Thomas told me that this “Pure Negative” recipe is basically a modification of his X-Trans I Kodachrome II recipe for use on X-Trans IV cameras. Because X-Trans I doesn’t have Classic Chrome, Thomas used the PRO Neg. Std film simulation to emulate a Kodachrome aesthetic as best as possible, and his recipe does a good job of that for the X-Pro1 and X-E1 cameras. There are already several excellent Kodachrome options for X-Trans IV; this recipe isn’t intended to replicate Kodachrome, but instead produce good natural-looking results—perhaps there is a little unintentional Kodachrome 25 resemblance, too. Thank you, Thomas, for creating this recipe and allowing me to share it on Fuji X Weekly!
This Film Simulation Recipe is a great general-purpose option. It’s very versatile, delivering excellent results in a variety of situations. The only modification that I made to Thomas’ recipe is Dynamic Range: he prefers DR-Auto, but I set it to DR200. That’s not a big change, as DR-Auto chooses DR200 whenever there is bright highlights in the frame. Select whichever you prefer—either DR-Auto or DR200 is fine. For the Fujifilm X-T3 and X-T30 cameras, ignore Grain size and use a 5% CineBloom in lieu of Clarity (or just ignore Clarity)—the results will be similar. For X-Trans III, you’ll additionally have to ignore Color Chrome Effect, since your camera doesn’t have it. This recipe should be fully compatible with the new X-H2s, although I have not tested it to know for certain.
PRO Neg. Std Dynamic Range: DR200 Highlight: +1 Shadow: +2 Color: -4 Noise Reduction: -4 Sharpness: +1 Clarity: -2 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Off White Balance: Auto, +1 Red & -2 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Pure Negative” Film Simulation Recipe on a Fujifilm X-E4:
Bougainvillea Branch – Buckeye, AZ – Fujifilm X-E4
One Blossom Remains – Buckeye, AZ – Fujifilm X-E4
Prickly Pear – Goodyear, AZ – Fujifilm X-E4
Arching Palms – Goodyear, AZ – Fujifilm X-E4
Veiled Wasatch – Layton, UT – Fujifilm X-E4
Teenage Mutant Ninja Turtle – Layton, UT – Fujifilm X-E4
Pismo – Pismo Beach, CA – Fujifilm X-E4
Brad’s – Pismo Beach, CA – Fujifilm X-E4
Turbulent Waters – Pismo Beach, CA – Fujifilm X-E4
Wave Rider – Pismo Beach, CA – Fujifilm X-E4
Surfer – Pismo Beach, CA – Fujifilm X-E4
Standing on Water – Pismo Beach, CA – Fujifilm X-E4
Golden Ocean – Pismo Beach, CA – Fujifilm X-E4
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
Fujifilm X-T200 — Fujifilm’s last entry-level camera?
I commonly get asked advice on camera gear. Most often it is which Fujifilm camera to buy, usually by someone who is trying to get into the system—either as a first “serious” camera or switching brands, typically because they want to try Film Simulation Recipes; however, I occasionally I get asked by someone (that knows that I’m “into photography”) who is looking for an entry-level camera for themselves or their teenage kid. If it’s for themselves, it’s because Johnny’s 5th birthday is coming and they want better pictures, or they’re about to take that epic vacation they’ve been saving up for and want to capture the memories. If it’s for their child, it’s because their kid has shown some interest in photography and they want to foster that. Either way, the basic entry-level model is what’s needed.
Whenever I ask about budgets, I usually hear something like, “Under $300.” Sometimes $500 is the upper limit. I’ve been told $150 before. Almost never is it $1,000. In the past the advice I gave was to buy a used entry-level DSLR, like the Nikon D3200, for example, which could often be found somewhere close to the budget—super easy for the novice, yet advanced enough that a budding photographer could learn on it. Later, I would suggest something like the Fujifilm X-T100 or X-A5, which were affordable mirrorless options (and, of course, Fujifilm). Nowadays it’s harder to make a recommendation because the entry-level camera is basically gone.
Those who are “serious” tend to know that they have to spend more to get a quality camera. Much of the time you get what you pay for; however, sometimes these entry-level models were surprisingly good—I was impressed by the image quality of the Fujifilm X-T200, for example. Those who are after quality will typically skip the entry-level and go for a mid-tier option or higher. Those who want a cheap introduction will be satisfied with a low-budget camera. A lot of people—mostly those who would never consider themselves a “real photographer”—used to buy these cheap cameras in droves, but now they don’t.
The reason they don’t is largely because of the cellphone. The camera technology on your phone is beyond good enough for most people and purposes, and it keeps getting more and more impressive. You don’t need a bulky, inconvenient, complicated, and expensive DSLR to capture Johnny’s 5th birthday. You don’t need an interchangeable-lens camera to photograph that epic vacation. Your phone is more than capable of delivering stunning pictures that can be instantly shared. Yes, you could spend a grand on a camera and lens, you could lug it around, you could take classes or watch videos on how to use it since it’s all so confusing, and you could download a bulky photo editing program onto your computer—or just pull out your phone and let its smart technology handle it all for you with just one tap.
It wasn’t long ago that the cellphone killed the pocket point-and-shoot. Now it’s also killed entry-level interchangeable-lens cameras. While I think cellphone camera technology can be (and could continue to become) appealing to “serious” photographers, I don’t think it will have a big impact on higher-end cameras. The market is shrinking from the bottom up—not the top down. If anything, there is an increased demand for mid and high end models. But the lucrative point-and-shoot and entry-level markets are pretty much all dried up.
What does this mean? There are several things. First, those hoping to find a cheap camera will have to get an older model, because less and less are new ones being made. I definitely don’t mind using “old” gear, but others don’t always feel the same—five-year-old tech is practically obsolete and 10-year old definitely is (in some people’s opinions, not mine). Fujifilm’s last entry-level cameras—the X-A7 and X-T200—were discontinued shortly after their release, due to sluggish sales. Right now the mid-tier X-E4 is their lowest-level model, and it is certainly not a “low-end” camera. Other brands have been discontinuing their entry-level options, too. If you want a “real” camera, you’ll need to get a “serious” camera; otherwise, stick with your cellphone.
I think the affect on those with a budding interest in photography will be profound. Either you will learn on a cellphone (which isn’t necessarily a bad thing), or you’ll pony-up for a mirrorless—those who cannot afford the mirrorless model either won’t have their interest fostered and it will fade, or will learn photography differently—good, bad, or indifferent, this will shape the future of photography in some way. Change always has some impact on the future, but we won’t know exactly what it is until we get there.
Another impact that the disappearing entry-level will have on the camera industry is that money must be made somewhere. Camera companies have to make up for the lost revenue. While the trend in tech is that things become cheaper over time, I think we’re already seeing that the top-end is not getting cheaper. It won’t just affect the top, but that is what’s most affected currently it seems; I suspect that it will have an impact across all brands and all tiers to varying degrees. Fujifilm is lucky because their Instax line is still extremely popular and profitable.
