people saw the world through its colors. Kodak produced Kodachrome film from 1935 through 2009, when it was suddenly discontinued.

The Kodachrome name has been used for many different films over the years. The first Kodachrome product was a two-glass-plate color negative that was introduced in 1915. Like all other color photography methods of its time, the results weren’t particularly good and the product not especially successful.

Forest Brooks – Fruit Heights, UT – Fujifilm X100V – “Kodachrome 1”

In 1935 Kodak released its next Kodachrome, which was a color transparency film with an ISO of 10. This Kodachrome was the first color film that produced reasonably accurate colors and was the first commercially successful color film. It became the standard film for color photography for a couple decades, and was even Ansel Adams’ preferred choice for color work. The December 1946 issue of Arizona Highways, which was the first all-color magazine in the world, featured Barry Goldwater’s Kodachrome images.

Kodak made significant improvements to Kodachrome, and in 1961 released Kodachrome II. This film boasted more accurate colors, sharper images, finer grain, and a faster ISO of 25. While it was still similar to the previous Kodachrome, it was better in pretty much every way. A year later Kodachrome-X was introduced, which had an ISO of 64.

Another generation of Kodachrome, which came out in 1974, saw Kodachrome II replaced by Kodachrome 25 and Kodachrome-X replaced by Kodachrome 64. The differences between this version and the previous weren’t huge with nearly identical image quality. The biggest change was going from the K-12 to the K-14 development process (which was a little less complex, but still complex). This generation of Kodachrome is what most people think of when they picture (pun intended) the film, gracing the pages of magazines like National Geographic.

CPI – Farmington, UT – Fujifilm X100V – “Kodachrome 1”

I personally have shot plenty of Kodachrome, mostly Kodachrome 64. It was a good general use film that produced sharp images and pleasing colors. I haven’t used it in more than a decade. Its days are gone. Even if you can find an old roll of the film, there are no labs in the world that will develop it.

This Kodachrome 1 film simulation recipe is meant to mimic that first era of Kodachrome. This isn’t your parent’s or grandparent’s Kodachrome, it’s your great-grandparent’s. This Kodachrome 1 recipe is actually an updated version of my Vintage Kodachrome recipe. Since the new Fujifilm cameras have more JPEG options, such as Clarity, Color Chrome Effect and Color Chrome Effect Blue, it’s possible to get more accurate or at least different looks out-of-camera. This recipe is very similar to the original version, but I hope this one is just a tad better. It’s only compatible with the X100V, X-Pro3 and X-T4 cameras; if you don’t have one of those cameras, give the Vintage Kodachrome recipe a try. Both the old and this new version have a great vintage analog look that I’m sure many of you will appreciate. I want to give a big “thank you” to Fuji X Weekly reader Thomas Schwab for his help with updating this recipe.

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

Example photographs, all camera-made JPEGs using this Kodachrome 1 film simulation recipe on my Fujifilm X100V:

Reel 2 Reel – Farmington, UT – Fujifilm X100V
Behind the Grocery Store – Farmington, UT – Fujifilm X100V
American Neighborhood – Farmington, UT – Fujifilm X100V
Open Window Blinds – Farmington, UT – Fujifilm X100V
Playing Cards – Farmington, UT – Fujifilm X100V
Summer Bloom – Farmington, UT – Fujifilm X100V
Forest Edge – Fruit Heights, UT – Fujifilm X100V
Dead Tree Trunk – Fruit Heights, UT – Fujifilm X100V
Trees of Life & Death – Fruit Heights, UT – Fujifilm X100V
Sunlight & Leaves – Fruit Heights, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

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Abandoned Location: Hugh’s RV w/ Fujifilm X100V & Fujicolor Reala 100 (Video)

I had the opportunity recently to photograph the abandoned Hugh’s RV in North Salt Lake, Utah, with Fuji X Weekly reader Ryan from Oregon. The last time that I was there I used my Kodak Portra 400 film simulation recipe. This time, both Ryan and I used my Fujicolor Reala 100 film simulation recipe on our Fujifilm X100V cameras. Two photographers at the same location using the same camera with the same settings, but with different perspectives. Check out the video!

I had a great time shooting with Ryan! It was a good opportunity to talk cameras, recipes, photography, and more. I want to give a special “thank you” to Ryan for participating in this adventure, for allowing himself to be filmed, and for sharing his pictures in the video. Please check out his Instagram account, as his pictures are great!

