Film Simulation “CLASSIC CHROME”

Fujifilm’s Classic Chrome is not designed to reproduce an existing film but instead aims to create the ambience found in documentary-style photographs and magazines.

MANUFACTURING PHOTOGRAPHIC FILM FOR MANY years means Fujifilm has a wealth of image production know-how and our digital camera imaging technology harnesses that knowledge. Fujifilm has developed five separate colour Film Simulation modes for X Series camera that photographers can select, just as they would with the film. PROVIA, Velvia and ASTIA are designed to deliver the deep colour tones of reversal film, while PRO Neg. Std and PRO Neg. Hi emphasize skin tones. As a result, Fujifilm’s Film Simulation modes have established a solid reputation, but professional photographers using the cameras have also requested different Film Simulation modes to expand their creative options.


Aiming for advances in color reproduction
The most frequent request Fujifilm received, particularly from photojournalists, was for a mode with more muted tones, so we analyzed hundreds of documentary-style images to find out exactly what kind of effect photojournalists were looking for. Fujifilm reached the conclusion that good documentary-style images allow the photographer to put something of themselves into their work, so they created a simulation mode that allows the photographer to tell the viewer a story. They also took into account the recent trend for photographs to be viewed more frequently on digital devices rather than as physical prints and worked to create a mode that looks like a print when viewed on an LCD screen in JPEG format.

Creating a Simulation mode without a reference film
Unlike previous Film Simulation modes, Fujifilm’s Classic Chrome is not designed to reproduce an existing film but instead aims to reproduce the ambience found in documentary-style photographs and magazines. The name ‘Classic Chrome’ reflects a mode reminiscent of the images each individual carries in their mind and the physical prints of such images.

The characteristics of Classic Chrome
Classic Chrome is characterised by its colours and tones. Images shot with Classic Chrome generally have low colour saturation and full-bodied tones. When Fujifilm analysed relevant images, they were particularly struck by how tones in skies were reproduced, so this became one of our key areas of focus. When the sky includes a hint of magenta, the resulting colour is rich, but with Classic Chrome Fujifilm moved in a different direction and created new colours by removing the magenta component. Classic Chrome also controls the saturation and hue of reds and greens to produce a unique chromatic balance.

Fujifilm’s Film Simulation modes are evolving with their users
In developing Classic Chrome, they have listened to the opinions of professional photographers to create a new style of colour reproduction. They believe this will provide X Series users with a new method of creativity, and Fujifilm hope photographers can put it to a variety of uses. By combining Classic Chrome with the camera’s image quality control features (including shadow tones and highlight tones) to match the scene and emotion, users can achieve a broader creative range. Fujifilm has listened to feedback from professionals and users of our cameras to further enhance our existing Film Simulation modes, and Fujifilm will hopefully continue to do so.


ACROS Film Simulation

IT HAS BEEN OVER 15 YEARS since the introduction of the ACROS film simulation. Its history began with the model FinePix F700 back in 2003. The monochrome was called ‘B&W’ back then, and the image quality it produced was highly regarded.

Old Lives – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

At the same time Fujifilm were asked what film is the ‘B&W’ simulating? The answer to the question was, ‘B&W’ is based on PROVIA, and it is not based on Monochrome film. This fact also reflected the sentiment of the Image Design team at Fujifilm, that “It is too early to name a simulation mode after any monochrome films, which are all legendary.” So now we have a film simulation mode named after the monochrome film. To have ACROS mode, it had to meet a certain standard.

What does it take to be ACROS? What kind of monochrome expression does it need to have? First, it needed to be capable of expressing details like the ACROS film, which was often praised as ‘world’s finest grain’ Secondly, it needed to achieve print-like texture, like how a photo would appear when taken by a monochrome film and printed on a photographic paper. In order to become the digital ACROS, the mode needed to achieve both subject’s detail and texture.

This tonality curve, specifically designed for ACROS, has a distinguishable characteristic compared to the existing ‘B&W’. First, from the middle to the highest, the tonality curve is rather hard. By doing so, the detail stands out, and therefore the image appears clean and sharp. It doesn’t not mean, however, that it gets overexposed easily. The highest input and output remains at the same level. The dynamic range stays the same. We should now look at the shadow part.

Here is a link to my monochrome film simulator recipe for the Fujifilm XF10.

