Everything You Need to Know About Fuji's Film Simulation Modes (2024)

Digital cameras offer loads of flexibility when it comes to image processing, and most models include a few basic presets at a minimum, including black-and-white, natural, neutral, and vivid. Though the exact names might vary between manufacturers, you can likely make similar images regardless of your camera brand of choice.

Fujifilm, on the other hand, takes its in-camera looks a bit further, digging deep into its heritage as a photographic film manufacturer. It loads its digital cameras with around a dozen different unique presets, many inspired by its analog emulsions. The number of film simulation options on modern bodies, such as the fixed-lens X100V, the sub-$1,000 mirrorless X-S10, or the medium format GFX100S may overwhelm you, but we break down how these profiles work and all of your available choices below.

We’ve listed the simulations in the order they show up in your camera menu. Older models don’t include all of these options, so if your camera is missing one, it was likely released before Fuji introduced newer looks.

(Photo: Jim Fisher)

How to Switch Between Fuji's Film Simulation Modes

It's easy enough to swap between the different film looks. You can access them via the main camera menu (they're in the Image Quality section under the Film Simulation option) or directly via the on-screen Q overlay menu. If you use your camera in JPG mode or for video, note that you are forever locked into your selection for that photo or recording.

You can select a film simulation via the on-screen Q menu (pictured here is the X-E4 is set to Nc—Classic Negative) (Photo: Jim Fisher)

If you turn on Raw capture, you gain access to the tools you need to experiment with Fujifilm's different approaches to image processing. Just press the Q button during playback to pop open the in-camera Raw development panel; you can access it via the main menu as well.

In-camera edits date back to the origins of the system and are even available on the decade-old X-Pro1. Fujifilm has expanded the toolkit over time, though, and newer models also support customizable film grain, a pair of color chrome looks to eke more detail out of hyper-saturated scenes, white balance adjustments, and other settings.

If you use photo-editing software for Raw conversions, such as Adobe Lightroom Classic, you can apply any of Fujifilm's color profiles in post. That said, you need to fall back on built-in tools to add grain.

Provia/Standard

Fujifilm X-Pro3 / Provia (Photo: Jim Fisher)

Fujifilm sets its cameras to a standard color profile by default—when you first power one on and set it up, the Provia profile is what you get. It's named after the company's everyday slide film, a type of chemistry that puts a positive image on film, not the more common negative.

Provia matches up with the default profiles across the digital photo industry. Its colors are natural, with moderate contrast. Use this setting for everyday photography and for images that recreate what your eyes see.

Velvia/Vivid

Fujifilm GFX 50R / Velvia (Photo: Jim Fisher)

Fujifchrome Velvia is another slide film, but this one has more deeply saturated primary colors. It's the look to reach for if you're trying to make the greens in your landscapes pop out more. Its contrast is punchier compared with the Provia profile.

Experiment with Velvia for landscape shots—break it out at National Parks, the Grand Canyon, or for sunrises and sunsets. It's also a favorite for autumn leaves and brightly colored jack-o'-lanterns at Halloween.

Astia/Soft

Fujifilm GFX 50R / Astia (Photo: Jim Fisher)

Portrait specialists may want to give Astia, the soft profile, a try. Astia film was a favorite for fashion photography, and the digital version follows suit. It emphasizes faithful skin tones, adds extra saturation to the blue and green channels, and lowers the contrast a bit.

Classic Chrome

Fujifilm X100F / Classic Chrome (Photo: Jim Fisher)

While many of the built-in looks date back to the origins of the system, Classic Chrome first appeared on the X-30 compact from 2014. Fujifilm says it's inspired by images in mid-20th-century magazines.

To our eyes, it's an appropriate substitute for the unique look of rival Kodak's iconic Kodachrome slide film. Classic Chrome draws blue skies with a similarly aquamarine tinge and pale saturation, but dials up the contrast for more defined shadows.

Pro Neg. Standard and Hi

Fujifilm GFX 50R / Pro Neg. Standard (Photo: Jim Fisher)

There are two versions of Pro Neg., a simulation based on Fujifilm Pro160NS and Pro160NHfilm. Here, the Standard profile has a softer look, not that far off from Astia, with an emphasis on natural skin tones and lower contrast for smoother transitions from color to color.

