Tag: Film Simulation

IN FOCUS: Film Simulation modes used by the professionals

IN FOCUS is a series of articles where we ask some of the UK X-Photographers to give us advice, provide insight into their photography and share some of their favourite images of all time. In this blog, we asked our photographers what Film Simulation modes they use.

IN FOCUS is a series of articles where we ask some of the UK X-Photographers to give us advice, provide insight into their photography and share some of their favourite images of all time. In this blog, we asked our photographers what Film Simulation modes they use and why.

Provia – Mark Gilligan 

“I am a bit of a traditionalist and the phrase ‘is what you are looking at with your own eyes, the same as the camera is capturing?’ will be uttered by me during workshops. For that reason, I like to use the standard Provia Film Simulation because I want to be faithful to colour.

This image is as faithful as the real scene. It was taken looking across one of my favourite places in the Lakes called Birker Fell. I pass this view almost daily (not bad for an office view) and the sunsets are spectacular. Rich gold and orange hues that would look wrong if the colours were ‘riched’ up too much. Retaining the originality of a scene is very important and I find that Provia works for me.”

Velvia – Ben Cherry

“My standard film simulation is Velvia. It lends itself very well to nature imagery and I really enjoy the strong, bold colours, combined with a slight push on the highlights and shadows for punchy jpegs straight out of camera.”

Astia – Elli Cassidy 

“I love the Film Simulation modes and use the Astia filter for all my newborn work. It gives a beautiful neutral and soft skin tone, reducing any harsh contrast. This is particularly effective with babies as their skin is often different shades from head to toe and they can be quite blotchy, too.”

Classic Chrome – Derek Clark 

“I love the subtle film-like tones from Classic Chrome, especially with a setting of +2 for colour. The tones are still the same, but that extra bit of saturation really enhances the Classic Chrome look for my taste.”

Classic Chrome – Chio Fernandez

“My favourite is the one and only Classic Chrome. I love the soft and subtle tones and the detailed elegance of this Film Simulation. It’s a calming and soothing look, minimally intrusive. It almost doesn’t feel like I’m applying any film simulation to my photos, but enhancing them naturally.

It’s a versatile film simulation filter, it works great with landscapes, portraits or lifestyle shots and it’s the perfect fit for documentary.”

Classic Chrome or Velvia – Kevin Mullins

“I use film simulations a lot. A great deal of my work is shot in monochrome and I instantly fell in love with the Acros film simulation when it was first introduced. When shooting colour, I tend to use the Classic Chrome or Velvia film simulations.

For me, having a camera that can create gorgeous JPEG’s out of the can means I can allow the camera to do a lot of my post processing for me. Of course, there is no right or wrong as to whether RAW or JPEG should be used – it’s a photographers’ choice – but I do think, as we have an EVF in front of our eyes, we have less reason to get exposures wrong and it makes sense (to me at least) to shoot JPEG when I want the camera to process for me.”

Pro Neg. Hi – Saraya Cortaville

“I tend to use the Film Simulation modes in editing. I shoot RAW files and then process them in Camera Raw and assign a profile here. Depending on the style of the shot, I generally use either, Pro Neg. Hi or Classic Chrome, as these tend to compliment my style of portraiture, giving good skin tones and wonderful depth to the images.

This image was shot in RAW, and then processed afterwards as a Pro Neg. Hi profile. The contrast was then pushed slightly.”

Pro Neg. Std and Acros + Green Filter – Damien Lovegrove 

“The Film Simulation modes suit my way of working. I keep my photography very simple. I have always used Pro Neg. Std as my colour simulation on all the Fujifilm cameras that I’ve owned. I am also currently using Acros + G for my monochrome work. I love the skin contrast that Acros G gives my subjects. It makes everyone look healthy.”

Acros + Red Filter – Paul Sanders 

“My favourite film mode is Acros + Red Filter, simply because it gives me the mood and contrast I love.”

More from the X-Photographers

X-Photographers are the official Fujifilm ambassadors. To find out more about the global X-Photographers, visit fujifilm-x.com/photographers.

Shoot in RAW?

If you shoot in RAW but want to enhance your images with Fujifilm Film Simulations, our new X RAW STUDIO conversion software enables you to post-process your images either singly or in a batch.  Find out more and download this complimentary software. 

Note: X RAW STUDIO is compatible with GFX 50S, X-T2, X-Pro2* & X100F* with Mac OS X 10.10.5, 10.11.6, macOS 10.12.6 & macOS High Sierra. Windows 7 SP1, 8.1 & 10 compatibility will be available February 2018.

* Compatible firmware for FUJIFILM X-Pro2 and X100F will be available in December 2017

Quick Techniques – Beginners: Using Film Simulation modes

Want to get the most out of your Fujifilm X Series cameras? Our Quick Techniques will provide you with lots of handy hints and tips to help you understand the features our range offers. This week we look at our Film Simulation modes.

