Ross’s fujifilm recipes
Fujifilm ‘recipes’ are the quickest and most fun way to get great looking images, straight out of the camera. I’ve had so much fun creating some of my own which I am really proud of. Feel free to have a browse and try out any you like the look of!
01. Soft Chrome
Soft Chrome is the first recipe I ever made and one I keep coming back to. This is a great starting point for any Classic Chrome lovers out there looking for a soft look, with sharpness turned wayyy down, a little bit of grain and quite a strong colour.
Classic Chrome
Dynamic Range: 400
Highlight: 0
Shadow: +1
Color: +3
Noise Reduction: -4
Sharpening: -4
Clarity: 0
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto (R2 B-4)
02. Crisp Chrome
The way I describe Crisp Chrome to people is that it’s like Soft Chrome on steroids. I was wanting a punchier Classic Chrome look and I think what I landed on with Crisp Chrome is pretty damn good. I kept the White Balance the same but just upped the contrast, clarity, saturation and sharpness. This is my ultimate go to recipe and I think it’s still my favourite to date. What do you think?
Classic Chrome
Dynamic Range: 200
Highlight: 0.5
Shadow: +2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: +2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto (R2 B-4)
03. Jurassic Jade
Living in Ireland I am surrounded by the colour green. That’s why it was super important to me to have an incredible recipe to let those greens shine! Jurassic Jade is perfect for capturing greens and bronze tones. It has a little clarity to bring definition to the mids and lotsss of contrast. There’s a pretty weird WB setup on this one, but stick with it - it works.
Didn’t your mother ever tell you to eat up your greens? They’re good for you!
Astia
Dynamic Range: 200
Highlight: +2
Shadow: +3
Color: +1
Noise Reduction: -4
Sharpening: 0
Clarity: -2
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Fluorescent Light 1 (R-6 B-3)
04. Peach Fade
You know that absolutely amazing light that you get right after a sunset, or just before a sunrise? It’s all pink and dreamy and makes everything look like it’s been painted in pastels? I dream of that light a lot, the problem is… living in Ireland, that awesome post-sunset pre-sunrise light doesn’t come around very often. That’s why I came up with this recipe Peach Fade to boost that pinky dreamy pastel look, even when it wasn’t there in the first place. With a Classic Negative base, a high DR, minus clarity and a super heavy WB shift… I think I cracked it.
Classic Negative
Dynamic Range: 400
Highlight: -2
Shadow: +2
Color: +2
Noise Reduction: -2
Sharpening: -4
Clarity: -4
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: Fluorescent Light 3 (R7 B-9)
05. Black Slap
Who doesn’t love a B&W image? For me when it comes to B&W photography, the more contrast the better! Black Slap is my most used B&W recipe, squeezing almost every drop of contrast possible out of the camera. This recipe in my opinion is a knock out with a Dynamic Range of 100, both Highlights & Shadows at +4 balanced with a Clarity of -2 and all tied together with a Small but Strong Grain! If you’re looking for a punchy B&W recipe that works in all scenarios, you’ve found it.
Acros +R Filter
Dynamic Range: 100
Highlight: +4
Shadow: +4
Color: -
Noise Reduction: -4
Sharpening: 0
Clarity: -2
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: 2500K (R0 B-9)
06. Blue City
Blue City is hopefully pretty self explanatory (maybe I should have come up with a better name? Ah well, Blue City it is!)
I use this recipe solely for shooting buildings, shadows, reflections and windows. With a strong Clarity and Shadow of +3, this recipe buries what is in the shadows and lets the light be the star. I have sharpening at -3 as I’ve found too much sharpening on photographs of buildings always produces weird results. In my opinion this is my most Fujicolor look. See for yourself…
Classic Negative
Dynamic Range: 400
Highlight: 0
Shadow: +3
Color: +3
Noise Reduction: -4
Sharpening: -3
Clarity: +3
Grain Effect: Strong, Small
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: 4300K (R3 B-5)
07. Rust Roamer
Classic Negative, oh Classic Negative… I have such a love/hate relationship with this Film Simulation. Rust Roamer was born out of a desire to create a Classic Negative based recipe for everyday use, kind of like a Classic Negative version of my recipe ‘Crisp Chrome’. The aim was to create a really versatile recipe that works in a variety of situations. After a bunch of testing, I gave up and looked to other Film Simulations like PRO Neg. Hi or Provia to create some versatile everyday recipes (some listed below).
