{"id":14379,"date":"2014-04-29T08:01:39","date_gmt":"2014-04-29T17:01:39","guid":{"rendered":"http:\/\/danbaileyphoto.com\/blog\/?p=14379"},"modified":"2016-09-13T10:17:19","modified_gmt":"2016-09-13T19:17:19","slug":"using-fuji-film-simulations-with-raw-in-lightroom-5-4","status":"publish","type":"post","link":"https:\/\/danbaileyphoto.com\/blog\/using-fuji-film-simulations-with-raw-in-lightroom-5-4\/","title":{"rendered":"Using Fuji Film Simulations with RAW in Adobe Lightroom"},"content":{"rendered":"

\"FujiLR2st\"<\/a>People love shooting the Fuji X cameras, largely because the images have a certain “look” to them. This is due to the Film Simulations that the Fuji engineers carefully modeled into the image processing software. These are taken from some of Fuji’s most celebrated film stocks from the past 80 years and they include films like Provia, Veliva, and Astia, as well as a handful of color negative and black and white choices.<\/p>\n

Whenever you’re shooting in JPEG mode, you select one of these film sims. The color palette of that particular film are embedded in your final image. Essentially, it’s like using film again. You choose a desired look based on your style lighting conditions and subject matter and go for it, and since the Fuji JPEGS are so good, it saves time from having to shoot everything in RAW and then process later. Having shot many of these original films, I can attest, they look great.<\/p>\n

Under most conditions, the JPEGS are more than adequate and perfectly fine for general use, and even a variety of professional applications. However, what about when the light is tricky or when you simply want more control? Up until now, if you shot RAW, you’d lose the look of the Fuji film sims, and believe me, it’s next to impossible to perfectly recreate them yourself.<\/p>\n

Fortunately, the Adobe Lightroom 5.4 update includes the Fuji color profiles in the Development panel. This means you can not only preserve your selected film sim, you can actually go back and apply any one of them to your RAW file. This gives you a tremendous amount of control and lets you take full advantage of how good the Fuji X-Trans sensor really is.<\/p>\n

\"FujiLR2Pro\"<\/a>
Here I’ve added the PROVIA color profile. This is the Fuji Standard film simulation that gets added if you shoot an X camera and don’t select a film sim. It has a wonderful, all around, vibrant look. I used to shoot PROVIA all the time.<\/figcaption><\/figure>\n
\"FujiLR2V\"<\/a>
Now I’ve changed it to VELVIA, which was Fuji’s groundbreaking color slide film they introduced in the early 90s. It had rich, saturated colors and high contrast. Awesome for landscapes and when shooting during magic hour. It’s a little too saturated for some subjects, including portraits and faces.<\/figcaption><\/figure>\n

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Here’s how it works. When you open your Fuji RAF file in the Development panel, click on the\u00a0Camera Calibration<\/strong>\u00a0Tab at the bottom\u00a0(see top photo). In the\u00a0Profile\u00a0<\/strong>menu, you’ll see that Lightroom has automatically applied the\u00a0Adobe Standard<\/strong>\u00a0Color Profile.<\/p>\n

If you click on the\u00a0Profile<\/strong>\u00a0menu, you’ll bring up the entire list of Fuji profiles and apply any one of them to your image, or not. Since you’re developing a RAW file, you’re not actually writing the profile to the image, and you can always go back and change it if you wish.<\/p>\n

The color profiles you have at your disposal are, PROVIA, VELVIA, ASTIA, Pro Neg Hi, Pro Neg Std, Monochrome (black and white), and three Monochrome settings with different filters applied, RED, YELLOW and GREEN. The only one that’s not included is SEPIA, but that’s not a big deal, since Lightroom already has Split Toning effects built right in.<\/p>\n

You can do this with RAW files from any of the Fuji X cameras, including the X10 and X20, and all the interchangeable bodies from the X-A1 all the way up to the X-E2, X-Pro 1 and the new X-T1.<\/p>\n

Note, these options is also included in the latest version of Adobe Photoshop. You can find the profile choices in the same place, inside the Camera Calibration Tab in the Camera RAW window. Also, here’s a how to apply them on Import, rather than applying them later<\/a>. This could save you even more time.<\/p>\n

\"FujiLR1\"<\/a>
Clicking on the Profile menu in the Camera Calibration tab brings up the full list of Fuji Film sims.<\/figcaption><\/figure>\n
\"FujiLR1Prov\"
Here’s PROVIA. It has a more vibrant look than the regular Adobe Standard profile.<\/figcaption><\/figure>\n
\"FujiLR1a\"<\/a>
Pro Neg Std. is based on professional color negative film and it has a softer, lower contrast look. It softens things up nicely, which makes it a great choice for shooting portraits in harder light.<\/figcaption><\/figure>\n
\"FujiLR1Mon\"<\/a>
The MONOCHROME profiles all look great, and depending on your subject matter and lighting conditions, you can accentuate a variety of tones and pull out some really great looks.<\/figcaption><\/figure>\n
\"FujiLR1Red\"<\/a>
MONOCHROME+G Filter. Green filters in black and white photography lightens up darker colors like blues and greens. This makes it great for separating green foliage from other colors in the scene. Great for shooting flowers and nature.<\/figcaption><\/figure>\n
\"FujiLR1Gr\"<\/a>
MONOCHROME+R. Red filters have the strongest effect and they boost contrast in black and white photos. I like this setting for shooting landscapes and mountains because it darkens blue skies and turn them almost black. Red filters accentuate definition and give your photos a more dramatic look.<\/figcaption><\/figure>\n
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