‘Fruit Pastel’ harnesses the vividness of Velvia, throws in a bunch of grain but at the same time lifts the shadows and the result is a light, sweet, fruit coloured, sugar covered recipe with a nice overall pastel tone…

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…

’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).

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…

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…

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…

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…

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…

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.

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…

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)…

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.

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 Kodak Ultramax 400 roll of film as I could…

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…

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.

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…

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.

‘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.…

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…

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…