The flip side of the coin is that the cellphone camera market is (and has been) booming. Whether it is Apple or Android, the camera capabilities of your device likely had a significant impact on your decision to buy. How many lenses does it have? How much resolution? What kind of computational tricks can it do? The more people spend on cellphones, the more the technology marches forward, and the better the cameras become. It’s really quite amazing what the little telephone/computer/camera in your pocket can do!
Photo by Amanda Roesch using the RitchieCam App on an iPhone 13
Obviously those advancements mean opportunities. I took the opportunity to create the RitchieCam App to bring simplified and intuitive one-step photography to your iPhone. My wife took the opportunity to do some underwater photography—something that she wouldn’t have done with an interchangeable-lens camera, but her iPhone 13 handled it swimmingly well. What that opportunity is for you depends on you—there is an opportunity for certain, you just have to find it and make it happen.
Yes, the entry-level camera is disappearing, and will soon be gone. Much like CDs, Blockbuster, and one-hour photo labs, cheap interchangeable-lens cameras are a thing of the past. It will have an impact on photography, but whether that’s positive or negative depends on your perspective. And I do think there are both positives and negatives. Certainly camera manufacturers have been concerned for some time—if there’s a lesson to be learned, perhaps it’s to do more to bring the mobile photography tech advancements to “real” cameras, too. Those wanting a bottom-end camera are seeing their options disappear. Those hoping cameras will become cheaper as they become better will likely be disappointed, at least for a time. That might look bleak, but I also believe that photography has become more accessible.
How has photography become more accessible if it isn’t becoming more affordable? The phone-in-your-pocket is only getting better, and is being taken more seriously. There’s a reason why the pocket point-and-shoot and entry-level interchangeable-lens cameras have succumbed to it. Many more people have access to a decent camera, and the pictures are easily shared across the world—more pictures are being captured now than ever before, and that’s a huge understatement!
Fujifilm cameras have made post-processing unnecessary. I don’t know how many of you truly understand the impact of this—I have a front-row seat, and I’m just beginning to grasp the magnitude of it. Learning Lightroom and Photoshop have been a prerequisite barrier to becoming a “serious photographer” for years; however, not everyone in the world has access to photo-editing programs, not everyone has a desire (or the time) to learn them, and not everyone enjoys sitting at a computer for hours (or has the time). A lot of people have been on the outside looking in, but now they don’t have to be because the barrier has been removed (thanks to Fujifilm cameras and Film Simulation Recipes). For others, it’s just a fun way to do photography, and has made the process of creating pictures more enjoyable.
Some who are just learning photography, who’ve maybe only used their cellphones previously, are buying Fujifilm cameras and using recipes and getting good results out-of-the-gate; if they had to edit their pictures, they would still be stuck on the software—they’d be making less progress and having less fun. Some who are experienced pros and have been in the business awhile have found that using recipes on Fujifilm cameras has simplified their workflow and made them more productive, while not sacrificing quality delivered to the client (true story I’ve heard several times).
Camera makers don’t like seeing a previously profitable market segment disappear, and that makes them worry about the future. Those wanting to buy a low-budget camera are finding it harder and harder to find. Things are shifting and changing within the photography and camera world. Yet, whether you just want some decent snaps of Johnny’s birthday or are just starting out in photography or are a seasoned pro—or anywhere in-between—there are great opportunities for you right now. The obstacles in your path have never been smaller.
Empty Baseball Field – Buckeye, AZ – Fujifilm X-T1 – “Provia Negative”
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!
I didn’t model this recipe after any film or process. My first thought was this: how can I make a recipe that’s helpful. Let me back this up a minute. 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. For X-Trans II, there are recipes that use Auto, Daylight (which Fujifilm calls “Fine” for some reason), Kelvin, and Shade, so I thought it would be helpful to create a recipe that calls for a different white balance type that I haven’t yet used.
Indoor Tree – Buckeye, AZ – Fujifilm X-T1 – “Provia Negative”
After some playing around, I created a Film Simulation Recipe that I was quite happy with. It reminds me a little of Fujichrome Provia 100F slide film, but less vibrant, and a tad less contrasty, too, but still kind of similar; however, I think the tonality is more similar to negative film than reversal film. That’s why I call this recipe Provia Negative. This recipe has a slight cool color cast, with white leaning towards blue. I was able to get good results in several different light situations.
If you are a Fuji X Weekly App Patron, it’s available to you right now on the App! Don’t have the App? Download it for free today! Become a Patron to unlock the best App experience and gain early access to this recipe.
Example photographs, all camera-made JPEGs captured using this “Provia Negative” Film Simulation on my Fujifilm X-T1:
Two Magenta Flowers – Buckeye, AZ – Fujifilm X-T1
One Bloom Remains – Buckeye, AZ – Fujifilm X-T1
Pink & Green – Buckeye, AZ – Fujifilm X-T1
Pop of Warmth – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom 2 – Buckeye, AZ – Fujifilm X-T1
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-T1
Backlit Flowers & Leaves – Buckeye, AZ – Fujifilm X-T1
Basketball in the Grass – Buckeye, AZ – Fujifilm X-T1
Go Supply – Goodyear, AZ – Fujifilm X-T1
Hobby Lobby – Avondale, AZ – Fujifilm X-T1
Square on Block Wall – Buckeye, AZ – Fujifilm X-T1
One of my favorite X-Trans I Film Simulation Recipes is Color Negative Film, which has a white balance shift inspired by my Fujicolor 100 Industrial recipe. This recipe, which was a Patron Early-Access Recipe on the Fuji X Weekly App but is now available to everyone, is an adaptation of the X-Trans I recipe for X-Trans II. It doesn’t mimic any specific film, but just has a more generic film aesthetic. It’s not an exact match to the X-Trans I recipe, but it’s pretty close.
This “Color Negative Film” recipe is a great allrounder for daylight situations. My Fujifilm X-T1 was boxed away for over two months as I moved, and when I unboxed it last week this recipe is the one that I programmed and used first. It’s a recipe that I know many of you will love, too. If you have an X-Trans II camera, give this one a try!
No Swimming – Layton, UT – Fujifilm X-T1 – “Color Negative Film”
Provia Dynamic Range: DR400 Highlight: +2 (Hard) Shadow: +2 (Hard) Color: -2 (Low) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: 3200K, +8 Red & -8 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Color Negative Film” film simulation recipe on my Fujifilm X-T1:
Sunlit Leaves – Layton, UT – Fujifilm X-T1
Green Leaves – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Early Autumn – Farmington, UT – Fujifilm X-T1
Forest Trail – Farmington, UT – Fujifilm X-T1
One Dead Leaf – Farmington, UT – Fujifilm X-T1
Backlit Autumn Leaves – Farmington, UT – Fujifilm X-T1
Autumn Flare – Farmington, UT – Fujifilm X-T1
Changing Leaves in the Woods – Farmington, UT – Fujifilm X-T1
Yellow Shrub – Farmington, UT – Fujifilm X-T1
Trail to the Trees – Layton, UT – Fujifilm X-T1
Water Logged – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Little Purple Blooms – Farmington, UT – Fujifilm X-T1
Reeds of Summer – Farmington, UT – Fujifilm X-T1
Magenta Blossoms – Buckeye, AZ – Fujifilm X-T1
Trumpet Flower – Buckeye, AZ – Fujifilm X-T1
Pride of Barbados – Buckeye, AZ – Fujifilm X-T1
Jon by a Wall – Buckeye, AZ – Fujifilm X-T1
Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!
