Omar Gonzalez posted a hilarious YouTube video called Do You Suffer from Fujifilm Sim Depression?, which is a parody of pharmaceutical commercials, except that it’s about Fujifilm film simulations and not prescription drugs. It’s incredibly well done and funny! I don’t want to spoil it if you haven’t watched it, but the conclusion is that Omar likes the Provia film simulation. So watch the video if you haven’t yet seen it, and if you are suffering from “Fujifilm Sim Depression” let me offer you are this cure: the PROvia Film Simulation Recipe. Perhaps Omar someday will see it and try it; if so, I hope he likes it!
Provia is one of the film simulations that I personally like least… well above Sepia, but towards the bottom of the list nonetheless. Ouch. As it turns out, I was never meant to like it, yet it is the “Standard” film simulation on all Fujifilm cameras. This PROvia Recipe is my take on a “better” Provia, and is intended to not only look good, but also be versatile so that it could be one’s go-to Film Simulation Recipe (that’s why “PRO” is capitalized in the name). It is compatible with all X-Trans II cameras; those with X-Trans I and Bayer models can use it, too, but it will render slightly different on those models (try it anyway!).
Car Care – Tucson, AZ – Fujifilm X70 – PROvia Recipe
This PROvia Film Simulation Recipe is a Fuji X Weekly App Patron Early-Access recipe, which means if you are an App Patron, you have access to it right now. The Fuji X Weekly App is free, yet becoming a Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes, such as this one. These Patron Early-Access Recipes will eventually become available free to everyone in time, including this new one. 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!
If you are a Fuji X Weekly App Patron, I invite you to give the PROvia Film Simulation Recipe a try today! Don’t have the Fuji X Weekly App? Download it for free today! Consider becoming a Patron subscriber to unlock the best App experience, to gain Early-Access to this Recipe, and to support Fuji X Weekly.
Example photographs, all camera-made JPEGs using this PROvia Film Simulation Recipe on my Fujifilm X70:
Sabino Creek – Summerhaven, AZ – Fujifilm X70
Saguaro Behind Palms – Tucson, AZ – Fujifilm X70
Palm Branches – Tucson, AZ – Fujifilm X70
Green Ocotillo – Tucson, AZ – Fujifilm X70
Gunfight Site – Tombstone, AZ – Fujifilm X70
Reach for the Sky – Tombstone, AZ – Fujifilm X70
Bird Cage Theatre – Tombstone, AZ – Fujifilm X70
One Way Alley – Bisbee, AZ – Fujifilm X70
Cloudy Saguaro – Tucson, AZ – Fujifilm X70
Prickly Pear Pads – Tucson, AZ – Fujifilm X70
Sunlight Through the Forest – Summerhaven, AZ – Fujifilm X70
I’ve never really cared for Fujifilm’s Provia film simulation. I mean, it’s alright, but I like most of the other options better, and I wondered why they made it the “standard” film simulation. It doesn’t much resemble real Provia film—why even call it Provia?—yet it is front-and-center on all Fujifilm models.
I Recently stumbled across a fascinating article that helped me better understand why I don’t like Provia, and why the other film sims look the way they do. Exibartstreet.com translated and summarized an interview of two Fujifilm managers who discussed at length the different film simulations found on Fujifilm cameras (the original interview articles can be found here and here, and is two years old). I now have a little better understanding of Fujifilm’s philosophy behind the creation of their profiles.
Truck Stop Cross Process – Bowie, TX – Fujifilm X100F – Provia film sim – “Cross Process” recipe
Specifically to Provia, I discovered that I was never supposed to like it. It wasn’t designed for me. “When it comes to Provia,” one of the Fujifilm managers stated, “photographers that started with film find it hard, but photographers that only shoot digitally find it just right.” Well, I started with film; I don’t know if I’d describe it as “hard” but it is far from “just right” for me personally. “Provia aims at the greatest common denominator that makes you feel ‘beautiful’ at a glance.” In other words, they weren’t trying to mimic any emulsions, but create a profile that looks nice to those who have only ever shot with digital cameras. “In my personal opinion, I would like to change the name ‘film simulation,'” the Fujifilm manager said. “Film simulation is not film imitation.”