The tonality curve becomes rather soft, unlike the hard tonality curve from the middle to the highest. It means that we do not lose the detail as much as possible on the shadow range. The essence of monochrome expression exists in the shadow area. If it is too soft, then the image becomes too loose, and if it becomes too hard, then the picture loses its depth. The optimal balance in the shadow area determines the quality of the monochrome.

Residents Only – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

It is not only about the tonality curve.
To achieve the ACROS like texture, the film-like “graininess” is another important element. To be specific, ACROS mode has a completely different noise reduction algorithm from other modes. The “graininess” of the silver-halide films are what we see as ‘noise’ in the digital data. For colour images, they are the unwanted noise, but in the monochrome images, it becomes an important texture. Turning the noise into a grain-like texture is what makes ACROS unique and different.

Other manufacturers are also implementing the idea of creating ‘graininess’ to enhance the texture. Fujifilm is not the only brand doing this. You can find ‘Grain’ filter in the readily available photo processing software, and many monochrome photographers add ‘grain’ to achieve the monochrome film-like effect. Most of them try to achieve this by adding a grain-like element to the original image. They simply add another layer of ‘dotted graininess’ on top without changing the original photo composition. So something becomes unnatural in the process.

Church Shadows – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

ACROS is different.
Fujifilm developed it from the core of the image file to achieve a very complex and natural like grain expression. Optimal and different grain expressions are added to highlight and low light areas. You would not find unnatural dotted graininess in the highlight areas just like how the monochrome film behaves. In the low light area, you would see the graininess just like how it would appear with the monochrome film. There is undulating grain within the picture. And it adds depth like no other.

ACROS also changes the output of graininess depending on the sensitivity setting. As the sensitivity gets higher, stronger grain effect becomes visible, just like the film. Fujifilm had seen the advancement of high S/N ratio of digital cameras, but people generally wanted to take photos with the lowest sensitivity possible. But with ACROS, it may be a different story.

The unique grain effect, which becomes apparent at the higher ISO sensitivity. You can intentionally set the sensitivity high to enjoy the effect. Fujifilm had so much positive feedback on ACROS since the announcement, even before getting into explaining the technical aspect. “Add ACROS to X-T1 and X100T”, “Make it happen on the next firmware update!” Fujifilm had lots of requests. But unfortunately, this is very unlikely to happen. The image design of ACROS is only achievable with the resolution of X-Trans CMOS III and the processing power of X-Processor Pro.

Church – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

The fine detail that ACROS achieves is only possible with the resolution power of 24MP. And the complex grain effect is only possible with the powerful X-Processor Pro engine. It may be possible that the same concept can be achieved without the two new devices, but they can not say that to be ACROS? The answer is “No.” Fujifilm would not release a quality that does not meet a high standard.
Fujifilm also think that it is very unlikely that any RAW conversion software would achieve what ACROS achieves. Fujifilm all know that there is excellent RAW conversion software in the market, but we also believe that the magic of X-Processor Pro is not so easily solved.

Below is the ACROS recipe I used for the photos on this page.

Film Sim : ACROS
ISO: Auto
Dynamic Range: 200%
Sharpening: -1
Highlight: +1
Shadow: +2
Noise Reduction: -4
Exposure Compensation: 0

The Crown – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

Using filters in black & white

THE FUJIFILM XF10 HAS A MONOCHROME black & white film simulation mode. My Fujifilm X-Pro3 and X-E4 have both Monochrome and ACROS film simulators. These modes have a Red, Green and Yellow variation, giving your monochrome photos a different look and feel.

These sub-options are more convenient than having to physically put the optical filter in front of the lens and can be used for similar purposes.

ACROS +R and ACROS +Ye – © Narrating Images

Many photographers use Monochrome+Ye and ACROS+Ye yellow filter modes to darken blue skies a little to help clouds to stand out.

Monochrome+R and ACROS+R red filter modes are used to darken blue skies even more and lend landscape shot a more dramatic look and feel.

Monochrome +Gr and Monochrome +Ye – © Narrating Images

Monochrome+Gr and ACROS+Gr yellow filter modes are used to lighten foliage and look great for portraits.

When shooting portraits in black & white, less is definitely more. Without the distraction of colour, we are free to concentrate on the subject’s face and expression – including any striking features they might have, like freckles, wrinkles, or piercings. Keep the rest of the frame simple and don’t let anything get in the way of this.

Create contrast with side lighting from a single light source and try to place light-toned subjects against a dark background, and darker subjects against a light background.