Fujifilm X-S10 / Pro Neg. Hi (Photo: Jim Fisher)

The Hi profile is punchier, with more emphasis on contrast. It's a good choice if you're trying to draw attention to shadows, but are held back by overcast lighting conditions.

Classic Negative

Fujifilm X-E4 / Classic Negative (Photo: Jim Fisher)

Ah, Superia. If you used consumer film in the '80s or '90s, it was likely either Fujifilm Superia or Kodak Gold. Classic Negative, introduced with the X-Pro3 from early 2020, gives all the feels of the color negative classics and lines up with the Superia 200 look.

Photos show strong contrast, with colors that trend slightly cool. The profile mimics the wide dynamic range of negative film by lowering saturation in the shadows and highlights, plus adding a slight color cast.

Nostalgic Negative

Fujifilm GFX100S / Nostalgic Negative (Photo: Jim Fisher)

Inspired by color prints from the 1970s New American Color photography movement, Nostalgic Negative isn't too far off from Classic Negative, but its tone is a bit warmer and it shows a bit less contrast. As a result, the shadows benefit from more detail.

Nostalgic Negative is the only profile exclusive to the GFX medium format system. To use it, you need a body such as the GFX100, GFX100S, or GFX50S II. Fujifilm tunes this profile for the Bayer color filter sensors in these models, so we don't expect to see it on any X series models.

Eterna

Fujifilm GFX100S / Eterna (Photo: Jim Fisher)

Introduced with the X-H1, Eterna is a video-first profile, but is available for stills use too. It takes its cues from Fujifilm's Eterna stock, a common choice for cinema productions.

Colors are slightly muted (but not desaturated), and the profile cuts down on bright highlights (helpful for scenes with a wide dynamic range). It's an especially good match for captures in early morning light.

Eterna Bleach Bypass

Fujifilm X-T4 / Eterna Bleach Bypass (Photo: Jim Fisher)

The Fujifilm X-T4 introduced a new version of Eterna, Bleach Bypass. This mode mimics the look of film developed using the bleach bypass process, a technique that skips removing silver crystals. The result is a desaturated look, with little shadow detail and punchy contrast—if you've seen the opening sequence of Saving Private Ryan, you've experienced bleach bypass in full effect.

Filmmakers can use this mode to make their next war movie or dystopian drama. For stills, we like using it for scenes that would normally work well in black-and-white, but have some pop of color that adds to the texture.

Acros

Fujifilm X100V / Acros (Photo: Jim Fisher)

The only monochrome profile named after a film, Acros came in with the X-Pro2. Acros stock is renowned for its fine grain and moderate contrast that helps retain detail in the shadows. The digital edition mimics the look, but how grainy your image turns out is more defined by your camera's ISO settings and any additional grain effects you add to the profile, not silver crystals.

You get access to green, red, and yellow color filters here, just like the basic monochrome profile, and can adjust the level of grain to taste. If you're after black-and-white shots with a little more texture than the monochrome profile delivers, Acros is a suitable alternative.

Monochrome

Fujifilm X-Pro3 / Monochrome (Photo: Jim Fisher)

Fujifilm includes its standard Monochrome profile across its camera line. The profile is based on the in-camera look but without any color saturation. You can apply virtual Red, Yellow, or Green color filters to change tonal response—a red or yellow filter will darken blue skies, while the green filter is helpful if you want to capture landscapes with bright foliage.

Sepia

Fujifilm X-S10 / Sepia (Photo: Jim Fisher)

The Sepia profile takes the basic Monochrome look and adds a brownish tint. If you've seen photos from the old west or watched the beginning of The Wizard of Oz, you've seen Sepia before.

Beyond Fujifilm's Built-In Looks

We expect most photographers to be pretty happy with the in-camera profiles that Fujifilm offers for the X and GFX series bodies—those systems are our favorites for sharing JPGs right out of the camera.

If you prefer to take control over Raw processing, we recommend you try Adobe Lightroom Classic, Phase One Capture One, or one of the other professional suites in our roundup of the best photo editing software. And if you've got an eye for analog film looks, the RNI All Films 5 Professional plug-in set for Adobe Lightroom and the Nik Collection by DxO are worth adding to your toolkit.

And for more tips and ideas for using your camera, check out our photography guides for beginners and enthusiasts.