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This video is the viewer submitted photographs from SOOC Season 02 Episode 05. Yes, your pictures! The recipe-of-the-month was Eterna Bleach Bypass. I hope that you enjoyed shooting with it! Thank you to everyone who shared their images, to everyone who participated, and to everyone who tuned in!
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.
If you missed Episode 05 when it was live, you can watch it now (below):
Also, mark your calendars, because the next SOOC broadcast will be on August 11th! We’ll finish our discussion of the Fujicolor Pro 400H recipe, and introduce the next recipe-of-the-month: Vintage Agfacolor!
Last night’s storm as captured with my Fujifilm X-E4.
Arizona gets summer thunderstorms. If you are not from this region you might be surprised to learn that on average one-in-five days are rainy in Phoenix during the months of July and August. The thunderstorms come suddenly and can be intense. Flash flooding is common in the desert. They call this Monsoon, which roughly translates to stormy season or perhaps more simply weather or season, depending on who you ask.
One of these Monsoon thunderstorms hit the house hard last night. The wind was strong, the rain was pouring, and the streets turned into streams. Things toppled over in the yard. Branches broke off of trees. Lightning flashed and thunder boomed. It was kind of scary for a few moments.
I snapped a high-ISO image of the mayhem from safely inside the house. I used my Fujifilm X-E4 with a Fujinon 27mm f/2.8 lens, which isn’t the greatest low-light combo, so I used a window frame to help stabilize the camera for the 1/5 second exposure. I had my Nostalgic Print Film Simulation Recipe programmed into the camera; however, after the fact I thought it would look better in black-and-white, so I reprocessed the RAW file in-camera to the Kodak Tri-X 400 recipe.
I photographed this still-wet blossom today with my X-E4 and Fujicolor Pro 400H recipe.
I went to bed while the storm was still raging, but when I awoke this morning all was calm. It was a peaceful morning. The sun was shining. The wind was still. Birds were chirping. Everything seemed normal, except for what needed to be cleaned up—a task that didn’t take long—and I was able to enjoy the moment while sipping a cup of coffee.
This made me think of life. Sometimes the metaphoric storms rage, and it can be kind of scary. But once these storms-of-life pass—and they will pass—we can enjoy a moment of peace. The sun will shine again. The flowers will bloom. I think it’s important to take in the calm that comes after the storm. It’s inevitable that more storms will come; perhaps they’re easier to weather when we can remember the calm that comes after. Sorrow may last for a night, but joy comes in the morning. Yeah, you might have some junk to clean up, but then take a moment to appreciate the peaceful morning.
Storm brewing behind a Palo Verde in 2019, captured with a Fujifilm X-T30 and Velvia recipe.
This article doesn’t have much to do with photography, but I hope that it is encouraging to some of you nonetheless. If there is a way to make this more photography-related, it is this: no matter if it is stormy in your life or a peaceful morning, get your camera and capture pictures. Expressing yourself through your images can be therapeutic, and there are many valuable lessons that could be learned.
Even though they can be scary, Monsoon thunderstorms are necessary for life in Arizona. They provide much-needed water to a parched land. They produce cooler temperatures on scorching days. The land becomes more lush and green in its wake. Similarly, your personal storms-of-life, although they’re awful to experience, can make you stronger and better, and perhaps are what will propel you forward to whatever is waiting for you tomorrow.
If you missed SOOC when it was live last Thursday, you can watch it right now (above) if you’ve got some spare time. In this episode we finished our discussion of the Eterna Bleach Bypass Film Simulation Recipe and introduced the next recipe-of-the-month: Fujicolor Pro 400H. Among other things, we discussed Clarity and recipes to use with Instax printers.
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.
I appreciate everyone who tuned in and participated! Thank you to everyone who watched despite some significant technical difficulties and challenges that were going on behind the scenes. I hope it didn’t adversely affect the broadcast too much, and that you found it informative and entertaining anyway. The next episode will be live on August 11, so mark your calendars now, and I hope to see you then!
As I type this, I’m in my new office in my new home, which is in Arizona and not Utah. I called Utah home for six years; however, I just moved to Arizona. I used to live in Arizona—it’s where my wife, Amanda, and I met over 20 years ago. It’s where my oldest two kids were born. In a way it was already home before we even arrived. It’s good to be back, I think, and I believe some really good things are just around the corner.
I captured the picture above, Pink Bougainvillea, about 10 minutes ago in the side yard. You can see these flowers through a window from my new office. The views aren’t quite as good here as they were from our house in Utah (which were just incredible… I loved watching the changing light on the Wasatch mountains), but there is still a lovely beauty that I hope will be inspiring as I type out new articles for this blog… and get caught up on all the other work that I’m way behind on.
Fujifilm X-E4 as captured on my iPhone today using the RitchieCam App
I have been a nomad for the last two-and-a-half months, traveling all around—going in circles, really. We went through Utah, Arizona, New Mexico, Texas, and Oklahoma, before arriving in southern Missouri to experience the Ozarks, which were more beautiful than I anticipated—amazing place, with water and trees everywhere! Then we went to Arkansas, which, again, was more beautiful than I had expected. We returned to Texas to spend a couple weeks in the Lone Star State, before traveling through New Mexico (again) enroute to Arizona. You might think we were done once we arrived in the Grand Canyon State, but we only paused to look for a house. Once living arrangements were squared away, we continued on—first to the central California coast, then to Utah (because we still had some stuff in a storage unit) by way of Nevada and (briefly) Arizona. It was a quick turnaround back to Arizona, and today is Day 1 in the new place (although I’m still waiting for our Pods with our furniture and stuff to arrive). Still lots of work to do while simultaneously trying to catch up on all that I’m behind on. Whew! I’m exhausted just thinking about it.
It’s a new day in a new house, working from my new office. I’m both sleepy and extremely excited. Now I just need to get some coffee, because I’m running on about six hours of sleep. I have a whole bunch of content that I hope to publish in the coming weeks, plus other projects and such, that I haven’t had the time to complete (or, in some cases, even start…)—hopefully I can now. I’ve got to go, but I’ll be back soon. Before I go, I just want to give a quick reminder that the next broadcast of SOOC will be live this Thursday at 10 AM Pacific, 1 PM Eastern—I hope to see you then!
Out of Gas – Claude, TX – Fujifilm X-E4 & Fujinon 27mm – “Fujicolor Natura 1600”
While traveling through the Texas panhandle back in May, I stumble upon an abandoned gas station in Claude, Texas—a small community outside of Amarillo. While you’d miss the town if you blinked, this old service station caught my eye with its aged pumps and metal roof. U.S. Highway 287 cuts right through town, and thousands of travelers pass by each day, yet most probably don’t notice this place, and I doubt very many stop to take a closer look. I’m drawn to abandoned buildings, so I immediately noticed, and of course stopped to capture it with my camera.