Diving into the interview, we discover that Velvia was, in fact, modeled after the film of the same name, but digital sensor and processor limitations have made it difficult to reproduce the film’s aesthetic; however, beginning with X-Trans III, Fujifilm has been able to get closer. Enabling Color Chrome Effect allows you to achieve the appropriate color depth.
Wind from the West – Hammond, OR – Fujifilm X-E4 – Astia film sim – “CineStill 50D” recipe
The Astia film simulation looks so much different than real Astia film. “We often receive comments that ‘reproducibility is different from Astia of silver salt,'” the manager explained. “The reason for this is that ‘the image quality design is not aimed at silver salt Astia.’ You may wonder what it means to bear the name of Astia even though it is different, but it is not completely unrelated. In fact, both film and digital are aiming at the same place. In other words, the film simulation ‘Astia’ was developed to bring it closer to the ‘ideal Astia’ that the development team aimed for when developing the silver salt film Astia.” Put more simply, the film simulation is the aesthetic that Fujifilm would have produced with the film if they could have.
Classic Chrome was modeled after an unmentioned slide film… they can’t say Kodak.
Pilot – Cordes Lakes, AZ – Fujifilm X-T5 – Classic Chrome film sim – “Kodachrome 64” recipe
PRO Neg. Std and PRO Neg. Hi were not modeled after any specific emulsions, but are for faithful color reproduction. “The main difference is the tone curve. PRO Neg. Hi is adjusted to tighten the shadows and tighten the highlights. On the other hand, the color design is the same.”
The Eterna film simulation was modeled after Eterna motion picture film. Regarding Eterna Bleach Bypass, “This setting is equivalent to ‘half of the silver remaining’ on film….”
Coastal Blooms – San Simeon, CA – Fujifilm X-E4 – Classic Negative film sim – “Pacific Blues” recipe
“Classic Negative is a very special kind of film simulation, designed so that the appearance of colors changes depending on the brightness. Therefore, I make adjustments so that dark tones are cyan, and bright tones are magenta. Classic Negative… was originally ‘Superia.'” It’s clear that this film simulation was carefully crafted to closely mimic Superia film. “To tell you the truth, I feel that Classic Negative was a little too bold.” I think Fujifilm should consider going “too bold” more often!
There’s a heck-of-a-lot more said in the interview that’s quite fascinating. I think Fujifilm doesn’t want its users to interpret “film simulation” as “film imitation” because not all of their film sims are intended to mimic film. Some are, and some are not. But, even the ones that are not, the digital side teamed up with the film side to assist in designing all of the film simulations—including Provia/Std—and I think their careful attention to detail and vast film experience translates into profiles that can be made to resemble film, even if the film sim was never intended to. Still, the film simulations that are, in fact, modeled after film are my favorites.
Rainfall on the Desert Mountains – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
I’m asked pretty regularly if I can create a Film Simulation Recipe that mimics a certain look—usually a particular film stock, but occasionally the aesthetic of a certain photographer. These recipes began as an attempt to recreate the look of a certain photographer. Unfortunately, despite much effort, I wasn’t successful. When I say “much effort” I mean that I went as far as having conversations with this photographer (which is pretty cool, because he’s well known and respected) to try and find out what he does to get his signature aesthetic. I tried some pretty unconventional tactics to get his look straight out of camera, but in the end I determined that it’s not possible with Fujifilm’s current JPEG options. Still, I really liked one of the recipes that I created while trying (and failing) to mimic the look, so I began using it.
Right around this same time someone asked if I could create a recipe that better mimics the Kodak Ektar 100 aesthetic from a particular photographer (as one film can produce many different looks depending on a host of factors). When I saw the images, my first thought is that it looked a lot like this new recipe, except with the color turned way up. So I turned Color up from -4 to +4, and the results were surprisingly similar to Ektar. An exact match? No, but definitely in the ballpark, and certainly close enough that if one is looking for an alternative Kodak Ektar 100 recipe, this is one to consider.
