FUJIFILM X/GFX

IMAGE QUALITY
SETTINGS GUIDE

© John Peltier, 2024. All rights reserved. No part of this guide may be reproduced or distributed without the written
permission of John Peltier. For more information, contact mail@[Link].
FUJIFILM is a registered trademark of the FUJIFILM Corporation. This guide is not affiliated with Fujifilm.
 Image Quality Settings Guide

Fujifilm Image Quality Settings Guide

Introduction
Fujifilm X and GFX series cameras are famous in the photography community for their
extensive in-camera image styling options. While many other camera brands have very
basic “Contrast,” “Saturation,” and “Hue” corrections, Fujifilm cameras go significantly
further with endless combinations of styling your photos in the camera.

These styling options start with the Film Simulations, which all have different tone
curves and color grading. As of the first edition of this guide, in mid-2024, there are 14
different Film Simulations, not counting the different “color filters” you can add to the
black-and-white simulations.

You can further stylize these Film Simulations with a variety of additional tonal and
color adjustments.

Why does all of this matter?

When you understand the Film Simulations, when you might want to use each one and
what the different Image Quality Settings will do to those simulations, you can start
pre-processing your photos instead of having to post-process them. Get it all done in
the camera the moment you press the shutter button instead of spending countless
hours moving sliders around in RAW processing programs on your computer. Make a
statement and invoke emotions with your in-camera choices, which will ultimately help
you create more meaningful photos.

This guide will walk you through the various Image Quality Settings, explaining their
functions and providing examples of each.

CONTENTS
RECORDING FORMATS................................Page 2
FILM SIMULATIONS.......................................Page 6
TONAL SETTINGS..........................................Page 22
COLOR SETTINGS.........................................Page 26
DETAIL SETTINGS.........................................Page 32
USING THE RAW CONVERSION MENU.......Page 37
CREATING “FILM RECIPES”.........................Page 39
GETTING PERFECT IN-CAMERA JPEGS.....Page 44

1 ©John Peltier
 Image Quality Settings Guide

Fujifilm Image Quality Settings Guide

RECORDING FORMATS
Before exploring Fujifilm’s image styling options, we must ensure that our images are
properly recorded to the memory card. There are several settings in the IMAGE
QUALITY SETTING menu to set first.

IMAGE SIZE
This sets the size & ratio of your recorded JPEG or HEIF.
If recording RAW, this setting will have no effect on the RAW file, which will be the full
sensor resolution (unless using SPORTS FINDER MODE or GFX 35mm FORMAT
MODE).

☐ LARGE: The JPEG or HEIF file will be the full resolution of the sensor. Depending on
the camera, this will be between 16MP (first generation X) to 100MP (GFX).
☐ MEDIUM: The JPEG or HEIF will be half the resolution of LARGE.
☐ SMALL: The JPEG or HEIF will be half the resolution of MEDIUM (25% of LARGE).

RECOMMENDATION: Use Small or Medium if your images are for social media or
blogs, and Large if you are printing your JPEG/HEIF files.

2 ©John Peltier
 Image Quality Settings Guide

There are also some ratio options for each image size. I would recommend using the
native sensor ratio (3:2 for X and 4:3 for GFX) and cropping later.
If you are specifically shooting for square or letterbox formats, then you can set those
options to have the crop automatically applied to the JPEG/HEIF. Just know that it can’t
be undone.

This setting won’t affect your RAW file; that will be in the native sensor ratio.

IMAGE QUALITY
This menu does two things: 1) Choose whether you’re recording the RAW file and/or a
processed file (JPEG/HEIF), and 2) Sets the quality of the processed file, if recording
one.

A high-quality processed file will retain as much information as possible. This can
reveal more details and subtle color gradations, but will result in a larger file size. A
lower-quality processed file will have more information discarded during saving and the
file size will be smaller.
Options in order from highest quality to lowest:
☐ SUPERFINE (GFX only)
☐ FINE
☐ NORMAL

To record only a RAW file, select RAW.

To record a RAW file plus a processed file, choose the processed file quality plus RAW.

