I'd been straying so far into the wilderness in Lightroom, endlessly playing with presets and sliders and RGB curves that I'd no longer been able to really SEE the images I was processing.
I'd been stressing again and again about trying to find a consistent look. But so many film simulations, where to begin when out shooting? I mean, it's all very well finding your look in Lightroom, but in the field you don't always have the luxury of time to ponder, and whatever look you choose to shoot you're stuck with.Īnd then it struck me, the root of the creative crisis I'd been having recently. Aside from critical back-ups for weddings and important projects, it'd be purely JPEG for me from now on, with just a little tone curve tweak and a bit of dodging and burning and selective sharpening now and again in Lightroom. and thus you get a more natural and, well, more filmic look. The film simulations respond to how you work the highlights and shadows and what noise sensitivity you're shooting at. Not only is the colour depth richer now, with a smoother gradient, but they've developed a very nice grain engine to go with it.
#CLASSIC NEGATIVE PRESET CRACKED#
However it now appears to me that they've largely cracked it. The Velvia simulation for one in the older generation of Fuji X cameras looked horribly garish to my eyes, whilst the company never seem to have been able to quite fully recreate the magical beauty of the Astia and Provia simulations found in their first proof-of-concept camera, the original X100. You see up to now It's been something of a struggle for those hard-working Fujifilm colour technicians. I found myself spending increasing amounts of time in Lightroom trying to get the RAWs to look like the JPEGs.īefore the third-generation X-Trans III sensor found in the X-Pro2 I toyed with such an idea time and again but always abandoned it. But the way the Fujifilm cameras handle JPEGs, they create something extra-special straight out of camera and. It's the difference between developing your own film negatives in the darkroom and trusting everything to the lab-coats at Boots Chemist for that final print. You can endlessly tinker with the 'digital negative' to get the look you want, unlike a straight-out-of-camera JPEG. Normally, photographers like to have the flexibility of the RAW file. The same colour scientists who worked on the old Fuji films now labour to bring us the look of Velvia, Provia, Pro-Neg and others in digital form.
#CLASSIC NEGATIVE PRESET SERIES#
For those not in the know, one of the big reasons why people are drawn towards the Fujifilm X series is all down to the wonderful variety of film simulations embodied in the camera.
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