Red Bench – Tonto Natural Bridge SP, AZ – Fujifilm X100V – “KodaNeg VC”
I stated that I did something unconventional to create this recipe: I used a 1/4 Black Pro Mist diffusion filter, and I did so because it has a slight reddish-brown color cast. Normally I prefer CineBloom filters because they don’t have a color cast, but for this recipe it was necessary. If you have a 10% CineBloom you can use that instead; however, it will be slightly less warm. If Fujifilm allowed .5 adjustments to White Balance Shift, you could move a half-point towards red and achieve basically the same thing, but they don’t. I find that +7 Red is too strong when not using a Black Pro Mist, so I would definitely stick with +6, even though it is less warm. After creating the Black Pro Mist version, I set out to make an alternate version that does not use a diffusion filter, yet produces a similar look (albeit slightly less warm due to the lack of Black Pro Mist filter). So there are four Film Simulation Recipes in total here: two low-saturation options (with a without a Black Pro Mist filter), and two high-saturation options (also with and without a Black Pro Mist filter).
When Kodak introduced Portra, it initially came in two varieties: VC (“vivid color”) and NC (“neutral color”). The VC emulsion was more optimized for landscape photography and the NC emulsion was more optimized for portrait photography. These recipes aren’t intended to mimic Kodak Portra, but I decided to barrow the VC and NC abbreviations anyway—the two VC recipes are optimized for landscapes, while the two NC recipes are optimized for portraits. You can clearly see this in the two sets of images below.
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
Fujifilm X-E4 — “KodaNeg VC”
Fujifilm X-E4 — “KodaNeg NC”
I named these recipes “KodaNeg” because they have warm Kodak-like colors… maybe like Kodak color negative film paired with an 81A or 81B warming filter—color correction filters were fairly commonly used back in the film days, and 81A was probably the most popular among landscape photographers. Which Kodak color negative film? I didn’t model these after any specific film, so they don’t closely resemble any; however, the NC recipes are slightly Portra-like, and the VC recipes are slightly Ektar-like, but are not exact match to either.
If you have a 1/4 Black Pro Mist diffusion filter, I invite you to try the two KodaNeg recipes below that are intended for use with a diffusion filter. If you don’t have a Black Pro Mist—no worries—use the two recipes that are intended to be used without a diffusion filter. Unfortunately, because these require Clarity and Color Chrome Effect, they’re not compatible with the X-T30 and X-T3. Those with X-Trans V cameras should be able to use these recipes, but I do not have any personal experience to know for certain.
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X100V:
Dead Tree & Four Peaks – Fort McDowell, AZ – Fujifilm X100V
Red Rock – Tonto Natural Bridge SP, AZ – Fujifilm X100V
Sunlight Sky & Golden Trees – Pine, AZ – Fujifilm X100V
Barely Autumn – Pine, AZ – Fujifilm X100V
Handcrafted – Pine, AZ – Fujifilm X100V
Back of Sign – Pine, AZ – Fujifilm X100V
I is for Ice – Pine, AZ – Fujifilm X100V
Window Wash Bucket – Payson, AZ – Fujifilm X100V
KodaNeg NC (with Diffusion Filter)
X-Pro3, X100V, X-T4, X-S10, X-E4, & X-T30 II
Fujifilm X70 on a Bed – Pine, AZ – Fujifilm X100V – “KodaNeg NC”
Use this recipe in conjunction with a 1/4 Black Pro Mist Filter. Alternatively, you can use this with a 10% CineBloom, but the results will be slightly different.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +1 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: +3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X100V:
Power Pole – Pine, AZ – Fujifilm X100V
Lamp Sky – Pine, AZ – Fujifilm X100V
Pines & Oaks – Pine, AZ – Fujifilm X100V
Water Dripping Over Cliff – Tonto Natural Bridge SP, AZ – Fujifilm X100V
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: +4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg VC” recipe with my Fujifilm X-E4:
Saguaro & Four Peaks – Fort McDowell, AZ – Fujifilm X-E4
Pine Creek Trail – Tonto Natural BridgeSP, AZ – Fujifilm X-E4
Cactus Rock – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Red Hills – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Blooms in the Forest – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Oak Autumn – Pine, AZ – Fujifilm X-E4
Yellow Tree in the Forest – Pine, AZ – Fujifilm X-E4
Touch of Autumn – Pine, AZ – Fujifilm X-E4
Forestscape – Pine, AZ – Fujifilm X-E4
KodaNeg NC (without filter)
X-T4, X-S10, X-E4, & X-T30 II)
Desert Storm – Fort McDowell, AZ – Fujifilm X-E4 – “KodaNeg NC”
This recipe is intended to be used without a diffusion filter. Because it requires +0.5 Shadow, this recipe isn’t directly compatible with the Fujifilm X100V or X-Pro3, but if you want to use it anyway, you’ll have to decide if you prefer Shadow set to 0 or +1—the results will be slightly different, either with a little more or less contrast.