Looking back at the test images shot for this scrapped recipe a few stood out, all of which had one thing in common. They were all photographs of industrial areas and I loved the look. And so Rust Roamer was reborn but not as an everyday use recipe, as a recipe for roaming around rusty industrial areas. Think abandoned buildings, factories, broken glass, bin lorries, sewage drains etc. If you’re into that sort of thing, load up Rust Roamer and get roaming…
Classic Negative
Dynamic Range: 200
Highlight: -2
Shadow: +2
Color: -2
Noise Reduction: -2
Sharpening: -2
Clarity: -2
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Daylight (R4 B-6)
08. Cloud Ultra
When editing RAW images in Lightroom, I feel like I spend the majority of my time on two things… adding a good amount of contrast and playing with the HSL to make certain colours pop and stand out. I feel like the reason I end up spending so much time on this, is because there are just so many days of wet, dreary, overcast, flat, grey, dull days here in Northern Ireland. Obviously with Fujifilm recipes, the ‘editing’ process is done before the photograph is taken and so I wanted to create a recipe that would give me instant hit of saturation and contrast even on the cloudiest of days!
I based this one on the Film Simulation Astia because I love it’s tones. The final look almost reminds me of Kodak Ultramax colours and so the finishing touch was adding a Large, Strong Grain to accompany the OTT Color and boosted Shadows.
Astia
Dynamic Range: 100
Highlight: 0
Shadow: +3
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: 0
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 6700K (R4 B4)
09. Bonsai Green
When I got my X-H2s, one of the first things I just had to try out was the new Nostalgic Negative Film Simulation. Initially however I was a little disappointed with how it handled skin tones, so I put Nostalgic Negative to one side and went back to mainly shooting with Classic Chrome, Classic Negative & Astia.
Fast forward a month or so and I was trying to create a new recipe that would capture greens well, that was more versatile than my previous green focused recipe Jurassic Jade (above). If I remember correctly, I had shot a few test images with Jurassic Jade and pulled the RAF files into Fujifilm X RAW Studio to have a play. By accident I changed the Film Simulation to Nostalgic Negative, and I loved what I saw.
After a good bit more playing around, I ended up with this recipe and named it Bonsai Green. It’s a lot calmer and more versatile than Jurassic Jade and gives quite a different tone to the greens and browns (reminding me of rural Japan hence ‘Bonsai’). Below you can see some example jpegs taken with this recipe on a wet and rainy day, in a forest, in Northern Ireland. Bonsai Green has become my new go-to green focused recipe, why not give it a try for yourself?
Nostalgic Negative
Dynamic Range: 200
Highlight: +1
Shadow: +4
Color: +3
Noise Reduction: -4
Sharpening: -4
Clarity: +4
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto (R1 B-5)
10. Twenty Twenty
After a few months of creating my own Fujifilm recipes, I started losing my mind!!!
Okay that’s an exaggeration but I did start to lose a bit of a grip on my editing and what direction I wanted to take my future recipes. I thought to myself a good exercise would be to create a new recipe that replicated how I see the world. This recipe, Twenty Twenty came from that exercise of ‘recalibrating’ my eyeballs and now it gives me the perfect reference point for starting a recipe from scratch.
Twenty Twenty is as close as I can get my Fujifilm camera to mimic my own eye. It may be different for you but I recommend you give this recipe or at least this exercise a try for yourself. I found it really helpful and it has a special place on my custom dial and my heart (yuck).
PRO Neg. Hi
Dynamic Range: 400
Highlight: +1
Shadow: +1
Color: +4
Noise Reduction: -2
Sharpening: +2
Clarity: 0
Grain Effect: Off
Color Chrome Effect: Off
Color Chrome Effect Blue: Weak
White Balance: Auto (R3 B-2)
11. My Ultimate X100 Recipe
Or at least an attempt at one…
Fujfilm’s popularity is on the rise and so interest in their previous models is too. I decided to dust of my Original Fujifilm X100 (from 2010) and see if I could create the best recipe possible for shooting great looking JPEGs straight out of the camera.
Check out the process below in this video and have a peep at some results and the full recipe below…
Astia
DR: 400
Highlight: Medium Hard
Shadow: Medium Hard
Color: High (I might turn this down in future)
Noise Reduction: Low
Sharpening: Medium Soft (I might turn this up in future)
White Balance: Auto (R+2 B-3)
12. Chrome Fog
Picture this… your favourite film simulation, shot through a steamy window! That’s Chrome Fog.
