They've drawn on this background and extremely detailed characterizations of different film types to create camera modes that simulate the analog look of various types of both color and black and white films. This is where Fuji's Film Simulations come in. Dating back to the company's founding as a motion picture film maker in 1934, Fuji has more than 85 years of color science experience, and a deep understanding of all the complexities of how film works. (Never mind being able to share your pictures online with friends and family, with just a few clicks of a mouse.) Beyond all of that, some classic film emulsions aren't even being manufactured anymore, and commercial film processing is getting harder and harder to come by. Even more so, almost no one wants to give up modern conveniences like the ability to review your photos after capturing them, or the ability to fit thousands of them on a memory card the size of a postage stamp, costing less than a single roll of film and processing in the old days. Tapping these deep and largely unconscious cultural memories can help set the mood and tell our own stories.Īs appealing as the "film look" might be though, few photographers care to spend the time, money and effort that's part and parcel of film photography. I think a lot of the renewed interest in film is because the distinctive colors, tonality and grain structures of film have been ingrained in our psyches by the photojournalism, creative and personal photography we grew up with, or have come to associate with historic images.
The look of different film emulsions can bring different shades of feeling to your photos. Just as happened with vinyl LPs in the audio world, film is experiencing something of a comeback in photography these days. The look of film is etched on our psyches Writing this article, I was struck again and again by how much some of the film simulations matched my memories of shoeboxes full of photo prints and box after box of color slides from my childhood. (This describes just some of the things going on in the ASTIA film simulation)Īs we'll see, these complex color mappings are what gave the signature looks of many classic films. Leave the hue of bright reds the same, just bump their saturation Significantly hue-shift oranges and sky-blues Saturate all shades of green more than skin tones. Saturate dark greens more than lighter ones One film might produce a fairly neutral, technically-accurate color rendering, while another might simultaneously: The details that went into a film's look are incredibly complex. Shooting in a studio and want to control the contrast with your lighting? Fuji's color-negative NS160 (NPS160 in the US) is the ticket.ĭifferences between film emulsions went way beyond just high vs low contrast or color saturation, though. Looking for super-saturated colors, with deep greens, rich blues and vibrant reds? Load a roll of Velvia. The old days: Change the film to change your lookīack in the film days, it was the film that made the image, not the camera, and different films had very different "looks" from each other.
Few people realize what this actually means, though most assume that they could do the same thing with a few tweaks of the sliders in Photoshop.įuji's Film Simulations involve far more than that, though, and use a lot of deep color science to achieve their effects. Rather than gimmicky, dumbed-down Instagram-y filters, Film Simulations are an integral part of my creative process whenever I shoot with a Fuji camera.įuji's "Film Simulation" modes do just what their name implies: They simulate the look of classic color and black-and-white films. When it comes down to it, Scene Modes and various Creative Filters have always felt like gimmicks to me.įuji's Film Simulations are different, though they're one of the few in-camera image tweaks I've actually found valuable as part of my creative process.
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