Provia Dynamic Range: DR400 Highlight: -1 Shadow: +0.5 Color: -4 Noise Reduction: -4 Sharpness: 0 Clarity: -3 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome Effect Blue: Off White Balance: Auto, +6 Red & -6 Blue ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “KodaNeg NC” recipe with my Fujifilm X-E4:
Clouds Over Trees – Pine, AZ – Fujifilm X-E4
Rural Elk – Pine, AZ – Fujifilm X-E4
Hidden Elk – Pine, AZ – Fujifilm X-E4
Electric Forest Rain – Pine, AZ – Fujifilm X-E4
Eave Drops – Pine, AZ – Fujiifilm X-E4
White Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Storm Behind Trees – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Little Red Berries & Cloud – Tonto Natural Bridge SP, AZ – Fujifilm X-E4
Smoke Stack – Pine, AZ – Fujifilm X-E4
Mountain Trees – Tonto Natural Bridge SP, AZ – 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!
Clearing Clouds Over Winter Ridge – Farmington, UT – Fujifilm X-Pro3 – “Standard Provia”
A couple days ago I published a new Film Simulation Recipe: Standard Provia. This recipe is the first in a new series, in which I attempt to customize each film simulation to optimize the aesthetic that Fujifilm intended—in other words, make a nice-looking recipe that is similar to yet better than the stock look of a film simulation. Provia is Fujifilm’s standard film simulation (that’s why they call it “Provia/Standard” and even abbreviate it “STD”), but it’s one of my least favorite. Sometimes, because I don’t get excited over it, I force myself to use Provia, hoping that it will improve my feelings about it.
The Provia film simulation doesn’t look like Provia film. In fact, it’s probably closer to Astia film, although it’s definitely not an exact match for that, either. There’s something that is “not right” about it to me, but I think it’s just my personal tastes. There are a lot of people who love the Provia film simulation and use it all of the time.
After I published my Standard Provia Film Simulation Recipe, I received feedback from several of you that I should have included a comparison with default Provia/Standard. So here it is! The Provia/Standard images have all of the parameters set to 0 or Off except for Noise Reduction, which is -4. Dynamic Range is DR200 and White Balance is Auto 0R & 0B. It’s basically factory Provia. These were all captured on a Fujifilm X-Pro3. Let’s take a look:
Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.
Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.
Move the bar left to reveal the default Provia/Standard image, and move it right to reveal the “Standard Provia” recipe image.
The most notable difference you might notice is that my recipe has less red, with a cooler/greener color cast that is more like typical of Fujicolor film. My recipe also has more contrast and saturation, and, in my opinion, looks better, as I find the default settings to be too flat. If you are looking for a “standard” recipe that utilizes Provia, I believe that my Standard Provia recipe is a good option.
What do you think? Do you like the default Provia/Standard settings better, or do you prefer my “Standard Provia” recipe? Let me know in the comments!