I’ve been playing around a lot on Lightroom with the Dehaze and Clarity sliders and so I thought I would try to recreate that hazy, foggy look as a recipe and so Chrome Fog was born. I started by creating quite a simple clean Classic Chrome look and then pulled the Clarity slider all the way down. After reducing the DR and adding a bit more beef to the shadows this recipe started coming to life. I found that weak/large grain and setting the sharpness at zero helped the grain cut through the haze.
If you can’t get your hands on a Pro-Mist lens filter, this might be a good second option for that atmospheric foggy look. Check out some Chrome Fog JPEGs below taken on a foggy morning around Bangor, Co Down.
Classic Chrome
Dynamic Range: 200
Highlight: 1
Shadow: +2.5
Color: +4
Noise Reduction: -3
Sharpening: 0
Clarity: -5
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: Auto (R2 B-3)
13. Nurture Nature
I have recently received a bunch of recommendation requests for a standard but solid recipe with natural colours so I took it upon myself to do a bit of research but ultimately decided to start designing my own. With Provia as my base Film Simulation, I did a lot of testing, shooting, reshooting, analysing all of which resulted in the birth of ‘Nurture Nature’, a new recipe which I’m really proud of.
‘Nurture Nature’ is definitely one of my best all-round recipes to date. It has been designed to work in almost every environment and lighting situation however it definitely shines outside. This recipe respects nature with it’s beautiful colours, natural dynamic range, good contrast, a weak grain and warmed Auto WB. I’ve designed this recipe with 0 Clarity so it can be used on high speed continuous modes. Obviously feel free to change the NR, Sharpening and Grain to suit your needs/environment.
‘Nurture Nature’ featured in the below video…
Provia
Dynamic Range: 200
Highlight: +2
Shadow: +1
Color: +2
Noise Reduction: -2
Sharpening: 0
Clarity: 0
Grain Effect: Weak, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto (R2 B-4)
14. The Fujipop Trio
As some of you might already know, in June 2023 I found some expired (by only one year) Fujicolor C200 35mm film in my attic. After loading this film into Ruth’s Konica Pop I headed down to Dublin for the day to shoot the roll.
What you might not know is that on that day I also took with me my X-T4 and snapped a few digital RAW frames alongside the roll of film. Once I had the scans back from the developers, I was able to pull up the RAW files in Fuji X RAW Studio alongside the scans and create some recipes with the aim of recreating the 35mm look captured by the Fujicolor C200 film shot with the Konica Pop. The ‘Fujipop Trio’ is what resulted from this experiment and I’m really happy with the results…
Fujipop Trio I (Classic Negative)
The first recipe I’ve created is Fujipop Trio I with Classic Negative at its base. This recipe is perfect at replicating the signature Fujicolor greens (thanks to Classic Negative). It also matches really well to the photographs I underexposed with the addition of green in the shadows just like the film stock.
Have a look below at some example images below…
Fujipop Trio II (Classic Chrome)
One thing that took me by surprise regarding the roll of Fujicolor C200 was how saturated the images were. The blues and reds were so vibrant, absolutely popping out of the frame. When using the Fujipop Trio II Classic Negative Recipe one thing I really noticed was although the green tones were good, the red and blue tones lacked the same punch as the Fujicolor stock.
After tweaking the recipe a little I landed on a new version and aptly called it Fuji Trio II. This recipe has Classic Chrome at its base and is perfect for capturing the blue/teal/red tones in the image. The greens definitely aren’t colour accurate with this recipe but it’s a great one for street shots when you want the reds and blues to pop.
Have a look below at some example images below…
Fujipop Trio III (PRO Neg. Hi)
The third and final iteration of this recipe is called Fujipop Trio III and it uses PRO Neg. Hi as its base film simulation. There were several frames I shot on the roll of Fujicolor C200 that had lots of pinks or yellows present. When trying to recreate these in Fuji X RAW Studio the closest I could get was by using PRO Neg. Hi, a less stylised and more evenly saturated simulation that is good for skin tones.
This recipe definitely won’t provide accurate results every time but the odd time this one will win over the other two. Although it might not match Fujicolor C200 as closely as Fujipop I & II it definitely is a cool recipe and one that is worth trying out.