RECOMMENDATION: Set the highest quality available, you’ll still be able to fit plenty
of them on your memory card.

3 ©John Peltier
 Image Quality Settings Guide

Whether or not you choose to record the RAW file is personal preference. I record the
RAW file to have the “film negative” for backup archival purposes but try to get the
perfect JPEG in-camera so I don’t need to process the RAW files.

RAW RECORDING
If you are recording the RAW file, this is where you’ll set the compression level of these
RAW files. This won’t be applicable if you’re only recording processed files (JPEG/
HEIF). Some cameras don’t have all of these options.
☐ UNCOMPRESSED: RAW files don’t use any compression algorithms. This gives
maximum compatibility with RAW processors but the largest file size.
☐ LOSSLESS COMPRESSED: RAW files are compressed using a proprietary algorithm
to significantly shrink the file size. This format is compatible with most RAW processors.
☐ COMPRESSED: RAW files are compressed with an algorithm that does result in some
loss of quality (which probably won’t be noticeable), and will give you smaller files.

RECOMMENDATION: I prefer Lossless Compressed for the smaller file sizes. Just
note that some file browsers (like Mac Finder) can’t extract the JPEG previews from
the RAW file. Make sure your RAW processor is compatible with the format you choose
before using it regularly.

SELECT JPEG/HEIF
Choose which file type you want your processed files to be recorded in.
☐ JPEG: This gives you maximum compatibility to display your photo anywhere and
everywhere; it’s been the “standard” for decades.
☐ HEIF: This newer file format results in a higher quality than JPEG and with a smaller
file size. If you choose this, the CLARITY setting won’t be available and the COLOR
SPACE is fixed to sRGB.

RECOMMENDATION: Set JPEG for now. HEIF, being a newer format, isn’t compatible
with many apps, websites, or digital devices yet. Only choose HEIF if you’re sure the
only place you want to display your photos can display .HEIC files.

4 ©John Peltier
 Image Quality Settings Guide

COLOR SPACE
Found towards the end of the IMAGE QUALITY SETTING menu, this sets the “color
language” used for your processed JPEG file.
☐ sRGB: This is the “standard” color space used by most digital devices and apps.
☐ Adobe RGB: This color space is preferred for printing due to its larger gamut but may
not display colors properly when viewed on digital devices.

RECOMMENDATION: Set sRGB unless you’re sending your processed JPEG file from
the camera straight to a personal printer. Even if you send your files from your camera
to a commercial print lab, they’ll prefer to have them in sRGB.

This setting doesn’t affect your RAW file. You’ll set a color space during RAW
conversion.

Struggling to learn all of your camera settings?

Click here for our Fujifilm Camera Tutorial Courses.
Use the coupon “IQBOOK” to save 15%.

5 ©John Peltier
 Image Quality Settings Guide

FILM SIMULATIONS
The “Film Simulation” is perhaps the most important Image Quality setting to
understand. The FREE Fujifilm Film Simulation Course covers all in detail.
What you choose here will form the basis of all other settings changes you
make. Think of the Film Simulation as your “base” style which you will then refine with
the rest of the Image Quality settings.
Not all cameras have all of these film simulations. Check your own camera to see
which ones you will choose from.

TIP: The number of film simulations can be overwhelming. Use each one to see what
your favorites are, then stick with those favorites rather than trying to continue to use
each one.

Color Film Simulations

PROVIA (STD)
• Contrast: Medium
• Saturation: Medium
• Characteristics: Natural colors and contrast with a “true-to-life” look.

Uses: For faithful, neutral renditions of everyday scenes in all lighting.

6 ©John Peltier
 Image Quality Settings Guide
VELVIA (VIVID)
• Contrast: High
• Saturation: High
• Characteristics: Vibrant natural colors and strong contrast, with a slight
magenta shift in the blues.

Uses: Nature & landscape photography, particularly sunsets.

7 ©John Peltier
 Image Quality Settings Guide
ASTIA (SOFT)
• Contrast: Medium
• Saturation: Medium
• Characteristics: Soft, pleasing skin tones but vibrant blues and crimson reds.

