The base look of the photo. Each film simulation is Fujifilm's own color and contrast; every other setting adjusts on top of it.

Adds film-like grain. Strong is more visible than Weak. Easiest to see in smooth areas like sky; zoom in on the photo to check.

Small grain is fine and subtle. Large is coarser, like fast film.

Deepens strongly saturated reds, yellows and greens so they keep more tonal detail. Most visible on flowers, signs and foliage.

The same idea for blues: deeper, richer skies and water. Try it on a photo with blue sky.

Sets what counts as white. AUTO adapts to the light; a fixed choice like Daylight or a Kelvin value gives a consistent look that turns warmer or cooler as the light changes.

Higher numbers make the photo warmer (more orange), lower numbers cooler (bluer).

Red shift: + adds red and warmth, − adds cyan. Steps are small; recipes often use 2 to 4.

Blue shift: + adds blue, − adds yellow. Many warm recipes use a negative blue shift.

Protects bright highlights. 200% and 400% keep more detail in skies and lights. On the camera they need ISO 250+ (200%) or ISO 500+ (400%).

Lifts shadows and holds highlights automatically for high-contrast scenes. When it is on, it replaces Dynamic Range and the tone curve.

Highlights: + makes bright areas brighter and harder, − softens them.

Shadows: + makes dark areas deeper, − lifts them for a softer, flatter look.

Saturation. + is more vivid, − more muted.

Edge sharpening. Negative values give a softer, more film-like look.

Noise reduction at high ISO. Negative keeps more texture, and most recipes use −4. It barely shows on the lab's clean sample photos.

Mid-tone contrast. + adds punch and texture, − softens like a mist filter. On the camera, any value except 0 slows down saving.