Have a look below at some example images below…
Fujipop Trio I (Classic Negative)
Classic Negative
Dynamic Range: 400
Highlight: -1.5
Shadow: +1
Color: +3
Noise Reduction: -4
Sharpening: -4
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: 5500K (R-1 B-3)
Fujipop Trio II (Classic Chrome)
Classic Chrome
Dynamic Range: 400
Highlight: -0.5
Shadow: +1
Color: +4
Noise Reduction: -4
Sharpening: -4
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Off
White Balance: 5500K (R1 B-3)
Fujipop Trio III (PRO Neg. Hi)
PRO Neg. Hi
Dynamic Range: 400
Highlight: -0.5
Shadow: +1
Color: +2
Noise Reduction: -4
Sharpening: -4
Clarity: -5
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Off
White Balance: 5500K (R4 B-4)
15. XP2 Electro
In June 2023 I bought my first 35mm film camera from eBay the Yashica Electro 35 GTN… and it is a beauty! To test this camera was working, I bought some cheap Ilford B&W film - XP2 Super 400 - loaded it in and shot a roll whilst enjoying an overnight stay with Ruth on Slieve Croob. Check out the full story in the video below…
Honestly I was so blown away by the results from this incredible film stock. The scans I received back from this roll were so sharp, they had a lovely fine grain, they retained so much detail in the highlights and good punchy shadows and ultimately were some of the nicest black and white photographs I have ever taken.
I enjoyed the results from this film stock so much that I just had to create my own ‘Ilford XP2 Super 400’ Fujifilm recipe with some RAW files I managed to shoot from this trip. So, I pulled in the .raf files into Fujifilm X RAW Studio and got to work.
With ACROS+R as my base film simulation the first thing I tackled was the sharpness, setting it to +2 to match the sharpness from the scanned film photographs. The next thing I tried to perfect was the grain. I would describe Iford XP2 Super 400’s grain as small and strong but when I chose those settings in Fujifilm X RAW Studio the grain was too strong. I settled on a Weak, Small setting for this recipe as the sharpness setting increases the appearance of the grain.
One of the hardest elements of this recipe was getting the White Balance setting nailed to match the film stock. I’m not sure it’s absolutely bang on but it’s pretty damn close and I like the results so I stuck with Daylight with a shift of R+9.
Anyway here’s the final recipe with some results below…
If you end up using this recipe I’d love to hear from you. Give me a tag or drop a message or whatever :)
ACROS+R Filter
Dynamic Range: 200
Highlight: -1
Shadow: +3
Monochromatic Color: WC:0 MG:0
Noise Reduction: -4
Sharpening: +2
Clarity: 0
Grain Effect: Weak, Small
Color Chrome Effect: OFF
Color Chrome Effect Blue: OFF
White Balance: Daylight (R9 B0)
16. Ultramax Electro
As some of you might know, I recently began my film photography journey. For my third roll of film I decided to finally dip my toe into the world of Kodak, Kodak Ultramax 400 to be precise. I loaded my Yashica Electro 35 GTN with a roll and headed down to Dublin for the day to capture what I found. Honestly this was probably the most fun day of photography I have maybe ever had, stepping outside my comfort zone, approaching and talking to strangers and trying my best to seem like I knew what I was doing.
In between shooting some street portraits with my film camera, I made sure to also pop a few RAW images with my Fujifilm X-T4. Similarly to the ‘XP2 Electro’ and ‘Fujipop Trio’ recipes (above), after I received my scans back I opened the RAW images in Fujifilm X RAW Studio and created a new recipe getting as close to the results of my roll of film as I could!
The result is my new recipe ‘Ultramax Electro’. Check out some examples below…
I am super happy with the result of the recipe. Just like my Kodak Ultramax 400 scans - these images have a heavy grain, a lot of saturation through all colours on the spectrum, good contrast and a definite film like tone.
You can check out the results from the roll in the video below if you’d like to compare… spoiler I think this recipe is pretty damn close!
Provia
Dynamic Range: 200
Highlight: -2
Shadow: +1
Color: +3
Noise Reduction: -4
Sharpening: -3
Clarity: +4
Grain Effect: Strong, Large
Color Chrome Effect: Strong
Color Chrome Effect Blue: OFF
White Balance: Daylight (R1 B-4)
17. Sherbet Lemon
Finally a Velvia recipe I am happy with! ‘Sherbet Lemon’ was created for a recent road trip across the UK with my family. I knew we would be visiting a few seaside towns and so wanted to create a recipe to capture all of those bright colours often found at the amusements, arcades, funfairs, candy floss, ice-cream shops etc.