I used my Fujifilm X-E4 camera with the Fujinon 27mm f/2.8 lens to photograph the forgotten gas station. This combination is perfect for travel photography, and I used it a lot on this particular road trip—not just at this one stop, but at many, many others. I had the Fujicolor Natura 1600 Film Simulation Recipe programmed into the camera, which has quickly become one of my favorite color recipes. Because I shoot with recipes, I no longer edit my pictures (aside from some minor cropping and straightening), which saves me tons of time. I captured so many pictures on this road trip that I filled up a 128GB SD card (and then some!)—I couldn’t imagine having to post-process all of the RAW files; instead, my photographs are already finished as soon as they’re captured.
I didn’t stay long in Claude. Like many west Texas small towns, there’s a lot of photographic potential, as there is a lot of character and forgotten history. I could have captured even more while I was there, but I had somewhere to be, so I left satisfied that I documented this interesting old gas station while it still remains standing. Even in rural towns, progress eventually catches up, and relics are demolished, so opportunities are fleeting. Besides, I might never pass through Claude again, but if I do, I will definitely have a camera ready.
This post contains affiliate links, and if you make a purchase using my links I’ll be compensated a small amount for it.
I recently visited Pismo Beach, California, and used my Fujifilm X100V to capture some pictures. As I was photographing, I remembered a previous trip to this same location eight years ago—at that time I was shooting with a Sigma DP2 Merrill camera. I was curious how my X100V pictures would compare to those captured with the Sigma camera
For those who don’t know, the DP2 Merrill was introduced in 2012. It has Sigma’s unique three-layer APS-C Foveon sensor with a whopping 46 megapixels (15.3 megapixels on each layer); while a lot of megapixels were advertised, the resolution is more equivalent to 30 megapixels (compared to 26 megapixels on the Fujifilm camera). It has a 30mm (45mm equivalent) f/2.8 lens permanently attached to the front—the X100V has a 23mm (34.5mm equivalent) f/2 lens. There are plenty of similarities between these two models, but there are many differences, too.
The Sigma DP2 Merrill produces wonderful images within a very narrow window: ISO 100 or ISO 200. You can get a decent black-and-white up to ISO 800, but at all costs going higher should be avoided, especially for color photography, where ISO 400 is pushing the envelope. The battery only last about as long as a 36-exposure roll of film. The camera is not particularly stylish or user-friendly.
The Fujifilm X100V can be used at much higher ISOs—for example, the Kodak Tri-X 400 Film Simulation Recipe requires a minimum of ISO 1600, and maxes out at ISO 12800. For color photography, I’m comfortable going as high as ISO 6400 (that purple flower picture above was ISO 1600). I will typically carry a spare battery, but oftentimes one fully-charged battery will last the whole day. The X100V is one of the most beautiful and best-designed cameras, in my humble opinion.
Sigma DP2 Merrill(yeah, that’s the same kid… my son, Jon)
The biggest difference between the Sigma DP2 Merrill and Fujifilm X100V is workflow. With the Sigma, I’d have to load the massive files onto my computer, which would take forever (I’m sure it would be quicker now with modern computers), then I’d have to do an initial edit with their mediocre software (which, again, has likely improved), save as a TIFF, and then finish editing in another program (sometimes a thirty-minute process per picture). With the Fujifilm, I use Film Simulation Recipes to get the look I want straight-out-of-camera, download the pictures from the camera to my phone, crop and straighten if needed, and then upload to storage. My post-processing workflow is so much quicker and easier with the X100V!
Obviously I’m not doing any sort of serious comparison between a still-new model and one that’s a decade old. That’s not fair, and that’s not the point. I’m just looking back, and seeing what has changed in eight years. Obviously my kids have grown a whole bunch. The other big change is that my workflow has simplified and become much less intrusive to my life. The Sigma camera was good for a season, but now I’m very happy to be shooting with Fujifilm.
On the day when the Nikon Zfc was announced, I placed my preorder for it. I’m a sucker for retro-styled cameras, and I used to shoot with Nikon DSLRs many years ago, so I was very curious about the Zfc. When it arrived I eagerly removed the packaging, and was very soon disappointed. The camera looked beautiful, but was bigger, heavier, and cheaper (as in quality, not price) than I had anticipated, and with questionable design decisions (such as PASM). Still, I put it through its paces, and published an article comparing the Nikon Zfc to Fujifilm cameras, which was more-or-less my review of it. Then I put the Zfc back in the box, which is where it remains today. I might dust it off and give it another chance, or maybe I’ll just sell it—I haven’t yet decided. For certain, I was unimpressed by Nikon’s efforts, and my advice to them would be to try again, but this time don’t be afraid to take the extra steps to give their customers a unique experience. I feel like they had the right idea, but didn’t have the guts to really see it through, and instead produced a mediocre camera dressed in lovely styling—kind of the lipstick-on-a-pig thing, but that’s a little harsher than I mean.
There was one bright spot with the Nikon camera: Picture Control (and the Creative Picture Control subset). While Fujifilm’s Film Simulations are inspired by film, Nikon’s Picture Controls are inspired by feelings and mood. It’s a much different take, and not necessarily better or worse—simply a divergent approach that’s worth noting. Fujifilm infuses an analog soul into their digital images, while Nikon infuses emotions that may or may not be analog-esque into their images. I found this to be intriguing, and I excitedly created some Film Simulation Recipes, which are JPEG camera settings, for it (like I do for Fujifilm cameras)—I crafted 11 Film Simulation Recipes for the Zfc before I boxed it back up.
I never did anything with those recipes, other than store them on my computer. Nobody knew that I had even made them, yet, because of my Zfc article, a number of people have requested that I publish Nikon Z Film Simulation Recipes. I briefly considered making a website and app, like I did for Fujifilm and Ricoh, but decided that I really don’t have the time, energy, or desire to do that, at least for now. Instead, I decided to simply publish those 11 Film Simulation Recipes for Nikon Z in this article—you’ll find them below! These recipes are fully compatible with the Nikon Zfc, Z50, and Z30 (the APS-C models). They are likely also compatible with the full-frame Z cameras—Z5, Z6, Z6 II, Z7, Z7 II, and Z9—but I’m really not 100% sure, and most likely they’ll render just a little differently—if you have one of those cameras, give it a try and see what happens.
For those who don’t own a Nikon Z camera, you might find the similarities and differences between these and Fujifilm recipes to be fascinating. I hope that those who come to this website for Fujifilm-related articles aren’t too disappointed by this post, but instead find something about it worthwhile. Likely a few of you have both a Fujifilm and Nikon Z camera, so this article should be beneficial to at least a handful of people. If it is, let me know in the comments! Also, if there’s a certain recipe in this list that you are drawn to, let me know!
Nostalgic Print
Nikon Zfc – “Nostalgic Print”
Resembles the aesthetic of classic Kodak prints that have been stored in a box for many years.