Uses: Outdoor & environmental portraits, travel photography, and even landscapes.

8 ©John Peltier
 Image Quality Settings Guide
CLASSIC CHROME (CC)
• Contrast: Medium-High
• Saturation: Low
• Characteristics: Vintage, subdued look with many hues shifted towards cyan,
and strong contrast.

Uses: Popular for documentary-style photography, also works for tempering colors in
landscapes.

9 ©John Peltier
 Image Quality Settings Guide
REALA ACE (ACE)
• Contrast: Medium
• Saturation: Medium
• Characteristics: Realistic contrast and color, between PROVIA and PRO NEG
HI, but with a slightly harder tonality for increased clarity.

Uses: A great substitute for PROVIA; useful for a variety of situations.

10 ©John Peltier
 Image Quality Settings Guide
CLASSIC NEG (NC)
• Contrast: Medium-High
• Saturation: Medium
• Characteristics: Vintage look with warmer colors than CLASSIC CHROME, and
strong contrast.

Uses: Popular for documentary-style photography and outdoor portraits.

11 ©John Peltier
 Image Quality Settings Guide
NOSTALGIC NEG (NN)
• Contrast: Medium-Low
• Saturation: Medium-High
• Characteristics: Normal highlights but soft shadows to reveal texture & color.
Very warm color shifts with higher saturation.

Uses: Documentary, street photography, outdoor portraits, sunny days.

12 ©John Peltier
 Image Quality Settings Guide
PRO NEG STD (NS)
• Contrast: Low
• Saturation: Medium-Low
• Characteristics: Subdued colors all around and flat contrast.

Uses: Best for indoor portraits when you’re in total control of the lighting, because it
won’t give your photos much depth on its own.

13 ©John Peltier
 Image Quality Settings Guide
PRO NEG HI (NH)
• Contrast: Medium
• Saturation: Medium-Low
• Characteristics: Subdued colors, especially near the skin tone region, with more
tonal depth than PRO NEG STD.

Uses: Great for outdoor portraits when ASTIA is too saturated but PRO NEG STD is
too flat.

14 ©John Peltier
 Image Quality Settings Guide
ETERNA (CINEMA)
• Contrast: Low
• Saturation: Low
• Characteristics: The flattest, least-saturated film simulation. Brings out the
shadows with flat highlights.

Uses: Ideal when the photo is about the story, because the colors and tones will have
far less emphasis and make less of an impact on the overall photo.

15 ©John Peltier
 Image Quality Settings Guide
ETERNA BLEACH BYPASS (EB)
• Contrast: Medium-High
• Saturation: Low
• Characteristics: An even more desaturated version of ETERNA, but with much
stronger contrast.

Uses: A great color film simulation for documentary storytelling, when you want the
colors there but to not be distracting.

See more examples with additional information in

the FREE Learn Fujifilm Film Simulations course.

16 ©John Peltier
 Image Quality Settings Guide
Monochrome Film Simulations

MONOCHROME is the “simplest” black & white film simulation. It’s simply PROVIA
but stripped of all color; desaturated 100%.

This is available with the color filters discussed with the ACROS explanation.

SEPIA
Processes photos in the brownish tone you might have seen in photos from the 19th
and early 20th centuries.

17 ©John Peltier
 Image Quality Settings Guide
ACROS (STANDARD)
A black & white film stock that retains detail in the shadows without appearing flat,
keeps texture in the highlights, and produces depth for a range of subjects.

Includes its own “film grain” algorithm for unique grain addition based on individual
photo characteristics. Color filters separate colors and add contrast to your photos,
depending on the colors present.

ACROS+Red
Characteristics: Increases overall contrast in most situations. Makes blues & greens
darker while making reds and oranges appear brighter.

Uses: Popular in landscape and nature photography. Separates green leaves and red
flowers for added contrast. Produces deep blue skies for a dramatic effect.

18 ©John Peltier
 Image Quality Settings Guide
ACROS+Green
Characteristics: Very similar to standard ACROS, but can add slightly more contrast
between reds and greens, and deepens skin tones.