With a combination of vibrant colours from its Velvia base, minus clarity for a sweet dreamy effect and more sharpness than an actual lemon – the results are a pretty stylised, over-the-top recipe that is however a lot of fun to play with.
Check out some examples below…
‘Sherbet Lemon’ is more stylised than maybe any of my other recipes but some photographs just need a little zest, don’t you agree? This recipe will probably not be for everyone and definitely not for every occasion (example, it’s pretty horrendous at skin tones) but if you love shooting objects with big, bright, bold, vibrant, vivid, colours - definitely give ‘Sherbet Lemon’ a try.
Velvia
Dynamic Range: 200
Highlight: -1.5
Shadow: +1.5
Color: +3
Noise Reduction: -4
Sharpening: +2
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto (R3 B-4)
18. Lomo800 Electro
After shooting a few rolls of Lomography Color Negative 35mm 800 film on my Yashica Electro 35 GTN rangefinder, I pulled in some Fujifilm RAW files (shot on my X-T4) into Fujifilm X RAW Studio with the aim of creating a recipe to mimic the look. This new recipe ‘Lomo 800 Electro’ is the result of that experiment.
One thing I noticed right away when creating this recipe was how closely Classic Chrome matched the colours of my Lomography 800 scans. This makes me think that the people of the internet are correct, that Lomography Color Negative film is actually produced by Kodak, maybe being one of their old unused stocks? It’s still a mystery but all I do know is that the Film Simulation ‘Classic Chrome’ is about 95% colour accurate to Lomography Color Negative 35mm 800 (the biggest colour difference is probably found in the yellow/green tones visible mostly in grass.)
Check out some comparisons below…
Watch this video to see a comparison between this recipe and the actual Lomography Color Negative 800 film itself.
I am pretty happy with the results of this recipe in terms of how it replicates the look of the Lomography Color Negative 800 film stock I shot. I am however yet to head out with it loaded into one of my Fujifilm cameras and shoot directly with it.
The sharpness and clarity settings I chose for this recipe are more to recreate the soft look of my Yashica Electro 35 so I’ll be interested to put more of this film in the future, through some of the other 35mm cameras I own. Stay tuned for that!
I feel I could have got closer to the exact look of Lomography 800 if there was a +5 option for Color as Lomography 800 is such a vivid stock. I have included three different white balance shift options with this recipe. Make sure you are aware of which ones are for which lighting condition. You can stick to one if you prefer a warmer/cooler/neutral look and aren’t as concerned about replicating the actual film.
Classic Chrome
Dynamic Range: 200
Highlight: +1.5
Shadow: +1.5
Color: +4
Noise Reduction: -4
Sharpening: -4
Clarity: -4
Grain Effect: Strong, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto
(Overcast R1 B-3)
(Shade R2 B-5) (Sunny R4 B-5)
19. Pumpkin Soup
As I am writing this, it is a few days out from Halloween night 2023. As it is approaching a year of making the switch fully to Fujifilm, I have been reflecting on the features I was excited about before receiving my X-H2s. Most of these features I have explored over the last year, but one I was extremely excited about but haven’t tested enough is the new Film Simulation for X-Trans V sensors, Nostalgic Negative.
Earlier in the year I created one Fujifilm Recipe using Nostalgic Negative called ‘Bonsai Green’ but generally I feel like I have been missing out on what this film simulation can offer. So after a bunch of shooting/testing/tweaking I have come up with another recipe - ‘Pumpkin Soup’ - which has been created to specifically maximise the glorious Autumnal sunlight, the colours and tones associated with Autumn, and an overall nostalgic feeling that is warm but punchy.
This recipe really relies on three main things - Nostalgic Negative for the emphasis on brown, orange, red tones of Autumn, clarity turned up to 11 (+5) and a bit of a weird white balance that helps to make it shine. Here are some example images below of how this recipes looks not just shooting leaves, but all sorts of environments.
I recommend using this recipe in the daylight, golden hour or sunrise/sunset for those warm, rich tones. If you want to make the most of that glorious Autumnal light, why not plug in the recipe and give it a go for yourself. I think it captures the feeling of Autumn perfectly just like a big bowl of pumpkin soup should!