Picture Control: Dream Effect Level: 90 Quick Sharp: 0.00 Sharpening: -0.50 Mid-Range Sharpening: -2.00 Clarity: -4.00 Contrast: +3.00 Saturation: -2.00 Active D-Lighting: Normal High ISO NR: Low White Balance: Natural Light Auto WB Adjust: B2.0 G0.5 ISO: up to 3200
Nikon Zfc – “Nostalgic Print”
Nikon Zfc – “Nostalgic Print”
Nikon Zfc – “Nostalgic Print”
Nikon Zfc – “Nostalgic Print”
Silver Slide
Nikon Zfc – “Silver Slide”
Some similarities to color transparency film with the bleach step reduced (but not skipped).
Picture Control: Dramatic Effect Level: 70 Quick Sharp: 0.00 Sharpening: +2.00 Mid-Range Sharpening: +1.00 Clarity: +1.00 Contrast: -1.00 Saturation: +3.00 Active D-Lighting: High High ISO NR: Low White Balance: Direct Sunlight WB Adjust: A3.0 M1.0 ISO: up to 3200
Nikon Zfc – “Silver Slide”
Nikon Zfc – “Silver Slide”
Nikon Zfc – “Silver Slide”
Nikon Zfc – “Silver Slide”
Weekend Negative
Nikon Zfc – “Weekend Negative”
Inspired by inexpensive consumer-grade color negative film, printed at the one-hour lab.
Picture Control: Sunday Effect Level: 60 Quick Sharp: 0.00 Sharpening: -2.00 Mid-Range Sharpening: 0.00 Clarity: +3.00 Contrast: +1.00 Saturation: -3.00 Active D-Lighting: Normal High ISO NR: Low White Balance: 6500K WB Adjust: A/B0.0 G2.0 ISO: up to 3200
Nikon Zfc – “Weekend Negative”
Nikon Zfc – “Weekend Negative”
Nikon Zfc – “Weekend Negative”
Nikon Zfc – “Weekend Negative”
Tungsten Dawn
Nikon Zfc – “Tungsten Dawn”
Great for mixed light situations, with some similarities to Tungsten film—also, great for toning down the intensity of warm “golden hour” light.
Picture Control: Morning Effect Level: 70 Quick Sharp: 0.00 Sharpening: -2.00 Mid-Range Sharpening: +2.00 Clarity: -2.00 Contrast: +1.00 Saturation: +2.00 Active D-Lighting: High High ISO NR: Low White Balance: Day White Fluorescent WB Adjust: A2.0 M1.0 ISO: up to 3200
Nikon Zfc – “Tungsten Dawn”
Nikon Zfc – “Tungsten Dawn”
Nikon Zfc – “Tungsten Dawn”
Nikon Zfc – “Tungsten Dawn”
Fujichrome
Nikon Zfc – “Fujichrome”
Color palette reminiscent of Fujichrome Astia but with vibrancy more similar to Fujichrome Provia.
Picture Control: Somber Effect Level: 90 Quick Sharp: -2.00 Sharpening: 0.00 Mid-Range Sharpening: 0.00 Clarity: -3.00 Contrast: -3.00 Saturation: +1.00 Active D-Lighting: Extra High High ISO NR: Low White Balance: Direct Sunlight WB Adjust: A2.0 M1.25 ISO: up to 3200
Nikon Zfc – “Fujichrome”
Nikon Zfc – “Fujichrome”
Nikon Zfc – “Fujichrome”
Nikon Zfc – “Fujichrome”
Classic Slide
Nikon Zfc – “Classic Slide”
Some similarities to Kodak Elite Chrome emulsions.
Picture Control: Pop Effect Level: 30 Quick Sharp: 0.00 Sharpening: 0.00 Mid-Range Sharpening: +1.00 Clarity: +2.00 Contrast: +1.00 Saturation: -2.00 Active D-Lighting: Normal High ISO NR: Low White Balance: 5200K WB Adjust: A/B0.0 M0.75 ISO: up to 3200
Nikon Zfc – “Classic Slide”
Nikon Zfc – “Classic Slide”
Nikon Zfc – “Classic Slide”
Nikon Zfc – “Classic Slide”
CineFilm
Nikon Zfc – “CineFilm”
Resembles the aesthetic of low-saturation cinema film.
Picture Control: Silence Effect Level: 70 Quick Sharp: 0.00 Sharpening: +1.00 Mid-Range Sharpening: +2.00 Clarity: -2.00 Contrast: +1.00 Saturation: +3.00 Active D-Lighting: Auto High ISO NR: Low White Balance: Auto (0) Keep White WB Adjust: A5.0 M0.50 ISO: up to 3200
Nikon Zfc – “CineFilm”
Nikon Zfc – “CineFilm”
Nikon Zfc – “CineFilm”
Nikon Zfc – “CineFilm”
Cinema Color
Nikon Zfc – “Cinema Color”
Produces a cinematic filmic look.
Picture Control: Bleached Effect Level: 60 Quick Sharp: 0.00 Sharpening: +2.00 Mid-Range Sharpening: +1.00 Clarity: -3.00 Contrast: -1.00 Saturation: +3.00 Active D-Lighting: High High ISO NR: Low White Balance: Direct Sunlight WB Adjust: A5.0 M1.00 ISO: up to 3200
Nikon Zfc – “Cinema Color”
Nikon Zfc – “Cinema Color”
Nikon Zfc – “Cinema Color”
Nikon Zfc – “Cinema Color”
Vintage Color
Nikon Zfc – “Vintage Color”
Reminiscent of color pictures from the 1970’s and 1980’s.
Picture Control: Melancholic Effect Level: 90 Quick Sharp: -1.00 Sharpening: +1.00 Mid-Range Sharpening: 0.00 Clarity: -2.00 Contrast: +1.00 Saturation: -1.00 Active D-Lighting: Normal High ISO NR: Low White Balance: Daylight Fluorescent WB Adjust: A3.0 G2.25 ISO: up to 3200
Nobody pays me to write the content found on the Fuji X Weekly blog. There’s a real cost to running this website. I also put a lot of my own time into writing the posts. If you’ve found something on Fuji X Weekly helpful to you and you’d like to give back, this is a good place to do it. You can donate to this blog using PayPal by clicking below. I appreciate it! Thank you for your support! Please do not feel obligated to give, but do so only if you want to.
What’s in the July issue? The cover story is A Whale of a Tale, which is a photoessay of a recent whale-watching boat excursion, as captured with a Fujifilm X100V using the Kodak Tri-X 400 Film Simulation Recipe. There are a total of 28 photographs this month, including the cover image (above). I hope that you find it enlightening, entertaining, and inspiring!
Note: This was a Creative Collective article, but now it’s available to everyone.
The next SOOC broadcast is in two weeks! I hope that you can join us live on Thursday, July 14th, as we finish our discussion of the Eterna Bleach Bypass Film Simulation Recipe and introduce the next recipe-of-the-month: Fujicolor Pro 400H. The show starts at 10 AM Pacific Time, 1 PM Eastern—don’t forget to tune in 30 minutes early for the PreShow!
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.
Don’t forget to upload your photographs captured with the Eterna Bleach Bypass recipe (click here) by July 12th to be featured in the monthly slideshow. Those who upload a picture are entered into the “lucky draw” for a chance to win a year’s subscription to the Fuji X Weekly App.
