Hansen Park, Christchurch. Fuji X-E2 with Fujinon 16-50mm. f/16 @ 1/100th, ISO 400 C4 film simulation recipe - Kodak Tri-X jpeg |
C4: Kodak Tr-X Film Recipe
ISO 400 (will increase if appropriate)
Dynamic Range: 200
White Balance: Auto
Noise Reduction: 0
Image Size: Large 3:2
Image Quality: RAW + Jpeg fine
Film simulation base: Monochrome + R
Highlight Tone: +1
Shadow Tone: +2
Sharpness: +1
As you can see, my Kodak film simulation is based on the Monochrome + Red filter, for a bit more contrast in the black and white tones. This is further enhanced by boosting both the highlights and shadows much more than with my 'standard' Acros simulation. Base ISO begins at ISO 400 to mimic the classic Kodak Tri-X rating, with +1 sharpness to emulate Tri-X's outstanding edge-to-edge sharpness.
Casting Shadows. Fuji X-E2 with Fujinon 16-50mm XC. f/5.6 @ 1/750th, ISO 400. C4 film simulation: Kodak Tri-X |
Of course all my 'titles' for these film recipes are completely arbitrary. The C4 simulation is simply my attempt at replicating a more grittier, high contrast black and white look. The kind of look I associate more with Kodak Tri-X. And calling it Kodak Tri-X is just more cooler (and more descriptive) than always referring to it as 'C4'.
Creeping shadows. Fuji X-E2. f/5.6 @ 1/320th, ISO 400. C4: Kodak Tri-X |
Actually 'seeing' in monochrome is by far the biggest benefit. Eliminating the colour reduces the image to purely shapes, lines and tones. This was a huge help when visualizing an image like the one above - Creeping shadows. Yes, I could see that the shadows were making interesting shapes on the grass when I was there taking the photo. But by setting the camera to my C4 film recipe I was able to remove all the distracting elements and nail the image in-camera. I could have shot in colour only, knowing that I was going to convert it to monochrome later on and boost the contrast in Lightroom. But if I knew that already, why not just do it at the time? Fuji's outstanding film simulation recipes allow me to do this.
A shadow of my former self. Fuji X-E2 with Fujinon 16-50mm XC. f/5.6 @ 1/550th, ISO 400 |
Treescape. Fuji X-E2 with Fujinon 16-50mm XC. f/8 @ 1/240th, ISO 400. C4: Kodak Tri-X jpeg |
Handling, ergonomics and shooting experience with the Fujifilm X-E2 is sheer joy. I haven't had this much pleasure using a camera in a very long time. Sure, I 'enjoy' using cameras - full stop. The Nikon D300 was/is a 'great' camera, as are the Canons. But there's just something else about the Fujifilm X-E2 (and X-E1) that captivates me and makes me want to shoot. Something almost undefinable. It's all getting a bit 'zen' (sorry), but the connection I feel to the Fuji's is quite special.
Dappled light. Fujifilm X-E2 & Fujinon 16-50mm XC. f/8 @ 1/450th, ISO 400. C4: Kodak Tri-X - jpeg |
I'm loving the images, I'm loving the cameras and I'm loving the whole user experience. I can't really say much more than that. I've recently sold off all my other gear and moved entirely to the Fujifilm X-E2. But such is the lure of the original X-E1, I've purchased another (back up) body, having just sold my first X-E1 recently. I had presumed the X-T1 / X-E2 would be my camera combination, but once I'd decided to sell the X-T1, I started looking for another X-E1. I found one almost straight away - a black body in mint condition. So now I have an X-E2 / X-E1 combination. And although I'm not a prime lens kinda guy, I've also snapped up a Fujinon 27mm f2.8 pancake lens, which I will pair with the black X-E1 for a super small, super light combo. Looking forward to trying this out and comparing the IQ with the 16-50mm XC. I will post about this soon.
Thanks for sharing..
ReplyDeleteTanks a lot!!!
ReplyDeleteYour recipes are superb,many thanks
ReplyDeleteThanks for the recipe.
ReplyDelete