Want to get the most out of your Fujifilm X Series cameras? Our Quick Techniques will provide you with lots of handy hints and tips to help you understand the features our range offers. This week we look at Fujifilm’s Film Simulation modes. Continue reading “Quick Techniques – Beginners: Using Film Simulation modes”

Tutorial: Using Film Simulation modes

w360_6415757_tutorialbannerfordotmailerFujifilm knows film. The clue is in the name. And they’ve spent a lot of time and effort bringing classic film traits to life in the current range of digital cameras.
Each Film Simulation mode* has unique properties to help you express your creativity without the need for time-consuming post-production. Varying degrees of Saturation and Tonality are composed with just the right balance to bring each Film Simulation mode to life.

Film Simulation ModesThe camera’s Electronic Viewfinder can show the effects of the selected Film Simulation mode before the shot is taken, and if you shoot RAW, the in-camera RAW processing function allows any of the Film Simulations to be applied post-capture, broadening your shooting options.

Which Film Simulation mode is best for your shot?

I cannot tell you this, but I can recommend certain Film Simulation types that lend themselves to particular photography subjects. However, just treat this like an initial guide and explore for yourself to find your own style.

Portraits

I would recommend Astia or Pro Neg. Std. Astia’s soft tones are perfect for capturing beautiful skin tones. Pro Neg Std. takes the look slightly further by also lowering the colour saturation.

Click on any of the images for a larger view.

Provia / Standard
Astia
Pro Neg Std

Street photography

I recommend Classic Chrome or Monochrome. Photography is often called the “Art of omission”. Classic Chrome and Monochrome settings omit the element of colour in order emphasise the story you want to tell.

Provia / Standard
Classic Chrome
Monochrome +R Filter

Landscapes / Seascapes / Cityscapes

I recommend Velvia. At the opposite end of the scale from Classic Chrome, Velvia uses colour as the main element. It adds more depth and the colours become more vibrant. There are certain emotions that only image colour can deliver and this is where Velvia comes in.

PROVIA Standard
Velvia / Vivid

Image comparison

The images below were all created using the X-T1’s in-built RAW file converter and are all JPGs straight out of the camera.

Colour

PROVIA Standard
Velvia / Vivid
ASTIA / Soft
Classic Chrome
Pro Neg. Hi
Pro Neg. Std

Mono

Monochrome
Monochrome +Ye
Monochrome +R
Monochrome +G
Sepia

Conclusion

All of the Film Simulation profiles have been developed (pun intended) by people with years of experience working with film to allow you to really alter the feel of the image without the need for lots of time-consuming post processing. Try it yourself and let us know how you get on in the comments below.

Bonus Tip!

If you’ve got a big enough memory card, set your camera to save “RAW+JPG” and then use the in-camera RAW File Converter to convert the same image into different Film Simulation modes after the shot has been taken.

* The number of Film Simulation modes available on your camera will vary.

Film Simulation test by Dave Jackson

By Dave Jackson

My wedding workflow for the past few years whilst shooting with Nikon DSLR’s has consisted purely of shooting RAW and processing the files initially in Lightroom and with some additional tweaks in Photoshop with Nik and OnOne software plugins. The aim is to produce a set of colour and exposure corrected JPEGS for supply to our clients. Since switching to Fuji for most of our wedding work I wanted to compare the film simulations in ‘real life’ shooting situations. Just to clarify, this is not about shooting JPEG only which I know some photographers do but this is part of a bigger picture in exploring the possibilities of producing ‘in camera’ JPEGS from the RAW files for supply direct to the client with little or no external processing after the wedding.

The original RAW files were transferred back to a memory card and then processed in camera. All other settings eg colour. shadow,etc. were 0. The images are in the same order from top to bottom L-R as the film simulation selections in the camera’s menu, starting with the unprocessed RAW file then Provia, Velvia, Astia, Pro Neg Hi, Pro Neg Standard, BW, BW Yellow, BW Red, BW Green, Sepia.

Bridal portraits

bridal portraits 1
X-T1 / 18 -55 F2.8-4 F4 @ 1/250 1250 ISO +0.33 Exp comp. Auto WB

The first set of images (above) are some Bridal portraits taken in the reception room as we were rained off for outside shooting.

There was a large expanse of windows with natural, overcast daylight behind me.

Of the colour versions I don’t think it will come as any great surprise that Velvia is just a bit too saturated for this type of image and personally I find Pro Neg Standard to ‘flat’. That leaves Provia, Astia and Pro Neg Hi. Of these Astia has produced the warmest image, closely followed by Provia and then Pro Neg Hi. Astia will be my first choice for similar lighting / subject in the future.

So far as the black and white versions, my choice here for skin tone would be the Red filter but the overall contrast has reduced with Green producing the darkest lips. I think I might be wary in using the green filter as a ‘redder’ skin tone could cause the skin to darken more than I would wish.

X-T1 / 18-55 F2.8-4 F4 @ 1/150 3200 ISO +0.33 Exp comp Auto WB
X-T1 / 18-55 F2.8-4
F4 @ 1/150 3200 ISO +0.33 Exp comp Auto WB

This was at Bride’s home before the wedding (above). There was a window to camera right but it was quite dull outside and it provided very little light so we set up our Lupolux LED650 with a showercap diffuser to camera right.