Here are some pictures that I captured recently with the Fujicolor Pro 400H Film Simulation Recipe:
Red Potted Flowers – Pismo Beach, CA – Fujifilm X-E4 – “Fujicolor Pro 400H”
Palm Branch over Fence – Pismo Beach, CA – Fujifilm X-E4 – “Fujicolor Pro 400H”
No Lifeguard – Pismo Beach, CA – Fujifilm X-E4 – “Fujicolor Pro 400H”
Sandy Hill – Pismo Beach, CA – Fujifilm X-E4 – “Fujicolor Pro 400H”
Pacific Shore – Pismo Beach, CA – Fujifilm X-E4 – “Fujicolor Pro 400H”
Here are some pictures that I captured recently with the Eterna Bleach Bypass Film Simulation Recipe:
Billy Boy – Avila Beach, CA – Fujifilm X-E4 – “Eterna Bleach Bypass”
Yellow Car & Blue Van – Avila Beach, CA – Fujifilm X-E4 – “Eterna Bleach Bypass”
Over That Way – Avila Beach, CA – Fujifilm X-E4 – “Eterna Bleach Bypass”
Boats on the Water – Avila Beach, CA – Fujifilm X-E4 – “Eterna Bleach Bypass”
Gas Can – Avila Beach, CA – Fujifilm X-E4 – “Eterna Bleach Bypass”
If you missed the last SOOC episode, you can watch it below.
VW Bus – Avila Beach, CA – Fujifilm X-E4 – “SantaColor”
There’s a brand-new color negative film stock called SantaColor 100, which is actually repurposed Kodak AeroColor 125, an emulsion intended for areal photography. I don’t believe that AeroColor is still produced (although it can still be found if you look hard enough); SantaColor 100 could be an old batch that’s been stored for awhile and is now surplus. This film has a reddish-orange color cast, which (depending on how it was shot, developed, and scanned) can be somewhat subtle or quite pronounced. This Film Simulation Recipe is an attempt to mimic that film; however, I’m not 100% satisfied with how closely it does (or doesn’t) replicate it—I think it can be really close sometimes, and other times not so much. Still, I like how this recipe looks, so I thought I’d share it with you in case some of you like it, too.
Why are special films used for aerial mapping? I tried to find an answer to this, but couldn’t. My suspicion is that atmosphere/haze can obscure “regular” film, and aerial films are made to be less susceptible to that. Another thought is that the temperature at high altitude is cold, so maybe the film has to work well in cold temperatures. Still, another idea is that the angle of the sun is different, so the film needs to be adjusted for that. It could be one, all, or none of those things—if you know the answer, please enlighten me by commenting below!
Sport Fishing – Avila Beach, CA – Fujifilm X-E4 – “SantaColor”
This “SantaColor” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For those with an X-T3 and X-T30, you will need to ignore Grain size (since your camera doesn’t have that), and use a diffusion filter (such as 10% CineBloom) in lieu of Clarity. For those with an X-H1, you will need to additionally ignore Color Chrome Effect (the results will be just a little different).
Eterna Dynamic Range: DR200 Highlight: -2 Shadow: +4 Color: +4 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: 5100K, +5 Red & -3 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “SantaColor” Film Simulation Recipe on a Fujifilm X-E4:
Last Limelight – Redlands, CA – Fujifilm X-E4
We Hot – Pismo Beach, CA – Fujifilm X-E4
Fish out of Water – Pismo Beach, CA – Fujifilm X-E4
Agave Garden – Pasadena, CA – Fujifilm X-E4
Plymouth – Pismo Beach, CA – Fujifilm X-E4
Palm & Rooftop – Pismo Beach, CA – Fujifilm X-E4
Rooftop Stairs – Pismo Beach, CA – Fujifilm X-E4
Houses on the Hillside – Pismo Beach, CA – Fujifilm X-E4
Irregular – Avila Beach, CA – Fujifilm X-E4
Life Ring – Avila Beach, CA – Fujifilm X-E4
Wishing Posts – Avila Beach, CA – Fujifilm X-E4
Ball & Blue Boat – Avila Beach, CA – Fujifilm X-E4
Red Rowboats – Avila Beach, CA – Fujifilm X-E4
Beach-Walking Seagull – Pismo Beach, CA – Fujifilm X-E4
Grassy Sand Dune – Pismo Beach, CA – Fujifilm X-E4
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!
It’s always interesting to see which recipes you are shooting with. I don’t have a good method to quantify just how popular specific Film Simulation Recipes are. The best metric that I have is page-views—the more times a recipe has been viewed on this website, the more popular I assume it is. I can’t say for certain that there’s a direct relationship between page-views and actual use, but it seems reasonable to suspect that such a correlation exists. This list is the most popular Film Simulation Recipes during the month of June 2022 (so far… there are couple of days left in the month…), as determined by how many times the recipe article has been viewed.
No surprise to me, color recipes are more popular than black-and-white. I love monochrome photography, but color is clearly king. Still, I’m happy to see that my favorite black-and-white recipe made this list, even if it was at the bottom. Also not surprising to me, those recipes with the names Kodak, Kodachrome, and Portra are the most popular. Kodak was top-dog of film (probably still is), so it’s logical that those aesthetics are the most desired. What is a surprise to me is that a few “new” recipes made this list. Ones that have been out for awhile are well established, so they tend to get more views than the new-kids-on-the-block. Brand-new recipes are at a disadvantage for these types of lists, yet three recipes published in June—Reggie’s Portra, Low Key, and Bright Kodak—made it into the top-ten. Yea!
Without further delay, here are the Top 10 Film Simulation Recipes of June:
My wife, Amanda, visited her mom, and when she returned home she had a 4″ x 6″ print. “I thought you’d find this interesting,” she said as she handed it to me. I looked at it carefully—front and back—then set out to recreate the look on my Fujifilm X-E4. I have no idea what film was used to capture the picture (other than it was a color negative film), but it was about 20-years-old (based on the subject), definitely from a cheap point-and-shoot of some sort (possibly a disposable camera), it was printed on Fujicolor paper at a one-hour lab, and was likely faded from improper storage. I only had one picture to go off of, but I feel I nailed the aesthetic of it pretty darn closely.
Perhaps more importantly, I really like the look of this recipe. It is the most nostalgic-analog-like results that I’ve ever achieved from the PRO Neg. Std film simulation. It reminds me a little of the Kodak High Definition Plus 200 recipe, but with less contrast and less saturation. I’ve enjoyed shooting with this one—it’s definitely not for everyone or every situation; however, some of you will really appreciate it in the “right” situations.
This “Nostalgic Print” Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. Those with newer GFX cameras can likely use it, too. For those with the X-T3 and X-T30 (or older GFX cameras), if you ignore Color Chrome FX Blue and Grain size (since your camera doesn’t have those), and replace Clarity with a diffusion filter (such as a 10% CineBloom), you can get pretty close to this look; for X-Trans III, you’ll have to additionally ignore Color Chrome Effect (since you don’t have it)—the results will be slightly more different, but still pretty similar overall.