Bicycle 88 – West Valley City, UT – Fujifilm X-T1 – “Kodak Platinum 200”
Fuji X Weekly reader Corey Steib (Instagram here and here) shared with me an X-Trans II recipe that he created called Kodak Platinum 200. Corey named it this because it reminds him of vibrant Kodak film captured with a Panaflex Platinum motion picture camera, and because the best results are found at or near ISO 200. This recipe is nothing like the Eterna film simulation, but it does have a slight cinematic feel to it nonetheless thanks to the Shadow setting. It looks really nice, with vibrant colors and soft shadows, and is a great all-purpose recipe. Thank you, Corey, for creating this and allowing me to share it!
I have the ISO in my camera set to Auto, with the upper limit set to ISO 3200. I’m happy with the results from my X-T1 all the way to ISO 3200, but the intention of this recipe is to keep the ISO lower when you can. In bright light, depending on the contrast in the scene, because of the DR-Auto setting, the camera might select ISO 200 or ISO 400, and the idea is to use this recipe at those ISOs when practical. As the available light decreases, it’s perfectly fine to increase the ISO, and I feel good going as high as ISO 3200 when necessary.
Touch of Red – Salt Lake City, UT – Fujifilm X-T1 – “Kodak Platinum 200”
This film simulation recipe is compatible with all Fujifilm X-Trans II cameras. You can use it on X-Trans I and Bayer sensor cameras, too, but the results will be a little different (feel free to try, though).
Provia Dynamic Range: DR-Auto Highlight: +1 (Medium-High) Shadow: -2 (Low) Color: +2 (High) Sharpness: +1 (Medium-High) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, 0 Red & 0 Blue ISO: Auto up to ISO 3200 (but… the lower the better) Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured with my Fujifilm X-T1 using this “Kodak Platinum 200” film simulation recipe:
Snack – Salt Lake City, UT – Fujifilm X-T1
Yellow Rope – West Valley City, UT – Fujifilm X-T1
Unicorn Jo – West Valley City, UT – Fujifilm X-T1
Curved Trunk – Salt Lake City, UT – Fujifilm X-T1
Log Bridge & 3 Trees – Salt Lake City, UT – Fujifilm X-T1
Bridge & Stump – Salt Lake City, UT – Fujifilm X-T1
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Cradle Tree Branch – Farmington, UT – Fujifilm X-M1 – “Provia”
This film simulation recipe reminds me of a filter that I used frequently on a photo editing app on my old Nokia Lumia 1020 phone (sorry, I don’t remember the app name, it’s been many years). It produces a nice vintage feel, with perhaps a cross-processed aesthetic. I especially like how it renders green and blue. Because it uses the Provia film simulation, I’ve named this recipe simply “Provia” even though it doesn’t look all that much like real Provia film. Cameras that are older than the Fujifilm X-Pro3 can’t save White Balance Shifts with each Custom Preset, so it’s helpful to have recipes that use different White Balance options. That’s how this recipe began, and why it uses the Incandescent White Balance option.
This “Provia” film simulation recipe has been a Patron early-access recipe on the Fuji X Weekly app since January, but now it’s available to everyone! There’s a new Patron early-access recipe for X-Trans I cameras on the app that replaced this one. This recipe is compatible with the Fujifilm X-Pro1, X-E1 or X-M1 camera. If you have a Bayer or X-Trans II camera, this recipe will still work, although it won’t look the same; however, I invite you to try it anyway.