Uses: Good for portraits to keep skin from rendering too bright.

19 ©John Peltier
 Image Quality Settings Guide
ACROS+Yellow
Characteristics: Similar to the Red filter in that it increases contrast, but nowhere near
on the level of that filter.

Uses: A popular filter to add more general contrast than ACROS, and when the
contrast with ACROS+R is too much. Good when you’re just not sure which to use.

20 ©John Peltier
 Image Quality Settings Guide
Monochromatic Color/B&W Adjust
This setting, in the root IMAGE QUALITY SETTING menu, allows you to further tint
your monochrome photo. It is only available if you’ve selected a monochromatic film
simulation.

• B&W ADJUST: Make your monochrome photo warm or cool using the scale.
• MONOCHROMATIC COLOR: Tint your photo by moving the cursor around the
grid.

21 ©John Peltier
 Image Quality Settings Guide

TONAL SETTINGS
These settings let you adjust the contrast of your photo. Remember, this will adjust the
contrast of the film simulation selected - starting from the “original” contrast of that
film simulation.

For example, you can make ETERNA (a low-contrast film simulation) have as much
contrast as ASTIA (a medium-contrast film simulation) by changing the tone curve.

HIGHLIGHT TONE (TONE CURVE)

This adjusts the contrast in your highlight areas - the “bright” areas of the photo.
This will affect everything from the midtones to the highlights (the middle of the
histogram to the right side of the histogram). Darker tones won’t be affected at all.

☐ Positive numbers make the bright areas brighter - increasing contrast.

☐ Negative numbers make the bright areas darker - decreasing contrast.

22 ©John Peltier
 Image Quality Settings Guide

SHADOW TONE (TONE CURVE)

This adjusts the contrast in your shadow areas - the “dark” areas of the photo. This
will affect everything from the shadows to the midtones (the left side of the histogram to
the middle of the histogram). Brighter tones won’t be affected at all.

☐ Positive numbers make the dark areas darker - increasing contrast.

☐ Negative numbers make the dark areas lighter - decreasing contrast.

23 ©John Peltier
 Image Quality Settings Guide
DYNAMIC RANGE
This setting will help preserve color & detail in the bright (highlight) areas while the
shadow & midtone areas remain properly exposed.
Use this if you want to expose for your shadow areas (make them brighter)
without making your highlight areas too bright or washed out.
This setting can only do so much; if your bright areas are too bright, they may still be
washed out.
☐ DR 100: This setting is OFF.
☐ DR 200: Decreases highlights one stop (requires minimum ISO one stop higher than
base).
☐ DR 400: Decreases highlights two stops (requires minimum ISO two stops higher than
base).
☐ DR AUTO: The camera will choose between DR 100 and DR 200. To have DR 200
available, the minimum ISO must be one stop higher than base.

Your “base” ISO will vary by camera; this is the lowest Standard output sensitivity you’ll
see in your camera specifications. For example, if your lowest standard sensitivity is
160, you must set a minimum ISO of 320 to have DR 200 available and a minimum
ISO of 640 to have DR 400 available.

TIP: If you’re using an AUTO ISO program that allows the camera to use a high
enough ISO, the camera will automatically set the minimum ISO for you.

24 ©John Peltier
 Image Quality Settings Guide
D RANGE PRIORITY
Using this setting will give the camera control of both the TONE CURVE and
DYNAMIC RANGE settings for automatic contrast adjustment.
Those settings will be unavailable if set to anything but OFF.

☐ OFF: You have control of TONE CURVE and DYNAMIC RANGE for contrast.
☐ WEAK: Use this for moderately high-contrast scenes. WEAK requires a minimum ISO
one stop higher than base.
☐ STRONG: Use this for scenes with extreme contrast. STRONG requires a minimum
ISO two stops higher than base.
☐ AUTO: The camera decides how to adjust for the detected contrast. The amount of
correction will depend on the minimum ISO available. Availability of the full range will
require a minimum ISO two stops higher than base.

See the previous page (DYNAMIC RANGE) for a discussion on “base” ISO.

