Hey guys, Jay here and
welcome back to another video.
Before we start though,
a quick thankyou to everyone
who has subscribed to my channel.
I’ve reached 100 subscribers
Just a few days ago and
I’m very grateful for your support, thankyou.
Today we are looking at
Fujifilm’s film simulations and hopefully
you will get a better idea
why so many fuji users
love their cameras and,
in this day and age,
still choose to shoot jpeg.
I am using my x100v and X-T2
for these images so any film simulations
not on these systems I sadly cannot compare.
Fujifilm started out producing
film solutions in the 1930s for photographic,
motion picture and x-ray.
Since then, Fujifilm as a company
continues to make film
for the film photography crowd
and applies their knowledge of film
to their modern camera systems as well.
So let’s go over each one
of the digital film simulations
and how they look and compare
and in what situations
they work best in.
Out of the box,
Fujifilm camera’s standard
colour profile is Provia.
I will use this colour profile
as sort of a base to compare
other simulations.
The images it produces
are well rounded and
have good balanced saturation
and moderate contrast.
This makes it the most
versatile simulation,
but at the same time
the least specialised
when compared to the others.
Next up is Velvia,
which, when compared with Provia,
renders colours a lot more vividly,
with more saturation and more contrast.
This simulation, in the right settings,
gives the photo a certain pop
and three dimensionality.
It is a popular simulation to use
in situations with good sunlight
and a lot of vibrant colours.
Landscape and travel photography
comes to mind when thinking about
applications for this certain simulation.
Astia is a softer take on Velvia.
The colours are slightly subdued
and contrast toned down.
Astia would be a great pick for
photographers who enjoy shooting colour,
in a way that’s less harsh on the eyes.
I would say Astia works better than
Provia or Velvia when it comes to shooting
human subjects in colourful backgrounds,
as skin tones are much more pleasant.
Let’s move on to the next couple
of film simulations which are
perhaps the ones
I prefer to use the most.
Let’s begin with Classic Chrome.
Probably a favourite for me
and many other photographers
on the Fujifilm system.
It has lower saturation,
deeper shadows and gives the image
a subtle yet lasting appeal.
It’s a simulation that feels
more true to life, like
how we see the world,
with a touch extra oomph to the contrast.
This could be used as
an alternative standard to Provia,
and is good for many situations.
But I find this sim truly shines
in urban environments or
places with slightly overcast light source.
If you want a bit more colour
and contrast from Classic Chrome,
there is Classic Negative.
I haven’t personally experimented
with this simulation a lot,
but what I can say is that
it definitely has more contrast,
slightly deeper shadows
and a touch more green hue,
but think of this simply as
an enhanced version of Classic Chrome.
Next we have Pro Negative Hi.
If I am to be super simplistic,
I would say it is essentially
Classic Chrome but with
a slighter greener hue.
In the same vein,
Pro Neg Standard has
less contrast than Pro Negative Hi
and less shadow contrast
than Classic Chrome.
Fujifilm states both Pro Negatives
work well with skin tones,
and I would agree,
as it produces nice color
that flatter the subject.
Now if you want a muted,
low contrast look,
Eterna is here.
In most situations, I personally
wouldn’t choose Eterna,
because it lacks any sort of character.
But I can see it being a
great choice for people who
shoot video and want something
that’s less flat than shooting
in raw video format but still
provides a pleasing look
to their video without
too much post processing.
Lastly, we get into Fujifilm’s
Black and White Film Simulation.
This is arguably a big reason
why people love Fujifilm cameras
and once you experience this first hand,
you might not ever want to
go back to shooting with anything else.
Acros film simulation is
a faithful recreation of
Fujifilm’s discontinued Neopan Acros 100,
but due to the resurgence
of film photography,
Acros was brought back.
That is a testament to how popular
this black and white film is.
The Acros film simulation is super detailed,
renders great tonality and rich, dark contrast.
It is a major step up
from shooting in monochrome,
and to be able to get this beautiful look
straight out of camera without the hassle
of post processing is so very satisfying.
I didn’t know what the hype was
until I tried shooting it for a day,
and I definitely get it now.
There is also the option of
adjusting certain hues of colours
in black and white.
Depending on the filter you select,
for example Acros+R (red),
it will enhance the filtered colour
and deepen the colour of its complimentary.
The great benefit to Fujifilm’s
Film simulations on a
modern mirrorless camera
is that you can actually see the result
of your image straight through
the Electronic Viewfinder or your LCD.
The ability to visualise a scene
in a certain simulation allows
you to essentially edit the image
in camera by adjusting variables
such as ISO, shutter speed and aperture
to get the result you want.
As a photographer this means you
can spend more time shooting,
and less time behind a computer editing.
I hope you enjoyed my
extremely simplified overview
of fujifilm’s film simulations.
If you are a Fuji user,
comment down below which simulation
you use and why.
And if you know anyone who
is new to the Fuji system,
please do share this video
With them as well.
Thankyou guys, and until next time.