Once again the winner for me is ‘Astia’, however they are all acceptable, even ‘Velvia’ hasn’t gone too far with a nice boost to the flowers. Of the black and whites, ‘Red’ has given the lightest skin tones and ‘Green’ the greatest contrast. Yes, you guessed – still a thumbs down for ‘Sepia’.

Wedding Couple

wedding couple
X-T1 / 18-55 F2.8-4 F4 @ 1/640 400 ISO Auto WB

 

The lighting was gorgeous here, with the sun low and diffused slightly through clouds to camera left. (Above) 

Would be quite happy to use ‘Velvia’ here. It hasn’t affected skin tones too much – and wow! – those Fuji greens! I was a bit surprised at the very little difference with the black and white filters. Understandably the ‘green’ filter has produced the lightest image with ‘red’ providing the most contrast – just. Still wouldn’t use ‘sepia’

Classic Chrome

Whilst putting this test together it became possible via an update to apply ‘Classic Chrome’ to existing X-T1 RAW files using Lightroom (5.7). Below are the 3 files with this mode.

classic chrome

For me ‘classic chrome’ is just a little on the ‘grungy’ side and I’m not quite sure yet where it might fit in with our current style of wedding shooting / editing. However, I can’t wait to use this in lots of other genres, especially ‘street’ and some ‘urban portraits’.

Conclusions

As mentioned at the beginning of the post, the aim here was to find out how usable the film simulations are straight out of camera in ‘real life’ wedding shooting. I am working on switching film simulation modes during the wedding to suit particular lighting and subject matter and then using the resultant JPEGS as part of our workflow to supply direct to our clients with no further post processing. DR settings are also going to play a big part in this, especially when shooting high contrast scenes. We will continue to shoot both RAW and fine JPEG and will of course use the RAW files as needed for post processing if the need arises.

To be honest I’m knocked out by the quality of JPEGS produced in camera, the noise reduction is also truly amazing. I would prefer a stronger filter effect with the black and whites as there isn’t a great deal of difference between them all.

For me the Sepia simulation is very limited for our particular requirements and I don’t envisage using it at all.

For full resolution image examples, please click here. 

David Jackson’s Twitter & Blog

Using Film Simulation modes

Fujifilm still produces colour negative and reversal film for enthusiasts and this legacy continues to have a place in the digital arena – with the X-series of cameras giving you an option to select from a variety of Film Simulation modes.

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In essence, the Film Simulation modes enable you to decide on the look of your image in terms of colour saturation and contrast, or simply lose colour altogether and go for a black & white effect. The beauty is, the camera does it all for you. All you have to do is decide what look you want for the image you’re shooting.

The standard Film Simulation options in all X-series cameras are Provia, Velvia, Astia, Monochrome (black & white) and Sepia. However, some models include PRO Neg Hi, PRO Neg Standard, and filters for the Monochrome mode.

You’ll find the options by going into the Shooting Menu and looking in the first set of controls. It’s the same tab where ISO, Image Quality and Image Size are set, just scroll further down. It’s impossible to tell you exactly which Film Simulation to use for a given situation because it’s all a matter of taste, but we can give you some pointers. If you just want a general setting because you shoot a wide range of subjects then stick with Provia; Fujifilm has chosen it as its standard setting. But if you prefer a richer, punchier look, perhaps for landscapes or nature, then Velvia will give you exactly that. Astia, on the other hand, offers a softer, more subtle rendition of colours, so would work well for portraits.

Select Film Simulation in the Shooting Menu
Step 1 Select Film Simulation in the Shooting Menu

Select Film Simulation Mode
Step 2 Choose the Film Simulation Mode you would like to use

The Monochrome and Sepia Film Simulation options do exactly what they say on the tin. Monochrome will work for most subjects and gives your image a timeless feel. Sepia should probably be used more sparingly but can certainly work well at retro events when you want to give a portrait or a scene a classic old-school appearance. If your camera has the two PRO Neg options these are best for shooting portraits: Standard expands the hues available for skin tones and is intended for studio work, while Hi gives a slightly more contrasty look and is fine-tuned for outdoor portraits.

Film Simulation bracketing

Experimentation is key with the Film Simulation modes and Fujifilm has actually made this really easy on most X-series models thanks to Film Simulation Bracketing. This is found directly beneath Film Simulation in the Shooting Menu and is perfect for when you want to play around and work out what kind of image you like or if you’re simply feeling indecisive. Exactly how it’s set varies from camera to camera but here’s how it’s done on the X-Pro1…

Setting up Film Simulation Bracketing
Step 1 In the Shooting Menu, choose Film Simulation Bracketing and select three different film styles in any order you want. For example, for Film 1 you could select Astia, Film 2 Velvia, and Film 3 Monochrome, as we have here.

Selecting Film Simulation Bracketing in Drive Menu
Step 2 With these selected, press the Drive button on the back of your camera. Scroll down and activate Film Simulation bracketing (BKT). Now with one press of the shutter release, the camera saves three versions of the image.

TIP: If you shoot in RAW+JPEG mode, you can preview and shoot with the Film Simulation mode you have selected, but the original RAW file will also be saved. You can revert to standard or even change the Film Simulation mode using the RAW File Converter built into the camera itself.