‘Pumpkin Soup’ featured in the below video…
Nostalgic Negative
Dynamic Range: 200
Highlight: -1
Shadow: +4
Color: +2
Noise Reduction: -3
Sharpening: 0
Clarity: +5
Grain Effect: Weak, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Weak
White Balance: Underwater (R3 B-5)
20. Salted Slate
‘Salted Slate’ is my newest B&W Fujifilm recipe and I am absolutely loving it...
Before creating this recipe I had only ever made two other B&W recipes, both of which have the Film Simulation ACROS+R as their base. Salted Slate started as an experiment to branch out and test some of the other filtered versions of ACROS. After doing lots of tests, I took some shots combining ACROS+G & DR100 & STRONG, LARGE grain and love the results - and ‘Salted Slate’ was born.
I named this recipe ‘Salted Slate’ as my favourite results with this recipe come when you underexpose the image and let the DR100 provide the contrast. When underexposed this recipe shows a lovely dark grey tone which reminded me of slate and the LARGE, STRONG grain in the recipe made me think of grains of salt. Check out a few example images below or check out the full YouTube video I put out all about this recipe.
I recommend underexposing this recipe by 1/3 or 2/3 to darken the look and to protect your Highlights from blowing-out. If you’re finding the Highlights are consistently blowing out, maybe try change the Dynamic Range to DR200.
ACROS +G
Dynamic Range: 100
Highlight: +1.5
Shadow: +4
Monochromatic Color: WC:0 MG:0
Noise Reduction: -4
Sharpening: 0
Clarity: 0
Grain Effect: Strong, Large
Color Chrome Effect: Off
Color Chrome Effect Blue: Strong
White Balance: AWB (R+3 B+3)
21. B&W 3200 (X100 Recipe)
Something I have been dying to do with my original Fujifilm X100 is to create a B&W recipe that simulates the look of grain. As this camera is now 14 years old, you’re limited with the options for creating recipes and so there is no ‘Grain’ option in-camera - but recently I had an idea for bypassing this. That idea was to create a recipe like normal but only shoot JPEGs at ISO 3200 in hope that the noise produced at this ISO setting replicates the look of grain.
See some results below…
[Quick Note] To enhance the final JPEGs I added +15 Texture, +15 Clarity, +15 Dehaze in Lightroom.
Monochrome +Y
DR: 100
Highlight: MEDIUM HARD
Shadow: HARD
Color: MID
Noise Reduction: LOW
Sharpening: STD
White Balance: Auto (R+9 B-9)
22. Canned Heat
I initially created ‘Canned Heat’ over a year ago when playing around with recipes to best capture sunsets. One of my other Classic Negative recipe ‘Peach Fade’ prevailed from that experiment and thus ‘Canned Heat’ was forgotten… until now. I dusted it off, gave it a few tweaks and then brought this Frankenstein’s Monster of a recipe back to life just for this trip. ‘Canned Heat’ gets its name from the massive white balance shift to the warm side, controlled by a fairly muted saturation of minus 2. It has medium dynamic range, soft highlights but clarity turned up a far as she goes to make this recipe punch.
Maybe it’s the Classic Negative film simulation, or the white balance shift, or a combination of everything together, but this is almost giving me a teal and orange look. Whatever it is, this recipe is 100% a vibe and definitely very film-like… whatever that means.
See some results below…
As seen in this video…Classic Neg.
Dynamic Range: 200
Highlight: -2
Shadow: +1
Color: -2
Noise Reduction: -4
Sharpening: 0
Clarity: +5
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto (R6 B-7)
23. Daily Astia
This recipe was born (and boringly named ‘Daily Astia’) because I have been lacking a daily Astia recipe that could work in a variety of settings, producing crisp, contrasted, natural images with rich, saturated, colours. An Astia recipe for every day use… hence ‘Daily Astia’.
The colours of Astia sit somewhere between Provia & Velvia. Because Astia is a little bluer and more saturated than Provia I decided for this recipe to shift the white balance quite heavily to the warmer side. It has a weak large grain and minus two sharpness, probably my favourite combination of these settings. The color setting is right the way up while the dynamic range is right the way down so be careful when exposing this recipe that you don’t lose those highlights.
As seen in this video…Astia
Dynamic Range: 100
Highlight: +1
Shadow: 0
Color: +4
Noise Reduction: -4
Sharpening: -2
Clarity: +4
Grain Effect: Weak, Large
Color Chrome Effect: OFF
Color Chrome Effect Blue: Strong
White Balance: AUTO (R4 B-4)
24. Balloo Astia
On a particular sunny morning I went for a long walk around my hometown with the aim of creating and testing out a new Astia recipe, one with less overall saturation and a slightly cooler WB shift than any of my other Astia recipes.