25 ©John Peltier
 Image Quality Settings Guide

COLOR SETTINGS
The following settings let you adjust the color of your photo. Remember, this will adjust
the color of the film simulation selected - starting from the “original” color of that film
simulation.

For example, changing the COLOR setting can make ETERNA (a low-saturation film
simulation) as saturated as PRO NEG HI (a medium-saturation film simulation).

26 ©John Peltier
 Image Quality Settings Guide

WHITE BALANCE
This setting is used to correct colors to match the temperature of the light source
illuminating your scene.
However, it is often used to give the photographer creative liberties in how colors are
rendered, making the scene appear warmer or cooler to convey a feeling or make a
djustments until it “looks right” to the photographer.

☐ AUTO/AWP/AAP: The camera attempts to neutralize any color casts for accurate
colors. In cameras that have it, AUTO WHITE prioritizes neutralizing whites, while
AUTO AMBIENCE prioritizes having warmer tones under incandescent lighting.
☐ CUSTOM 1/2/3: Save a custom color balance using a color-neutral card or object.
☐ COLOR TEMPERATURE: Set a manual Kelvin color temperature to intentionally warm
or cool a photo, or assign a “correct” color temperature if known.
☐ DAYLIGHT: Color balanced for “average” sunlight conditions.
☐ SHADE: Color balanced for “average” cloudy conditions.
☐ FLUORESCENT 1: Color balanced for “daylight” fluorescent lighting.
☐ FLUORESCENT 2: Color balanced for “warm” fluorescent lighting.
☐ FLUORESCENT 3: Color balanced for “cool” fluorescent lighting.
☐ INCANDESCENT: Color balanced for “average” tungsten light bulbs.
☐ UNDERWATER: Color balanced for red filtering just below the water’s surface.

27 ©John Peltier
 Image Quality Settings Guide

WHITE BALANCE SHIFT

From the White Balance selection menu, press OK or the joystick right to enter the
SHIFT submenu. This lets you further tint your selected White Balance setting by
moving the cursor around the grid.

In most cameras, the programmed shift applies only to the selected white balance
setting and in the selected Custom Setting (if using Custom Settings). However, in
some older cameras, it applies to all White Balance settings and across all Custom
Settings.

28 ©John Peltier
 Image Quality Settings Guide

COLOR
This setting increases or decreases the saturation of the film simulation selected.

☐ Positive numbers increase the saturation.

☐ Negative numbers decrease the saturation.

29 ©John Peltier
 Image Quality Settings Guide

COLOR CHROME EFFECT

This setting increases the richness of colors. It makes colors stand out more by
effectively decreasing the luminance.

If your colors are close to being oversaturated, this setting can help prevent an
oversaturation.

This setting influences reds, greens, and yellows the most. It will also influence blues
if you do not have a COLOR CHROME FX BLUE setting in your camera. For cameras
that do have that setting, blue is controlled separately.

Options are OFF, WEAK, and STRONG.

30 ©John Peltier
 Image Quality Settings Guide

COLOR CHROME FX BLUE

This setting increases the richness of blues. It makes blue stand out more by
effectively decreasing the luminance.

Options are OFF, WEAK, and STRONG.

TIP: One great use for this setting is as an improvised polarization filter, to make your
blue skies a darker blue, which can help clouds stand out more.

31 ©John Peltier
 Image Quality Settings Guide

DETAIL SETTINGS
Unlike the previous settings, these aren’t influenced by your selected film simulation
as much (if at all). They will control how much or how little details stand out in your
photos.
Not all of these settings are found in all cameras.

GRAIN EFFECT/FILM GRAIN

This setting will add a synthetic film-looking grain to your photos. This grain is
not applied uniformly; like real film grain, it will vary depending on the tones, ISO
(sensitivity), and film simulation (ACROS has a different grain applied than others).
Your camera will at least likely have a strength setting:
☐ OFF: No grain applied.
☐ WEAK: Add a small amount of film grain.
☐ STRONG: Add more film grain than weak.
Newer Fujifilm cameras also have a grain SIZE setting.
☐ SMALL: Grain is “small” in size.
☐ LARGE: Grain is “large” in size.