PRO Neg. Std Dynamic Range: DR400 Highlight: -2 Shadow: 0 Color: -4 Noise Reduction: -4 Sharpness: -2 Clarity: -3 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome Effect Blue: Weak White Balance: 4700K, -3 Red & -4 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this “Nostalgic Print” Film Simulation Recipe on a Fujifilm X-E4:
Red Train – Gilbert, AZ – Fujifilm X-E4
Five Palms – Gilbert, AZ – Fujifilm X-E4
Eagle 5 – Ehrenberg, AZ – Fujifilm X-E4
Morning Mountain Palms – Riverside, CA – Fujifilm X-E4
76 Pretzel – Ehrenberg, AZ – Fujifilm X-E4
Palm Leaves – Gilbert, AZ – Fujifilm X-E4
Tropical Plant – Pismo Beach, CA – Fujifilm X-E4
Ice Bloom – Pismo Beach, CA – Fujifilm X-E4
Sam’s Market – Pismo Beach, CA – Fujifilm X-E4
Green House – Redlands, CA – Fujifilm X-E4
Cupboard & Curtain – Redlands, CA – Fujifilm X-E4
A Sub Above the Dumpster – Pasadena, CA – Fujifilm X-E4
Three Bikes & Pedestrian – Pasadena, CA – Fujifilm X-E4
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!
Welcome to California… Maybe – Blythe, CA – Fujifilm X100V – “Kodak Tri-X 400”
For those keeping up with my move (from Utah to Arizona) and adventure: I’m on the road again. The long story is that we found a home in Arizona, but the moving company can’t deliver our stuff for a couple of weeks. The short story is that we’re off on a new adventure! Among some other stops, we’re enroute to the central California Coast—one of the most beautiful places in the world, in my opinion—while we wait for our furniture and such.
Shooting out a dirty window at 75 miles-per-hour isn’t ideal; however, in whatever situations that I find myself, I try to do the best I can with what I have. That’s all anyone can do. I’m not always successful, but I thought this series was decent enough to share. I hope that you enjoy!
Storm in the Mirror – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Driving Backwards – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Objects Are Closer – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Freight Flight – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Dash Cam – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Desert Center 16 – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Cars – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Parked Truck – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Fasten Seatbelt & Dead Palms – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
Life is a Highway – Somewhere Along I-10, CA – Fujifilm X100V – “Kodak Tri-X 400”
I captured this yesterday with my Fujifilm X-E4 using an upcoming recipe.
This is the 1,000th post!
I started the Fuji X Weekly blog on August 21, 2017, with the intention of writing one article per week. Initial this was a long-term review (or journal, as I called it) of the Fujifilm X100F, but (obviously) it morphed into something much different than that. Life has a way of taking you down roads you wouldn’t have considered or even thought possible. Here we are, four years and ten months later, and this website doesn’t much resemble its origins.
Firstly, Fuji X Weekly is no longer about one camera, but about all Fujifilm cameras. Secondly, its focus is no longer mere journalling; instead, the primary purpose of this page is JPEG camera settings, called Film Simulation Recipes, that allow you to achieve straight-out-of-camera results that look good—you don’t have to edit if you don’t want to. And, of course, there’s the Fuji X Weekly App, so you can take these recipes with you on the go—almost 250 of them!
Also captured yesterday with my X-E4 using an upcoming recipe.
I wanted to do something special for this important 1,000th article. I knew that it needed to be related to film simulations and recipes somehow, but I wasn’t sure how exactly. Like the time I didn’t know why the ball kept getting bigger, then it hit me (sorry for the bad joke…)—I figured it out: for this article, I would rate my favorite film simulations—from most liked to least liked—and also share my favorite Film Simulation Recipes for each. The new Nostalgic Negative film simulation isn’t in this list because I’ve never used it, so I have no idea how I would rank it, but I do believe it’s one that I would particularly appreciate.
Without further ado, here are my favorite Fujifilm film simulations, plus my favorite Film Simulation Recipes for each!
When I tried the Acros film simulation on my Fujifilm X100F for the first time, I was blown away by it, as it produced the most film-like results I’d ever seen straight-out-of-camera. It was a big reason why I decided to stop shooting RAW and rely on camera-made JPEGs instead. I’m a sucker for black-and-white (probably because I shot a lot of it in my early film days), and the Acros film simulation produces incredibly lovely monochrome pictures. Acros is found on all X-Trans III, IV & V cameras, as well as GFX.
Classic Mirror – Fort Worth, TX – Fujifilm X-E4 – “Fujicolor Natura 1600”
Modeled carefully after Superia film, Classic Negative is the closest film simulation to replicating the aesthetic of actual color negative film (albeit, Fujicolor film, not Kodak). It is programmed uniquely and beautifully—there’s so much to love about it! For color photography, I could shoot exclusively with Classic Negative and be happy. Unfortunately, this film simulation is only found on the X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras, as well as X-Trans V and GFX.
Prior to the introduction of Classic Negative, Classic Chrome was my favorite color film simulation, with its distinctive Kodak color palette. While it’s third on this list for me, I bet that it’s number one for many of you, since the most popular Film Simulation Recipes are those that use it. Fujifilm introduced it in 2014 with the X30, and retroactively gave it to some of their prior X-Trans II cameras (although not all) via firmware updates. Most Fujifilm models have Classic Chrome, and all since 2014 do.
The Eterna film simulation has a uniquely soft tonality; while it can be somewhat mimicked with PRO Neg. Std, there’s nothing that can completely faithfully replicate it. Because its beauty is in its subtleness, it can be easily overlooked. Some might think it’s only for video (which it is good for, too), but it is great for still photography. It was introduced on the X-H1, but that’s the only X-Trans III camera with it; otherwise, Eterna can be found on X-Trans IV, V, and GFX.
Haystack Driftwood – Cannon Beach, OR – Fujifilm X100V – “Ilford HP5 Plus 400”
While the Acros film simulation grabs the headlines, the Monochrome film simulation is itself a solid black-and-white option; however, because I liked Acros so much I basically ignored it for years, which is unfortunate. Monochrome has a different tonality than Acros and doesn’t have the built-in Grain, but it is still an excellent film simulation—one of the best, in fact. All Fujifilm cameras have the Monochrome film simulation.
Low Sun over Tetons – Grand Teton NP, WY – Fujifilm X-E4 – “Ferrania Solaris FG 400“
This is Fujifilm’s latest film simulation (aside from Nostalgic Negative, which is currently only found on one GFX camera, but soon on X-Trans V), and it’s basically the Eterna film simulation but with lots more contrast and even more muted colors. Eterna Bleach Bypass can deliver stunning results that are definitely different than what’s possible with the other options. This film simulation is only found on the X-T4, X-S10, X-E4, X-T30 II, X-Trans V, and the newest GFX models.
PRO Neg. Std used to be my third favorite film simulation, behind Acros and Classic Chrome. It has a subtle beauty with muted tones and contrast—similar to Eterna (although not quite as pronounced) but with more of a color negative feel than cinematic. Even though Fujifilm has introduced new film simulations that I like better, I still very much appreciate this one. Most Fujifilm models (with the exception of a few really old ones) have PRO Neg. Std.