From that morning ‘Balloo Astia’ was born and it has turned out to be a very useable recipe indeed. With an Auto white balance (with a R3 B-3 shift) and Clarity set to 0 you can really rely on this recipe to capture the natural colours in front of you. It has maximum DR400 and quite a strong contrast to make it pop.
Give ‘Balloo Astia’ a try the next time your out! It makes a great alternative to Classic Chrome if you happen to be looking for one.
Astia
Dynamic Range: 400
Highlight: +1.5
Shadow: +2.5
Color: -2
Noise Reduction: -4
Sharpening: -3
Clarity: 0
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Off
White Balance: Auto (R3 B-3)
25. Negs On Toast
On the quest for making an everyday Classic Negative based recipe, I fell down the rabbit hole once again and ended up creating ‘Negs On Toast’. A recipe that was meant to look natural ended up being put in the toaster and well… what do you know ‘Negs On Toast’ popped out all warm, brown and toasty.
This recipe is likely to divide opinions, it even divides my opinion at time, but on the whole I think I love it. It’s a bit of a beast to take care when shooting with it! The +3 Shadow can be wild, add the strong small grain, the scorching hot WB shift and a double shot of extra strength Color Chrome FX & Color Chrome FX Blue - this toasty bronco can’t be tamed. The only calm thing about it is the 0 clarity (for ease of shooting).
I think ‘Negs On Toast’ works the best when the sun is in the sky, either high or low. It has a really lovely brown toasty tone which really works when the setting is right. I haven’t tested it on people but I’m not sure it would work so well. Maybe someone else out there wants to try it out for me.
Classic Negative
Dynamic Range: 400
Highlight: 0
Shadow: +3
Color: -2
Noise Reduction: -4
Sharpening: -2
Clarity: 0
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Auto (R7 B-7)
26. Contrast Chrome
Look… I (like everyone) am seduced by the colours of Classic Chrome. The Classic Chrome Film Simulation alone is a big reason why I even bought a Fujifilm camera in the first place.
Since I designed it back in 2022, my early Chrome recipe ‘Crisp Chrome’ had been permanently saved in one of the seven custom slots on my Fujifilm Camera. Recently I have found my taste and shooting preference changing a little. I am loving recipes that are slightly warmer and with a Clarity setting of 0 to make it easier to shoot with out and about. After a good bit of playing with the DR, WB, Shadows, Highlights and Chrome Effects I have landed on a new recipe called ‘Contrast Chrome’.
’Contrast Chrome’ is the recipe that I would plug in to someone’s camera if they were new to Fujifilm to seduce them with the colours. It’s lovely and contrasty, with a Weak Large Grain and medium Sharpness, medium Colour, Auto WB (with a R4 B-4 shift).
Give it a go for yourself and see. This one has found a permanent home in my camera.
Classic Chrome
Dynamic Range: 400
Highlight: +2
Shadow: +2
Color: +4
Noise Reduction: -4
Sharpening: 0
Clarity: 0
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Off
White Balance: Auto (R4 B-4)
27. Sunny Jim
As I’m writing this Spring has sprung and so I have been out with my Fujifilm camera a lot shooting the sun hitting the flowers and buds and leaves etc. Last year I created ‘Nurture Nature’ (see above) a Provia based recipe which has been my go to for everything, especially nature. That being said however recently I’ve been craving even more colour, contrast and warmth from my nature JPEGs, so I decided to do something about it and create a whole new recipe dedicated to capturing nature in all it’s glory.
’Sunny Jim’ is a warm, heavily contrasted, Astia based recipe and I’ve been so happy with the results it’s spitting out. It has quite a strong WB shift to the heat but by keeping the Color setting at 0 it doesn’t push it too far. Just far enough. Again this recipe has a Clarity setting of 0 so it’s a real pleasure to shoot with when you’re walking about.
I’m yet to test this recipe on people and skin tones etc. but I’m sure it would be lovely. Maybe someone out there can let me know…
Astia
Dynamic Range: 200
Highlight: +2
Shadow: +2
Color: 0
Noise Reduction: -4
Sharpening: -3
Clarity: 0
Grain Effect: Weak, Large
Color Chrome Effect: Weak
Color Chrome Effect Blue: Weak
White Balance: Auto (R5 B-3)