TIP: The grain settings can’t be previewed in the Live View. You’ll have to create a
photo and inspect it in playback to get a better idea of what the grain settings are doing
for your specific situation.

32 ©John Peltier
 Image Quality Settings Guide

SHARPNESS
This setting controls the strength of the in-camera sharpening algorithm, which
makes fine details (like eyelashes etc) stand out more.
☐ 0: Standard amount of sharpening (not no sharpening; 0 is the “standard” amount as
programmed by the engineers).
☐ Positive numbers: Apply more sharpening than the standard amount.
☐ Negative numbers: Apply less sharpening than the standard amount.

TIP: High numbers still do a relatively good job of controlling halos and pixelation;
experiment with the highest settings to ensure they are not “too much” for your taste.

33 ©John Peltier
 Image Quality Settings Guide

NOISE REDUCTION/HIGH ISO NR

This setting controls the strength of the in-camera noise reduction algorithm. The
amount of noise reduction applied will depend on both this setting and the ISO used.
☐ 0: Standard amount of noise reduction (not no noise reduction; 0 is the “standard”
amount as programmed by the engineers).
☐ Positive numbers: Apply more noise reduction than the standard amount.
☐ Negative numbers: Apply less noise reduction than the standard amount.

TIP: Beware of high numbers since they can smooth out details too much, resulting in
a “plastic” look. Experiment with the highest settings to ensure they are not “too much”
for your taste.

34 ©John Peltier
 Image Quality Settings Guide
LONG EXPOSURE NR
If this setting is enabled, a “dark frame” will be created during exposures longer
than 8 seconds. The “noise” detected in this dark frame will be subtracted from the
original frame, effectively reducing the amount of noise in the photo. The “dark frame”
will not be saved as a separate image.

Note that this will double the time required for each exposure - a ten-second
exposure will require 20 seconds and your camera will be inaccessible during that time.

CLARITY
The CLARITY setting, found in all but older Fujifilm cameras, adds more definition to
details by increasing edge micro-contrast. It’s similar to SHARPNESS but applies to
the “larger” details rather than the smallest details that SHARPNESS affects.
If you’ve used the Texture setting in Adobe Camera RAW, this setting is very similar
(it’s not the same as Adobe’s Clarity setting).
☐ 0 applies no clarity.
☐ Positive numbers increase edge definition, adding presence.
☐ Negative numbers decrease edge definition, making the image softer.

TIP: The CLARITY setting requires a significant amount of processing power. It

will slow down image processing and can’t be used in the burst modes (CL or CH).
CLARITY won’t be applied if in CL or CH even if enabled.

35 ©John Peltier
 Image Quality Settings Guide

SMOOTH SKIN EFFECT

This setting will look for “skin colors” and smooth out details in those areas. It can
effectively make wrinkles and blemishes stand out less.
☐ OFF: No skin softening applied.
☐ WEAK: Applies a slight amount of softening in skin tones.
☐ STRONG: Applies a stronger amount of softening in skin tones.

TIP: Experiment with STRONG before using it with a specific person, since it can result
in “plastic”-looking skin, especially if HIGH ISO NR is set to a high number.

36 ©John Peltier
 Image Quality Settings Guide

Using the RAW Conversion Menu

You should now have a much better understanding of how to stylize your photos
in-camera with all of the different Image Quality Settings. Create images that say
something right when you press the shutter button.

But what if you made a mistake? Or you want to see what an image that you already
captured would look like with stronger shadow contrast? You don’t need to wait to
download the photos to a computer first - you can post-process your photos in-
camera using the RAW Converter.

Using the RAW Converter

You can access the RAW Converter from Playback mode. There are two ways to get
there. While viewing the image you want to adjust:
• Press MENU then select RAW CONVERSION from the Playback Menu
• Press the Q button (this is the faster way to get there)

The RAW Converter is only available if you’re recording the RAW file format. This
means that, in the IMAGE QUALITY SETTING menu, you need to have IMAGE
QUALITY set to an option that contains RAW. You’ll get an error message if you try to
access RAW CONVERSION while viewing a JPEG or HEIF.