Green Tree & Blue Sky – Salt Lake City, UT – Fujifilm X-Pro1 – “Provia”
Provia Dynamic Range: DR200 Highlight: -2 (Low) Shadow: -1 (Medium-Low) Color: +1 (Medium-High) Sharpness: 0 (Normal) Noise Reduction: -2 (Low) White Balance: Incandescent, +6 Red & -9 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Provia” film simulation recipe:
Sun over Country Horses – Farmington, UT – Fujifilm X-M1
Target – Farmington, UT – Fujifilm X-M1
Bricks in the Wall – Farmington, UT – Fujifilm X-M1 – Photo by Joy Roesch
Strollin’ Jo – Farmington, UT – Fujifilm X-M1
Green Canopy – Farmington, UT – Fujifilm X-Pro1
Bunch of Little Blooms – Farmington, UT – Fujifilm X-Pro1
White Bloom in a Green Bush – Farmington, UT – Fujifilm X-Pro1
Park Path – Salt Lake City, UT – Fujifilm X-Pro1
Looking up Through The Trees – Salt Lake City, UT – Fujifilm X-Pro1
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
I wanted to create a Portra recipe for X-Trans I cameras, such as the Fujifilm X-M1. All of my Portra recipes are based on the Classic Chrome film simulation, but X-Trans I cameras don’t have Classic Chrome. I did create a recipe for mimicking Kodachrome without Classic Chrome, but that’s intended for X-Trans II cameras, and, while the results are similar, it doesn’t look exactly the same on X-Trans I. This recipe was my attempt at Portra without Classic Chrome, but it’s not quite Portra enough for me to name it Portra. It’s close but no cigar, but it does look nice nonetheless, and I like how it renders pictures on my X-M1.
This was a Patron early-access recipe on the Fuji X Weekly app. Fuji X Weekly Patrons have had the opportunity to use it since December 1st, but now it’s available to everyone! There’s a new Patron early-access recipe for X-Trans I on the app in its place. If you have the app, go check it out!
E.T. – Farmington, UT – Fujifilm X-M1 – “Classic Analog”
This recipe also marks the first one that includes a photograph captured by my 11-year-old son, Jonathan. I let him use my X-M1, and I liked one of the pictures he made, which you’ll find further down this article, entitled Frozen Pond Scum. The Fujifilm X-M1 can be found for cheap, and would make a great “first real camera” for a kid. Maybe I’ll give him mine at some point in the future.
Provia/STD Dynamic Range: DR400 Highlight: -2 Shadow: -1 Color: -2 Sharpness: 0 Noise Reduction: -2 White Balance: Daylight/Fine, +1 Red & -6 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs made using this Classic Analog film simulation recipe on a Fujifilm X-M1:
Thin Ice – Farmington, UT – Fujifilm X-M1
Falling Water – Farmington, UT – Fujifilm X-M1
Autumn Overcast – Farmington, UT – Fujifilm X-M1
Night at the Lake – Farmington, UT – Fujifilm X-M1
Frozen Drain – Farmington, UT – Fujifilm X-M1
Frozen Pond Scum – Farmington, UT – Fujifilm X-M1 – Photo by Jonathan Roesch
Irrigation Cover – Farmington, UT – Fujifilm X-M1
Quadruple U’s – Farmington, UT – Fujifilm X-M1
Improbable – Farmington, UT – Fujifilm X-M1
Evening Euonymus – Farmington, UT – Fujifilm X-M1
Blue Sky Reeds – Farmington, UT – Fujifilm X-M1
Yellow, Lamp – Farmington, UT – Fujifilm X-M1
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I shoot JPEGs, but it’s not uncommon for me to shoot RAW+JPEG, since it gives me the opportunity to reprocess the picture in-camera, which is helpful when developing different film simulation recipes. Because of this, I was able to process a single picture I captured recently on my Fujifilm X-T30 using many of my different recipes to compare the differences. I thought that this might be helpful to some of you. Perhaps there’s one recipe that stands out to you in the pictures below that you’ve never used. Obviously different settings look better in different situations, and in this article there’s just one picture to compare, so even though you might not like how one recipe looks in this article doesn’t mean that you wouldn’t like it with different subject and in a different light. The scope of this article is quite limited, but I hope that seeing the various film simulation recipes applied to a single exposure is helpful to someone.
Not every recipe was used for this post. Some of them require a specific parameter that was not available. For example, the picture at the top was made using my HP5 Plus Push-Process recipe, which requires an ultra-high ISO, so it wasn’t possible to apply it to the exposure below. Other recipes, such as my faded color and faded monochrome, require double exposures. There are other film simulation recipes that you could try not represented below, and I invite you to investigate the different options to see if there’s one or more that work well for your photography. Let me know in the comments which film simulation recipe is your favorite and which in your opinion fits the exposure below best.
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