3 settings to configure first to master Film Simulation.

"I'm changing the Film Simulation, but my photos always look the same"—that's because you're only touching "half" of the initial settings!

I'm sure many of you have tried all the modes since buying your FUJIFILM camera! Classic Neg, Classic Chrome, Nostalgic Neg... are you satisfied just by changing the names?

Actually, there is still plenty of room to experiment from there!

Let's get started. You can read this in about 3 minutes, but I'd be happy if you could try it out while holding your camera!

Film Simulation is not a feature that ends with just "selecting a mode." FUJIFILM has at least 3 adjustment items that you should touch after selecting a mode!

If you keep shooting without knowing this,
you won't be able to escape from "somehow the same photos" no matter which mode you choose.

Please refer to this article for an explanation of FS terms!

1. White Balance

After selecting a mode, if you don't touch this, you'll be stuck with "textbook colors"!

WB Shift is a setting for fine-tuning color temperature to "capture white as white."
I think there are settings like "Auto (White Priority/Ambience Priority)," "Daylight," and "Cloudy."

Even if "white looks white" to the human eye, the camera doesn't see it that way.

You have to change the settings to match the color of the light source (sun or light bulb)! Recent cameras have excellent Auto, so Auto is fine to start with.

Even if you set it to Auto, you can set it in detail, such as towards Amber (warm) or Cyan (cool)! (Example) AUTO White Priority R:+3 B:-2, etc.

By using this feature and shifting it slightly towards Amber, you can add warmth to the entire photo. Conversely, if you shift it towards Blue, it will give a slightly tighter impression.

First, try shifting it by just +1 to +2 towards Amber while using the mode you are currently using. You should be able to immediately realize, "I can't believe it changes this much even in the same mode!"

I shifted the values toward Blue.
You can see that even with the same "WB Daylight" setting, the blue is more emphasized.

However, since it is applied to the "entire photo," you can see that the cherry blossoms in the bottom right are also slightly bluish. This is where you can make fine adjustments or reflect your own preferences, and I think it serves as a gateway to "photos that are uniquely yours."

I set the WB to Shade. You can see that the colors are completely different from Daylight.

WB Daylight = Captures white as white under sunny conditions
WB Shade = Captures white as white when in the shade

That is the general idea. It is also interesting to intentionally choose "Shade" or "Cloudy" on a sunny day to change the colors!

2. Highlight/Shadow Tone

Highlights and shadows are inseparable.
They are always in a correlative relationship.

The roles of these two also change depending on the weather.

On cloudy days, just increasing the highlights makes it easier to achieve a sense of clarity. Since the light is weak, lifting the information on the white side creates a softness similar to film.

Conversely, under the strong light of a sunny day, increasing the shadows can suppress crushed blacks. The stronger the contrast of the day, the better it is to try lifting the shadow side.

This is a must-configure item, especially for those who enjoy shooting JPEGs straight out of the camera using FS!

In the photo above, the highlights are strong and the left side is slightly blown out.
Also, the shadows are slightly lifted, resulting in a photo that lacks definition.

I reduced the highlights that were blown out to suppress the overexposure, and increased the shadows that were lifted to add definition.

The contrast is just right, and I think the impression has changed, hasn't it?

For those who think, "The weather is bad today, so it's not suitable for shooting," the impression can actually change just by adjusting the highlights, so please give it a try!

3. Color Chrome Effect

This is a feature that works on highly saturated subjects,especially those with red or orange tones.

Setting it to "Strong" results in a more subdued rendering of highly saturated color gamuts. It pairs well with subjects where colors might otherwise be too intense and stand out, such as sunsets, autumn leaves, or red signage. Since it can sometimes be too strong for human skin tones, it is better suited for landscapes and snapshots than for portraits.

I use "Weak" as my default setting, and switch to "OFF" or "Strong" depending on the situation. Since "Strong" can make the contrast appear higher, try adjusting it based on your subject.

Can you tell the difference?

It is easy to see when looking at the red traffic cone; with "Strong," the shadows become deeper and the contrast increases.

By turning the Color Chrome Effect ON, the areas with intense colors gain more depth, giving the image a more striking impression.

There is a similar feature called "Color Chrome FX Blue," which only affects "blue." I also use this on "Weak" as a default and switch to "Strong" depending on the situation.

If it is too strong, it can start to look unnatural, so try taking comparison shots in the same scene before deciding.

A small experiment you can do today

Prepare one red or green object you have at home, and try taking two shots while only changing the white balance shift!

Just by doing that, you should be able to experience the reason why things "somehow look the same."

Houseplants are very easy to use for this. Please try it in a room with natural light or at a park.

You can feel the changes just by adjusting these three individually, but to actually produce stable colors, you need to use (1), (2), and (3) in "combination." I have published how to combine them, along with Before/After examples, in my film simulation recipe collection.

To start, just try applying one of these three to the next photo you take!

You will be surprised by the difference from before.