Most of the Image Quality settings are available in the RAW Converter. You can:
• Change the Film Simulation, Color, Tone Curve, Grain, White Balance, etc.
• Adjust the exposure (PUSH/PULL PROCESSING)
• Change the File Type, Image Size, Image Quality, and Color Space

There are some additional things to be aware of when using the RAW Converter:
• REFLECT SHOOTING COND. sets the photo back to the original capture settings.
• DYNAMIC RANGE and D RANGE PRIORITY are only available if the image was
created using those settings. You can only go to “lower” settings from the original,
not higher (you can change a DR 400 photo to DR 200, but not the other way
around).
• HDR and DIGITAL TELE-CONV. are only available if they were enabled for that
photo at capture, and allow you to go to “lower” settings than the original. For
example, an HDR 400 photo can be reprocessed to HDR 200, but not the other way
around.

When you’re done changing the settings for that photo, press Q to preview the new
image.
• Press OK to save that image as a new JPEG or HEIF at the end of the camera roll.
• Press BACK to return to the RAW CONVERSION menu and continue making
changes.

37 ©John Peltier
 Image Quality Settings Guide

Here’s an example of viewing an image in Playback (first frame) and then getting into
the RAW Conversion menu to re-process the RAW file:

38 ©John Peltier
 Image Quality Settings Guide

Creating “Film Recipes”

You may have heard the term “film recipes” in the Fujifilm world; these are saved
Custom Settings that combine a Film Simulation with your own Image Quality
Setting tweaks.

For example, you love the colors of VELVIA for your landscape photos but find it’s just
a touch too saturated. You want your skies to be a deeper blue, you want to retain
more detail in the highlights and have less shadow contrast.

You can create your own VELVIA recipe with a COLOR decrease, set your COLOR
CHROME FX BLUE to WEAK, use DR 200, and set SHADOW TONE to -1 to get that
look.

Save it and recall it whenever you’re in that situation!

39 ©John Peltier
 Image Quality Settings Guide
Steps for creating your own unique film recipes
1. Brainstorm styles
What do you want your “film recipes” to be for? Do you want to use them for
specific genres? Or for specific moods, subjects, or locations?

Write down what you want to save, which will probably match what you want to name
them, like “Landscape”, “Street”, “Nature”, “Portrait”, etc.

2. Identify the characteristics of each style

For each recipe, write down the overall “feeling” and specifics for tone and color.
Should it have soft highlights but strong shadows? Desaturated color but strong
contrast? No color at all and soft shadows?
Look at other photographers if you need inspiration. Try to identify what they’ve done
with tone and color.

40 ©John Peltier
 Image Quality Settings Guide
3. Find the Film Simulation
Pick two film simulations to start with, a primary and a secondary. Remember, this
is going to be your “base,” your raw material that you’re going to be altering.
Which film simulations share the basic characteristics you identified for each recipe?
If it’s a warm look with soft contrast, maybe you want to start with NOSTALGIC NEG.
If it’s a cool look with stronger contrast, perhaps it’s CLASSIC CHROME you want to
start with.

4. Find the style alterations

How do your descriptions of tone and color correspond to Image Quality
settings for each recipe? If you wrote down “desaturated color” then maybe you
want to set COLOR somewhere between -4 to -1. If you wrote down “strong shadows,”
perhaps you want to set a SHADOW TONE between 2 and 4.

41 ©John Peltier
 Image Quality Settings Guide
Go through your camera’s Image Quality Settings and write down a range of
possible settings for each one that correspond to your desired style for each film
recipe.

