Fujifilm Film Simulation Picker.

The neutral baseline. Slightly punched, never aggressive.

Named for Fujifilm's RDP-III professional slide film, Provia is the in-camera 'Standard' simulation: balanced saturation, gentle contrast, and accurate-but-warm skin tones. It is the closest thing Fuji ships to a neutral starting point, which is why most JPEG recipes use it when the photographer wants to push a custom white-balance shift or a non-default tone curve without fighting the simulation. Provia tends to render greens slightly cooler than Astia and shadows a touch deeper than Reala Ace.

Best for

Everyday, Documentary, Editorial

Fails at

High-contrast midday landscapes (use Velvia)

First seen on

All Fujifilm digital cameras

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Winter Slide (Roesch, X-Trans II)

Hyper-saturated landscape slide. Greens, blues, reds at maximum.

Velvia carries Fujifilm's hyper-saturated landscape slide film into the digital domain. It boosts greens and reds aggressively and pulls shadows deep, the look that made the original Velvia 50 the favourite of National Geographic landscape shooters in the 1990s. It is unforgiving on skin tones (reds clip easily) and on overcast scenes (already-flat light becomes pastel) but for autumn forests, blue-hour seascapes and red rock canyons it is unmatched in-camera. Reduce Highlight on bright days.

Best for

Landscape, Nature, Travel

Fails at

Portraits, harsh midday sun on skin

First seen on

All Fujifilm digital cameras

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Velvia Landscape (Roesch)

Soft slide film. Lifted shadows, gentle saturation, flattering skin.

Astia trades Velvia's saturation for skin-tone fidelity. Shadows are lifted, contrast is softer than Provia, and reds are pulled back so that lips and cheeks do not blow out under tungsten. Wedding and editorial photographers shooting JPEG often default to Astia for outdoor portraits in natural light. It tends to look slightly more saturated than the Astia 100F it is named for; pull Color down one stop if you want closer fidelity.

Best for

Portrait, Wedding, Editorial

Fails at

Landscape (too soft) and high-contrast scenes

First seen on

All Fujifilm digital cameras

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Astia Wedding (community)

Documentary muted look. The Magnum starter pack.

Classic Chrome was Fujifilm's first 'mood' simulation, added on the X30 in 2014 and quickly adopted by reportage and travel photographers. It pulls saturation noticeably below Provia, biases the green channel cooler, and lifts shadows slightly so blacks render as deep charcoal rather than crushed. It is the foundation of dozens of community recipes, Reggie's Portra, Kodachrome 64, Pacific Blues and Kodak Portra 400 v2 all start here, because its desaturated baseline gives you the most room to push individual colours with the JPEG controls.

Best for

Street, Travel, Documentary

Fails at

Bright pure landscape (looks muted)

First seen on

X30 (2014)

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Reggie's Portra (Ballesteros, 2022)

Studio-portrait neutral. Lowest contrast in the lineup.

PRO Neg. Std (Standard) is the studio professional's simulation: low contrast, low saturation, and skin tones rendered with maximum fidelity for downstream colour-grading. Where Astia gives you a finished-look JPEG, PRO Neg. Std gives you something closer to a graded log file you can still tweak. Most users find it too flat for unedited output, but it is the most accurate base if you want skin tones to match the real subject.

Best for

Studio portrait, Editorial

Fails at

Out-of-camera 'finished' look

First seen on

X-Pro1 (2012)

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Neutral Studio (community)

PRO Neg. Std with more bite. Editorial-ready contrast.

PRO Neg. Hi takes the same colour palette as PRO Neg. Std and adds contrast, producing skin tones that are still neutral but ready to ship without further grading. It sits between Astia and Classic Chrome in saturation. A frequent recommendation for outdoor portraits when Astia's warm cast is unwelcome but PRO Neg. Std looks too flat.

Best for

Outdoor portrait, Editorial

Fails at

Vibrant landscapes

First seen on

X-Pro1 (2012)

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Reggie's Soft Portrait

Superia in a sim. Magenta-shadow, cinematic warmth.

Classic Negative debuted on the X-Pro3 in late 2019 and changed how Fujifilm's JPEGs look. It mimics Fujicolor Superia consumer film: warm midtones, magenta-leaning shadows, slightly clipped highlights, and a tone curve that lifts deep blacks just enough to give the image a chemical 'glow'. Reggie's Superia, Nostalgia Color and Pacific Blues are all built on it. Classic Negative renders deeper blue on X-Trans V than on X-Trans IV, drop Color Chrome FX Blue by one when porting recipes.

Best for

Street, Travel, Cinematic

Fails at

Studio portraits needing neutral skin

First seen on

X-Pro3 (2019)

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Reggie's Superia

Amber-shadow 70s look. Warmer than Classic Negative.

Nostalgic Neg. first appeared on the GFX100S in 2021 and is now available on every X-Processor 5 body. Where Classic Negative pushes magenta into the shadows, Nostalgic Neg. pushes amber, the look of a 1970s family photograph aged in a shoebox. It works particularly well on golden-hour portraits and indoor tungsten scenes; it overpowers cool blue light.

