Fujifilm’s customizable in-camera film simulations for output as JPEGs are justly celebrated by JPEG-reliant photographers, and I find them useful as graphic reminders of how I visualized a photograph just before shooting it for later processing of the raw files.
I am, as they say, a “raw plus JPEG” shooter and I often discard the JPEGs during post-production after I have processed the raw files to satisfaction.
I have met several magazine and commercial photographers who shoot JPEG-only with their Fujifilm cameras, relying heavily on the cameras’ built-in and customized film simulation profiles and treating their JPEG files as reproduction-ready artwork to be shared with their clients without delay when needed.
JPEG ~ negative, raw ~ transparency
Shooting raw-plus-JPEG or JPEG-only can be compared, somewhat, to shooting negative film and colour transparency film during the analog era when I chose transparency films for magazine assignments and negative films for newspaper work.
The magazine art directors I worked with back then did little to no post-processing on transparency scans themselves while newspaper picture departments were in the throes of installing computers and film scanners to shorten developing-to-print times on daily editions.
Before that, their photographers were expected to develop and print their own black-and-white film while handing their unprocessed colour negative film over to in-house technicians.
My magazine clients would respect their photographers’ intentions when shooting transparency film by applying minimal cropping or colour correction, while newspapers’ nighttime subeditors would often crop the life and the meaning out of images and even apply crude image manipulation such as heavy vignetting.
Shooting JPEG-only and treating it as one would colour transparency film allows photographers to take back a little control over their images and how they should be seen on the printed page and the electronic screen.
At least, that is my theory, and if magazine work ever becomes available to me again I may well have a go at supplying JPEG-only to clients while reserving the raw files.
Too few custom slots?
There are only so many custom memory slots in every Fujifilm camera, and it has proven annoying when I want to set a film simulation that worked well for a specific subject in the past but had to remove it to make way for others more suitable for a different project, and then I cannot remember where I got the simulation recipe or even what its name was.
Photographer David Triregno has leapt to the rescue and is sharing an already large and growing spreadsheet that he has compiled from film simulation recipes by a number of photographers including Kevin Mullins (KM in the Name column), Peter Evans (PE) and Ritchie Roesch (RR) as well as the currently mysterious JC and LC.
Credit where it is due to Patrick DiVino of Fuji Rumours for sharing this huge and growing collection of custom film simulation recipes.
Credit is also due to Thomas Fitzgerald for his extremely detailed ebook on shooting and post-processing Fujifilm JPEGs, and I am looking forward to the second edition of this ebook.
- Facebook – Fujifilm Films Simulations List
- Fuji Rumors – This PDF Lists 80 Fujifilm Film Simulation Custom Profiles You Can Try out Yourself
- Google Docs – Fujifilm Customs Files
- Thomas Fitzgerald Photography – Fuji Jpegs: Shooting and Processing Guide – eBook