5. Refine your recipes in X RAW STUDIO

X RAW STUDIO is free software from Fujifilm that allows you to quickly & easily
see what different Image Quality Settings do to a photo. It’s much easier than
experimenting with these settings in the camera, on that little screen. Use this to
refine those ranges you previously wrote down to concrete settings you’ll
program into your
camera.
Some important notes about X RAW STUDIO:
• You must connect your camera to your computer to use it. The software uses your
camera’s processor.
• You must have a collection of RAW photos created with that specific camera, all
saved on your computer. This won’t work with JPEGs and it doesn’t pull images off
of your camera. Go out and capture some RAW files, put them in a folder on your
computer, and then navigate to that folder once working in X RAW STUDIO.
• You must set your camera’s CONNECTION MODE to USB RAW CONV.

42 ©John Peltier
 Image Quality Settings Guide
Experiment with the settings ranges you previously wrote down, seeing which
combination of settings looks best for that photo. Copy those settings to another photo
and see how it looks. Refine if needed, and repeat the process until you have a good
solution that works with most photos.

6. Program your camera

Some newer cameras allow you to save these recipes directly from X RAW
STUDIO to your camera’s CUSTOM SETTINGS. After doing so, go to your camera’s
EDIT/SAVE CUSTOM SETTING menu to check each one and further program the
SHOOTING SETTING and AF/MF SETTING options, if your camera allows those other
settings to be programmed.

For older cameras, you’ll need to manually program each CUSTOM SETTING.

Go out and use these custom settings, refining them as necessary once you get
some use in the field, getting them closer to perfection!

Check out the Creating Unique Fujifilm Film Recipes course, which includes a
worksheet, detailed video walkthroughs of all these steps, and examples of how to
create your own film recipes. Free previews are available; you can use the coupon
code “IQBOOK” for 15% off the course.

Click here for free previews of the Creating Unique

Fujifilm Film Recipes course.
Save 15% - “IQBOOK”

43 ©John Peltier
 Image Quality Settings Guide

Getting Perfect In-Camera JPEGs

Why is it important to understand these Image Quality settings?
If you’re familiar with styling your images in-camera, you might not need to
post-process a photo at all!

However, in-camera styling is just one aspect of getting perfect in-camera JPEGs.
You’ll also need to get the exposure, composition, and moment just right.

This requires a more involved process than “point and click.” It takes a little more time
on the front end, but it will save you even more time on the back end.

It is not suited for all situations.

Steps for a perfect in-camera JPEG

1. Previsualize
How do you want the image to feel? What’s the subject and the story? What’s the light
like?

Answering those questions can help you “visualize” what you want your photo style to
look like.

From there, you can choose and set the Image Quality settings to match that
style, starting with the Film Simulation and then adjusting the Tonal, Color, and Detail
settings.

If you have your own “film recipes” as discussed previously, you can start with those
and make small adjustments as needed.

2. Set the White Balance

What’s your light source? Do you want the image to have accurate colors, or do you
want to intentionally warm or cool a photo, or give it some green or magenta tint?

Set the White Balance as appropriate, using White Balance Shift if needed.

You may need to make some Tonal and/or Color adjustments after setting the White
Balance.

44 ©John Peltier
 Image Quality Settings Guide
3. Set the Exposure
Do you want the image to have a high or low-key feeling? Should you expose for the
shadows or the highlights?

Make those decisions, and then use your camera’s histogram to adjust your
exposure until you have the histogram that matches your vision.

4. Compose, Wait, Click

Frame your image as deliberately as possible so you won’t need to crop or
straighten it in post-processing. Do that in the camera.

Check your focus.

Sweep the edges of the frame. Anything there that shouldn’t be? Any distractions
creeping in?

And then, when the moment is right, press the shutter button.
Hopefully, you’ll have an image worth sharing straight out of the camera, one that you
don’t have to process in a post-processing program.

This entire process takes practice, it’ll take time to get to a point where you’re
consistently creating those perfect photos. So get out there and do it as much as
possible! Save the RAW files also if you’re worried about messing up - you can always
go back to that “digital negative” and redo it if necessary.

Check out the Perfect Fujifilm In-Camera JPEGs course, which includes video
walkthroughs of all these steps, examples, and a downloadable checklist, for getting
the perfect JPEG. Free previews are available; you can use the coupon code
“IQBOOK” for 15% off the course.

45 ©John Peltier
 Image Quality Settings Guide

46 ©John Peltier