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.