Best for

Golden hour, Family, Indoor warm light

Fails at

Cool overcast scenes, blue-hour

First seen on

GFX100S (2021)

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1970's Summer (community)

Flat motion-picture-style colour. Built for grading.

Eterna comes from Fujifilm's motion-picture film stock of the same name. It applies a flat tone curve and muted saturation designed to give cinematographers headroom for downstream grading. As a stills simulation it produces a finished look only when paired with significant contrast and saturation pushes in the JPEG settings, but it shines in mixed-light street scenes where Classic Chrome would crush blacks.

Best for

Cinematic stills, Mixed light

Fails at

Punchy social-media output

First seen on

X-H1 (2018)

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Expired Eterna

Skip-bleach silver-retention look. High contrast, desaturated.

Eterna Bleach Bypass was added on the X-T4 in 2020. It simulates the cine 'skip-bleach' process, silver is retained in the negative, contrast is dramatically increased, and saturation collapses. The result is a hard-edged, near-monochrome look made famous by films like Saving Private Ryan. Excellent for industrial documentary and brutalist architecture.

Best for

Industrial documentary, Architecture

Fails at

Anywhere you want colour fidelity

First seen on

X-T4 (2020)

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Bleach Bypass Urban

Modern everyday colour. The new default-safe pick.

Reala Ace debuted on the GFX100 II in 2023 and arrived on X-series with the X100VI and X-T50 in 2024. It is named for Fujifilm's Reala 100 colour-negative film and renders a more saturated, slightly more contrasty image than PRO Neg. Std while keeping skin tones natural. Many photographers now treat Reala Ace as the everyday default that Provia used to occupy.

Best for

Everyday, Portrait, Travel

Fails at

Older bodies without it (X-Trans IV and earlier)

First seen on

GFX100 II (2023)

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Kodak Pro 400 (Roesch, 2025)

Reference B&W. Fine grain, deep blacks, rich midtones.

Acros is named for Fujifilm's reference fine-grain ISO 100 black-and-white film. The simulation, introduced on the X-Pro2 in 2016, is widely considered the most refined in-camera B&W rendering of any digital camera, with a grain-aware noise structure that scales with ISO. The +R, +Ye and +G variants apply red, yellow and green filter equivalents respectively. Acros+R darkens blue skies; Acros+Ye is the classic 'everyday' B&W pick; Acros+G boosts skin tone contrast.

Best for

Documentary, Street, Portrait

Fails at

Photographers who want a flat 'grade later' B&W

Red filter Acros. Dramatic skies, deep skin contrast.

Acros + R applies an in-camera red-filter equivalent. Blue skies render almost black, foliage stays mid-grey, and Caucasian skin lifts toward white, the classic Ansel Adams landscape look. Avoid for portraits unless the deliberately blown-out skin tone is the point.

Best for

Landscape B&W, Architecture

Fails at

Portraits with red-blotched skin

Yellow filter Acros. The all-rounder B&W default.

Acros + Ye applies the yellow-filter equivalent, moderately darkening blue skies, lifting greens slightly, and preserving skin-tone separation. It is the standard recommendation for everyday B&W documentary work because it works in most lighting without portrait casualties.

Best for

Documentary, Street, Travel

Fails at

Almost nothing, the safe B&W default

Green filter Acros. Skin-tone contrast boost.

Acros + G applies the green-filter equivalent, lifting Caucasian skin tone contrast and slightly darkening red lips and cheeks. The classic 'B&W portrait' filter. Less dramatic on landscapes than +R or +Ye.

Best for

B&W portrait

Fails at

Landscapes (use +R)

Pre-Acros B&W. Flatter, less refined.

Monochrome is the original Fujifilm B&W simulation, available on every digital body since the X100. Compared to Acros it is flatter, with less midtone separation and a softer grain. On X-Trans I and II bodies it is the only B&W option. On newer bodies Acros is almost always preferable.

Best for

X-Trans I / II B&W

Fails at

Newer cameras (Acros wins)

Red-filter Monochrome. Older bodies.

Same in-camera red filter applied to the Monochrome base. Use Acros + R on any X-Trans III or later body instead.

Best for

X-Trans I / II B&W landscape

Fails at

Modern bodies

Yellow-filter Monochrome. Older bodies.

Yellow filter applied to Monochrome. Use Acros + Ye on X-Trans III and later.

Best for

Legacy B&W

Fails at

Modern bodies

Green-filter Monochrome. Older bodies.

Green filter applied to Monochrome. Use Acros + G on newer bodies for refined skin tones.

Best for

Legacy B&W portrait

Fails at

Modern bodies

Vintage warm-toned monochrome. Niche.

Sepia applies a fixed brown-toned wash to the Monochrome base. It cannot be combined with the +R, +Ye or +G filters and exposes no further customisation. Best used sparingly for archival-style portraits.

Best for

Vintage portrait

Fails at

Most modern uses