Fuji Fun with Film Simulation 'Recipes'

[Herbert Hound]

Fuji X Weely's Vintage Color v2 with just a few basic exposure tweaks. It seems to be a very versatile recipe...

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[Herbert Hound]

Fuji X Weekly's Kodak Brilliance with the CCFxB set to off for the X-Trans V sensor, and a few minor exposure tweaks...

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[Herbert Hound]

Eterna Bleach Bypass with some colour grading applied...

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[MiguelATF]

Fuji X Weely's Vintage Color v2 with just a few basic exposure tweaks. It seems to be a very versatile recipe...

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I really like this one, Colin - the Vintage Color v2 - and I like what you've done with it quite a lot. It's really an interesting 'recipe' - in fact, I would go so far as to say it's one of the more outstanding ones I've seen. I may have to try it myself.
Thanks for posting these!

 

[Herbert Hound]

I really like this one, Colin - the Vintage Color v2 - and I like what you've done with it quite a lot. It's really an interesting 'recipe' - in fact, I would go so far as to say it's one of the more outstanding ones I've seen. I may have to try it myself.
Thanks for posting these!

Thanks very much Miguel... here are a few others to whet your appetite, pique your interest and perhaps help you to decide...

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[Herbert Hound]

One of the things I've been trying to do is to develop my own presets based on a camera film sim so I can get the benefits of shooting in RAW, and I've been using the recipes from various web sites (plus my own experimentation in Fujifilm X RAW Studio) to inspire and guide me.

This is my Eterna preset...

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[Herbert Hound]

The other method of having access to the RAW with a film sim preset is to use the RAW file with the white balance set to "as shot" (which can look pretty weird) and then apply the relevant camera profile. Here's two pics, one being the JPG with the Vintage Color v2 recipe, and the other the being the RAW file with the "as shot" white balance plus Classic Negative profile...

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[MiguelATF]

A few different shots, trying out different recipes to gauge the results. These were all taken at about f/4 with my manual focus Pergear 12mm lens.
First, the Color Negative 400 recipe (from FujiXWeekly)

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Then, Ritchie's Kodachrome 64 recipe (from the same website)--

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The next one uses Luis Costa's 'Big Negative' recipe--

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Another from Luis Costa, his Classic Negative recipe (which tweaks the original a bit). This one has almost become my default 'go to' color setting now.

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Ritchie Roesch's 'Colored B&W' recipe (becoming one of my favorites for monochrome)--

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And finally, the Vintage Color v2 recipe that I'm now trying out, thanks to Colin's cool examples earlier in this thread.

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All taken with available morning light (coming through the windows) inside my house.

 

[MiguelATF]

Luis Costa's 'Classic Neg' variation on Classic Negative.

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[Herbert Hound]

These aren't "in camera" film sim jpegs, these are the RAF files with my Nostalgic Negative profile plus preset. My task over the next few days or so is to see how close I can get an in camera jpeg to match these using the X-RAW Studio software....

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[Ghostbuggy]

These aren't "in camera" film sim jpegs, these are the RAF files with my Nostalgic Negative profile plus preset. My task over the next few days or so is to see how close I can get an in camera jpeg to match these using the X-RAW Studio software....

I think you should essentially get 1:1 sooc JPG files out of the X-RAW Studio software: It fully uses the camera to do all the processing, which is the primary reason why it actually needs to be connected in order to get the software working. It also is one of the reasons why X-RAW Studio is rather slow, because the data is transfered back and forth between your computer, the camera and back, it basically works as a more convenient UI with mouse controls on a bigger screen which controls your camera. The downside is you actually need the specific camera model which has taken the RAW files: I wanted to revisit some of the X100V pictures I've taken with X-RAW Studio - but no avail, it actually does require an X100V in order to do any processing, doesn't take my X-Pro3 - which again only works on my XP3 RAWs.

 

[MiguelATF]

Trying out a new version of the FujiXWeekly recipe for Kodak Portra v2 which Ritchie Roesch recently tweaked for the newest generation of Fuji cameras with X-Trans V sensors, including my X-T5. I like the colors--

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And the tones--

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[rayvonn]

I think I should thank @MiguelATF and @Herbert Hound for their postings here, keep it up guys. I used to be very happy enough with what came out of the Fuji cameras and processing the raw files through Iridient Developer but can see these recipes take things a bit further.

 

[MiguelATF]

I think I should thank @MiguelATF and @Herbert Hound for their postings here, keep it up guys. I used to be very happy enough with what came out of the Fuji cameras and processing the raw files through Iridient Developer but can see these recipes take things a bit further.

Thank you for the kind comment.

In my own case, although I have been continually inspired by the photographic work of a number of great photographers who happen to use Fujifilm cameras, including Charlene Winfred and Patrick Laroque, I have neither the experience nor the patience to come anywhere near achieving similar tones or palettes in my own photos to what they do and have done for years. Discovering the recipes of Ritchie Roesch and Luis Costa and a few others has truly been an ongoing 'Eureka'-style process for me - that is, realizing that certain in-camera jpeg looks or recipes could actually give me something that came much closer to what I have always imagined photographs could look like.

Shorter version: I'm fundamentally lazy, and many Fujifilm recipes are cool shortcuts.
Plus, it's weirdly liberating in some weird ways, to only shoot jpegs.

 

[Herbert Hound]

I think I should thank @MiguelATF and @Herbert Hound for their postings here, keep it up guys. I used to be very happy enough with what came out of the Fuji cameras and processing the raw files through Iridient Developer but can see these recipes take things a bit further.

Thanks very much. Playing about with the film recipes is fun, and it means that I can enjoy taking lots of pictures of the same things on my daily dog walks without getting bored as I can try out new recipes and learn to modify other people's recipes.

This is my latest experiment... a Classic Negative recipe that is not too stylish, more of an everyday use.

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[Herbert Hound]

It doesn't seem to matter what recipes I try I always come back to a Classic Chrome based one. My favourite is Tobias Gruber's Chromance which seems to work in all conditions without being too obvious.

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[MiguelATF]

Inspired by a Tungsten motion picture (cine) film, this recipe - Serr's 500T - was developed by Serr and published on the Fuji X Weekly website. It uses a blue-heavy tonality with a 3200K Tungsten balance, and Ritchie Roesch recommends it for nighttime photography. It intrigued me so much that I put it on my XT5... and hope to try it out more in the not-too-distant future.

This was taken inside my relatively dark writing office, lit only by a tungsten lightbulb, in the middle of the night.

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[Herbert Hound]

Loads of recipes work well on a nice sunny day, but I've been trying to find a recipe which works well for me on the typical British overcast day... and FujiXWeekly's Kodak Brilliance seems to fit the bill, even though it uses a Daylight white ballance. I'm not sure how much the Highlights:+4 and Shadows:-2 plus underexposing by a stop or so contributes to it's success... but I like it.

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[Herbert Hound]

Thsi is my Eterna recipe I've been working on for a while. It started out as Justin Gould's Explorer's Cinematic, but I've changed quite a bit now.

White Bal: 5950K, 2/-4
DR200
CCFx/B: Weak/Off
Hi: +1
Shad: +3
Col: +2
Sharp: +3
NR: -4
Clar: +4
EV as needed.

This morning's golden hour dog walk...

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[Herbert Hound]

...and my Eterna recipe works really well in the bright midday sun too.

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