ACROS and ACROS +Ye – © Narrating Images

In landscape photography, look for scenes that contain bold shapes, like the curve of a wooden fence in the sand dunes, or the lead-in line created by a road snaking its way through the foreground.

Monochrome and Monochrome +Ye – © Narrating Images

Contrast is important, too, and can help you create minimalist compositions that are beautiful because of their simplicity, such as a lone tree in the snow or the white spray of a waterfall in front of black rocks.

ACROS + Gr and ACROS +R – © Narrating Images

This article was written by © Christopher G – Narrating Images

Fujifilm XF10 Monochrome+R Recipe

I HAVE BEEN SHOOTING WITH Fujifilm equipment since the launch of the X-Pro1 in 2012 and migrated to the X-Pro3 in January 2020.

Fujifilm XF10 | Narrating Images

Back in the Summer I got myself an X-E4. I adore this Rangefinder ‘style’ of camera. It allows me to photograph up-close, naturally composed photos….. However, I’ve lost count of the number of times when shooting at an event, I wished I could have pulled a second camera from my pocket. The X-Pro3 is small, and the X-E4 is even smaller, but not small enough to sit unobtrusively in my pocket. So I also purchased a tiny, lightweight Fujifilm XF10. I love its minimalist design, and it looks fantastic in Black.

After a few days of using it, I was very pleased with it. Wow, what a powerful little camera, I wish I’d got it years ago. Don’t get me wrong, it is not an X-Pro3, nor will it ever replace it. However, it is ultra-compact, has a fixed-lens, fixed-focal-length, wide-angle, inexpensive, and has a massive 24-megapixel APS-C sensor. It is also so simple to use, it starts up quickly and has a brilliant Snapshot feature. Snapshot uses zone focusing and has two predetermined settings. Either five meters at f/5.6 or two meters at f/8. This is brilliant. It enables quick, spontaneous photos as the focus and aperture have already been set.

Fujifilm XF10
Fujifilm XF10

My only issue with the camera is that it doesn’t use the X-Trans filter, nor can it hold more than one film simulator at a time. It uses a Bayer sensor, producing images that feel more like they came from my original X-Pro1 – they are almost film like, rather than pin sharp. In addition, it doesn’t have film simulators, like Acros and Classic Negative, which are on the X-Pro3. Yet, it’s still possible to get beautiful JPEGs from the XF10. Also, other options like Grain, Clarity and the Colour Chrome Effect are missing. Don’t get me wrong, it produces simply stunning quality images. Therefore, I use the XF10, which is a little like a modern digital version of my old Olympus or Minolta 35mm cameras. I pull it out of my pocket, when I want a more analogue experience or image, but still have the benefits of digital.

I have created many film simulation recipes for my X-Pro cameras over the years; the X-Pro3 and my X-E4 use an X-Trans IV sensor. But none of them were obviously created for my Fujifilm XF10, with its Bayer sensor. So I have started developing a new set of film simulation recipes specifically for this camera.

As mentioned, the XF10 can only save one film simulator at a time. The whole reason for me owning this is to replicate the experience I get when using my old 35mm Olympus or Minolta film cameras. I typically use black and white Ilford film for these. Therefore, the below recipe is the one I use most of the time, giving me that Black and white look and feel.

I hope you enjoy it, I’ve simply called it, Monochrome+R.

Film Sim : Monochrome+R
ISO: 3200
Dynamic Range: 200%
Sharpening: -1
Highlight: +1
Shadow: +2
Noise Reduction: -2
Exposure Compensation: -1/3

When cloudy and overcast, I increase the Highlight setting to +2

I created this recipe for my XF10, but it should work on all cameras with a Bayer sensor, such as the X-A1, X-A2, X-A3, X-A5, X-A7, X-A10, XF10, X-T100, X-T200. I’m sure there are other cameras I have missed off the list too!

Pizzeria – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” Narrating Images
Pizzeria – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

Never Feel The Cold – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R”
Never Feel The Cold – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

Sculpture – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R”
Sculpture – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

Signpost – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R”
Signpost – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

Cirencester Friendly – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R”
Cirencester Friendly – Cotswolds, UK – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

Dashboard – Fujifilm XF10 – “Monochrome+R”
Dashboard – Fujifilm XF10 – “Monochrome+R” – © Narrating Images

This article was written by © Christopher G – Narrating Images