Film Simulation Recipe C4: Kodak Tri-X
If you've been following along recently (thanks if you have - shame on
you if you haven't), you will have been introduced to the first two of
my custom film recipes for my Fujifilm X-E1. If you want to catch up on
these posts, go here for my version of Classic Chrome, and here for my version of Acros.
To mix things up a bit (and to keep those who are following along on
their toes), I'm going to jump from C2 to C4, missing out C3 - my Kodak
Portra 400 simulation - for another time. Couple of reasons for this.
First, I haven't used the C3 Portra 400 simulation yet, since I haven't
been taking many portraits (which is mainly what I would use this film
simulation recipe for). But mainly it's because I recently had the
opportunity to shoot in a park early in the morning and decided to use
the more 'grittier' C4 film simulation. So I actually have some images
to show that use this film simulation.
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.
Of my film simulation recipes for the X-E2 (and X-E1), four are black
and white and three are colour. When shooting with actual film, I tend
to be more of a black and white user, so it's not surprising that me
preferences for 'film stock' in the X-E2 is going to be slightly skewed
towards B&W.
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'.
I think I mentioned this in my previous post about the Acros recipe, but
it's worth mentioning again. The reason I love shooting in the black
and white film simulations, is that it offers me the best of both
worlds. Setting the camera to shoot in RAW + Jpeg, I get to 'see' in
black and white through the evf and subsequent image on the lcd screen,
but I also capture a colour RAW file if I change my mind and want the
image in colour.
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.
I have visited Hansen Park in Christchurch every month for the last six
months, and photographed there at the same time each visit. My wife and I
have been going over to a medical centre near there, and I have been
taking the opportunity to go for a walk in the park and take photos
while my wife has her appointment. It's been the winter months mostly,
with very cold mornings. But now it's spring, and at 9.30 in the morning
the sun was casting very strong side light through the park. The
shadows looked fantastic in b&w through the evf, so this is what I
decided to concentrate on capturing this morning.
The X-E2 with lensmate thumb grip and leather case makes for a
surprisingly comfortable grip for such a small compact camera. As I
talked about in my last post, this is also helped by using the
ultra-light Fujinon 16-50mm XC lens. My 'new' secondhand silver mark II
version arrived before the weekend, just in time to take it away with
me. It's just as sharp and impressive as my last black, mark I, version
of the lens - and looks great in silver on the silver/black X-E2 body.
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.
Anyone who has followed my posts on this blog for any length of time
will understand that I've been searching for my 'ideal' camera system
for years. I've oohed and aahed over many systems through the years -
from big pro DLSR's like the Canon EOS 1D, to small micro four thirds
Olympus E-M1's. And as I said earlier, I've 'enjoyed' them all. But none
have given me the almost 'spiritual' connection (here he goes again)
that I feel with the Fujifilm X-E's. Am I reading too much into enjoying
using a new (for me) camera system? Maybe. But I've also written about
how I wasn't that enamored with the X-T1. So I do feel I have at least some perspective still in tact!?
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.
 |
| Hansen Park, Christchurch. Fuji X-E2 with Fujinon 16-50mm. f/16 @ 1/100th, ISO 400 C4 film simulation recipe - Kodak Tri-X jpeg |
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.
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