Let me know in the comments what you think of the video. I appreciate the feedback!

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

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

Fujifilm X100V Film Simulation Recipe: Bright Summer

Yellow Shack – Syracuse, UT – Fujifilm X100V – “Bright Summer”

I get asked frequently to create film simulation recipes for many different film aesthetics, but sometimes I get asked to recreate the look of a photographer and not a film. This recipe falls into the latter category, as it is intended to resemble the aesthetic of Preet (Instagram), a photographer from Dubai. Preet uses a Fujifilm X-Pro3, but he shoots RAW and edits in Lightroom. In fact, he told me that he will soon be releasing his own Lightroom presets so that you can get his aesthetic in-software. I wanted to get close tp his look in-camera without the need for RAW editing, so I created this film simulation recipe, which is modeled after Preet’s pictures. It’s not an exact match, but probably as close as you can get straight-out-of-camera.

I can recognize Preet’s images without even seeing his name. They are bright, low-contrast (but typically of high-contrast scenes), and vibrant with a warm yellow-ish cast. They are almost kodak-esque, but not exactly like any specific film, and clean without grain. This film simulation recipe is pretty close to that aesthetic. Preet photographs a lot of beach scenes, buildings, and cars. I’m reminded of a bright summer day, which is why I call this recipe “Bright Summer.”

Roof – Farmington, UT – Fujifilm X100V – “Bright Summer”

I found with this recipe that sometimes Color should be set to +3 instead of +4 to better match Preet’s look, but oftentimes +4 is better, and occasionally +5 would be most correct if such a setting existed. If you prefer Color set to +3 don’t be afraid to do it. White Balance Shift occasionally looks more correct with Red set to -5, but I found -4 to be better for most pictures. It’s a similar situation for Blue: -3 is sometimes a better match, but most often -2 is most correct. You’ll have to decide if you prefer the recipe as stated below, or if -5 Red & -2 Blue, or -5 Red & -3 Blue, or -4 Red and -3 Blue works better for you. It might vary from picture-to-picture. Although I have Grain set to Off, I would consider setting it to Weak and Small, but that’s just my taste. To get even closer to Preet’s look, bring down the highlights and lift the shadows very slightly with a curves adjustment in-software (which, of course, is completely optional). This film simulation recipe is only compatible with the Fujifilm X100V, X-Pro3 and X-T4.

Classic Chrome
Dynamic Range: DR400
Highlight: -2
Shadow: -2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: -5
Grain Effect: Off
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 7100K, -4 Red & -2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1 to +2 (typically)

Example photographs, all camera-made JPEGs using this “Bright Summer” film simulation recipe (without any modifications) on my Fujifilm X100V:

Free Flu Shot – Farmington, UT – Fujifilm X100V
No, No, No! – Farmington, UT – Fujifilm X100V
Chopstix – Farmington, UT – Fujifilm X100V
Twin Garage Doors – Layton, UT – Fujifilm X100V
Roof Slant 1– Layton, UT – Fujifilm X100V
Roof Slant 2 – Layton, UT – Fujifilm X100V
Roof Ladder – Farmington, UT – Fujifilm X100V
Lemon Ice Cream Truck – Farmington, UT – Fujifilm X100V
Suburban Flowerbed – Farmington, UT – Fujifilm X100V
Construction Truck – Farmington, UT – Fujifilm X100V
Burger King Parking Lot – Farmington, UT – Fujifilm X100V
Crown Burgers – Layton, UT – Fujifilm X100V
Notice: Stop – Farmington, UT – Fujifilm X100V
Lamp & Sky – Farmington, UT – Fujifilm X100V
Yellow House – Farmington, UT – Fujifilm X100V
Yellow Tree Summer – Farmington, UT – Fujifilm X100V
American Tree – Farmington, UT – Fujifilm X100V
Outdoor Succulent – Layton, UT – Fujifilm X100V
Parking Lot Reflections – Farmington, UT – Fujifilm X100V
Light Sphere – Farmington, UT – Fujifilm X100V

See also: Film Simulation Recipes

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

Fujifilm X100V Black    Amazon   B&H
Fujifilm X100V Silver   Amazon   B&H

Help Fuji X Weekly

Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!

$2.00