Velvia 50 was my favorite color transparency film for landscape photography. While the Velvia film simulation isn’t a close approximation of that film straight out of the box, it can be made to look pretty similar with some adjustments. For vibrant landscapes, this is the film simulation to choose. Velvia can be found on all Fujifilm cameras.
Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30 – “Jeff Davenport Night”
At this point we’ve moved into the film simulations that use far less frequently. PRO Neg. Hi is basically PRO Neg. Std but with more contrast and saturation. It’s not bad at all, and it used to be my go-to film simulation for portraits (which I think it’s particularly good for). Most Fujifilm models (with the exception of a few really old ones) have PRO Neg. Hi.
Fujifilm calls the Provia film simulation their “standard” profile, but I’ve never really liked it. Because of that, I usually only shoot with it when I force myself to do so, and sometimes some interesting things come from that. All Fujifilm cameras have the Provia film simulation.
Wind from the West – Hammond, OR – Fujifilm X-E4 – “CineStill 50D”
The Astia film simulation is pretty close to PRO Neg. Hi in terms of contrast and saturation (although Astia is a bit more vibrant), but with a different tint that I think you either like or don’t like. I used to shoot with it a lot more more than I do now. It’s a good alternative for landscapes when Velvia is just too strong. Every Fujifilm camera has the Astia film simulation.
It’s your turn! Which film simulation is your favorite? Which Film Simulation Recipe do you use most? What on this list was most surprising to you? Let me know in the comments!
Want the subject in your picture to stand out? There are a few tricks: leading lines, composition, contrast, and color theory (an underutilized tool that seems to be used more often by accident than on purpose). Of course, the problem with color theory is that it can get complex and there are varying schools of thought. There are entire classes in college dedicated to this subject. I prefer simplicity, so we’ll take the easy route as we dive into color theory for photography.
Note: this was a Creative Collective article, but now it’s available to everyone.
Note how the red shirt stands out against the green foliage.
Two decades ago when I first began to learn color theory for photography, a photographer gave me this advice: look for contrasting colors. Red and green go together, blue and orange go together, and yellow and purple go together. A red rose against green leaves will stand out. A green umbrella against a red building will stand out. An orange rock formation against a blue sky will stand out. Blue furniture next to orange curtains will stand out. You get the idea. Blue/purple and yellow/orange are a bit interchangeable: yellow stands out against blue and orange stands out against purple.
I had a harder time finding purple+yellow examples.
If you want your subject to stand out, place it against an opposite color on the color wheel. It doesn’t have to be exactly opposite, but the closer the better. In the picture at the top of this article, the boy wearing orange stands out against the blue-reflected wet sand, and your eyes are immediately drawn to it. In the groups of examples above, you can get a good idea of how it works.
Of course, it can get a lot more complicated than that, because each color can have a different brightness and temperature. There’s bright yellow and dark yellow—something bright against something dark will stand out (and visa versa). There’s warmer green and cooler green—something warm will stand out against something cool (and visa versa).
You can ask yourself, “Is this color the opposite on the color wheel?” Or, even easier, “Do I have a warm and cool color?” It can be warm against cool or cool against warm. What are warm colors? Red, orange, and yellow. What are cool colors? Purple, blue, and green. But, yellow-green can be warm and reddish-purple can be cool—no surprise, there are grey areas. Without thinking too deeply about opposite colors on the color wheel, simply combine warm and cool colors to achieve dramatic results.
Let’s take a look!
Warm & Cool
The flower is warm and the leaves are cool. “Vibrant Velvia“
The sky is cool and the signs, truck, etc. are warm. “Kodachrome 64“
The flowers and even the leaves are warm while the sky is cool. “Bright Kodak“
Color theory isn’t the only way or even the “best” method to make your subject stand out in the frame—you can get dramatic results using a number of different methods, or even combine them; however, using color is an excellent way to have your subject stand out, and to draw the viewer right into the subject in a dramatic way. Color theory can get complex, but it doesn’t have to be—remember, opposite colors will stand out against each other. Even easier, warm colors and cool colors will stand out against each other, whether they’re opposites or not. If your subject is red, orange, or yellow (or a variant shade of these), place it against purple, blue, or green to draw the viewer in.
I chose these specific ones simply because they seemed interesting to me, so I wanted to try them out for myself. And they’re each good. I don’t know if I used them in the situations where they work best—for example, “Diffused Chrome” seems to be more intended for night photography (yet, in daylight, it produces a soft Kodak-negative-like aesthetic). I ended up using “Soft Cinnamon” the most, although not necessarily on-purpose. “AstiAmore” is one I’ve tried before, but wanted to use again.
Abandoned Cart – Gilbert, AZ – Fujifilm X-E4 – “AstiAmore”
I’ve been thinking about community a lot lately. Oxford Languages defines “community” as “a feeling of fellowship with others, as a result of sharing common interests….” Within the photographic realm, I do believe there’s no greater feeling of fellowship than that of those who share the common interest of Fujifilm X cameras. Yet we’re all strangers—perhaps you know a few other Fujifilm photographers, but most of us have never met. I want to do my part to foster this Fujifilm fellowship, but I’m not exactly sure what that means right now. Like a surfer who feels the wave building even before it can be seen, I feel that something is brewing, but I just can’t see it yet—I don’t have a clear vision of what it will look like.
All of this was in my mind as I received feedback from yesterday’s post, Is Fujifilm Losing Its Soul? Because that article got shared around the web (I wouldn’t call it “viral” but it did receive a lot of attention), there were non-Fuji X Weekly people commenting and messaging me. Some of it was good input, but some of it was just downright mean and nasty (you won’t find it because I deleted it). Websites like PetaPixel, DPReview, and even sadly Fujirumors, are crawling with trolls, yet this website has largely remained troll-free (yea!). Occasionally one comes along, but it’s pretty rare; however, when articles get shared to the general photographic community, sometimes nasty parasites come with that, unfortunately. I almost let that negativity stop me from sharing this article; thankfully, I didn’t. I’m privileged and honored to be part of this community, which is you guys and gals, because you are good people.
I hope that this “feeling of fellowship” can grow stronger. I think it has to go beyond the anonymity of the internet, beyond our phones and computers, and be more personal. I don’t have the “how” worked out, but perhaps that’s just around the corner. I feel the first step that I can take right now is this article, which is an impromptu casual collaboration with you. I’m always quite busy, but I hope to do more of this in the coming days, weeks, and months if I can. If there’s a particular Film Simulation Recipe that you’d like me to try, post a link to it in the comments.
“This recipe is a modification of Ritchie’s original Kodak Ektar 100 recipe.” —Thomas Schwab
Golden Cross on Top – Gilbert, AZ – Fujifilm X-E4 – “AstiAmore”
Gold Cross – Gilbert, AZ – Fujifilm X-E4 – “AstiAmore”
Suburban Desert Home – Gilbert, AZ – Fujifilm X-E4 – “AstiAmore”
If you don’t have the Fuji X Weekly App on your phone, download it for free today (Android, iOS)! For those who are Fuji X Weekly App Patrons, you can use the Blank Recipe Card feature to manually input recipes into the App, so if you like any or all of the ones above, you can save them to your phone and take them with you on the go. Also, if you have an iPhone, check out RitchieCam!
