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IMAGE QUALITY SETTING (Still Photography)

Adjust image quality settings for still photography.

To display image quality settings, press MENU/OK in the photo shooting display and select the H (IMAGE QUALITY SETTING) tab.

The options available vary with the shooting mode selected.

IMAGE SIZE

Choose the size and aspect ratio at which still pictures are recorded.

Option Image size
O3:2 6240 × 4160
O16:9 6240 × 3512
O1:1 4160 × 4160
Option Image size
P3:2 4416 × 2944
P16:9 4416 × 2488
P1:1 2944 × 2944
Option Image size
Q3:2 3120 × 2080
Q16:9 3120 × 1760
Q1:1 2080 × 2080

The following options are available in SPORTS FINDER MODE and when 1.25X CROP is selected in burst mode:

Option Image size
P3:24992 × 3328
P16:94992 × 2808
P1:13328 × 3328

IMAGE SIZE is not reset when the camera is turned off or another shooting mode is selected.

IMAGE QUALITY

Choose a file format and compression ratio.

Option Description
FINE Low compression ratios are used for higher-quality images.
NORMAL Higher compression ratios are used to increase the number of images that can be stored.
FINE + RAW Record both RAW and fine-quality JPEG images.
NORMAL + RAW Record both RAW and normal-quality JPEG images.
RAW Record RAW images only.

The Function Buttons

To toggle RAW image quality on or off for a single shot, assign RAW to a function button (aFunction Controls). Press the button once to select the option in the right column, again to return to the original setting (left column).

Option currently selected for IMAGE QUALITY Option selected by pressing function button to which RAW is assigned
FINE FINE + RAW
NORMAL NORMAL + RAW
FINE + RAW FINE
NORMAL + RAW NORMAL
RAW FINE

RAW RECORDING

Choose whether to compress RAW images.

Option Description
UNCOMPRESSED RAW images are not compressed.
LOSSLESS COMPRESSED RAW images are compressed using a reversible algorithm that reduces file size with no loss of image data. The images can be viewed in Capture One Express Fujifilm, RAW FILE CONVERTER EX powered by SILKYPIX, FUJIFILM X RAW STUDIO, or other software that supports “lossless” RAW compression. Quality is the same as UNCOMPRESSED, but the resulting files are anywhere from about 30 to 90 percent of their uncompressed size.
COMPRESSED RAW images are compressed using a “lossy”, non-reversible algorithm. Quality is about the same as UNCOMPRESSED, but the resulting files are anywhere from about 25 to 35 percent of their uncompressed size.

FILM SIMULATION

Simulate the effects of different kinds of film, including black-and-white (with or without color filters). Choose a palette according to your subject and creative intent.

Option Description
a
AUTO		 The camera chooses the film simulation. This option is available when the mode dial is rotated to AUTO or SP.
c
PROVIA/STANDARD		 Ideal for a wide range of subjects.
d
Velvia/VIVID		 Vibrant reproduction, ideal for landscape and nature.
e
ASTIA/SOFT		 Softer color and contrast for a more subdued look.
i
CLASSIC CHROME		 Soft color and enhanced shadow contrast for a calm look.
g
PRO Neg. Hi		 Ideal for portrait with slightly enhanced contrast.
h
PRO Neg. Std		 Ideal for portrait with soft gradations and skin tones.
g
CLASSIC Neg.		 Enhanced color with hard tonality to increase image depth.
X
ETERNA/CINEMA		 Soft color and rich shadow tone suitable for film look movie.
N
ETERNA
BLEACH BYPASS		 Unique color with low saturation and high contrast. Suitable for still and movie.
a
ACROS

Shoot in Black and White In rich details with sharpness. Available with yellow (Ye), red (R), and green (G) filters, which deepen shades of gray corresponding to hues complementary to the selected color.

  • dACROS+Ye FILTER: Slightly enhances contrast and darkens skies.
  • cACROS+R FILTER: Enhances contrast and darkens skies considerably.
  • bACROS+G FILTER: Produces pleasing skin tones in portrait.
b
MONOCHROME

Shoots in black and white. Available with yellow (Ye), red (R), and green (G) filters, which deepen shades of gray corresponding to hues complementary to the selected color.

  • eMONOCHROME+Ye FILTER: Slightly enhances contrast and darkens skies.
  • dMONOCHROME+R FILTER: Enhances contrast and darkens skies considerably.
  • fMONOCHROME+G FILTER: Produces pleasing skin tones in portrait.
f
SEPIA		 Shoots in sepia tone.

Film simulation options can be combined with tone and sharpness settings.

Film simulation settings can also be accessed via shortcuts (aShortcut Options).

For more information, visit:

aThe World of Film Simulation

MONOCHROMATIC COLOR

Add a reddish or bluish tinge (warm or cool color cast) to the aACROS and bMONOCHROME monochrome film simulations. Color can be adjusted on the WARM–COOL and G (Green)–M (Magenta) axes.

GRAIN EFFECT

Add a film grain effect.

ROUGHNESS

Option Description
STRONG Choose for rougher grains.
WEAK Choose for smoother grains.
OFF Turn the effect off.

SIZE

Option Description
LARGE Choose for coarser grains.
SMALL Choose for finer grains.

COLOR CHROME EFFECT

Increase the range of tones available for rendering colors that tend to be highly saturated, such as reds, yellows, and greens.

Option Description
STRONG Choose for a strong effect.
WEAK Choose for a weak effect.
OFF Turn the effect off.

COLOR CHROME FX BLUE

Increase the range of tones available for rendering blues.

Option Description
STRONG Choose for a strong effect.
WEAK Choose for a weak effect.
OFF Turn the effect off.

WHITE BALANCE

For natural colors, choose a white balance option that matches the light source.

Option Description
WAWHITE PRIORITY White balance is adjusted automatically. Choose for whiter whites in scenes lit by incandescent bulbs.
AUTO White balance is adjusted automatically.
AAAMBIENCE PRIORITY White balance is adjusted automatically. Choose for warmer whites in scenes lit by incandescent bulbs.
k CUSTOM 1
l CUSTOM 2
m CUSTOM 3		 Measure a value for white balance.
k COLOR TEMPERATURE Choose a color temperature.
i DAYLIGHT For subjects in direct sunlight.
j SHADE For subjects in the shade.
k FLUORESCENT LIGHT-1 Use under “daylight” fluorescent lights.
l FLUORESCENT LIGHT-2 Use under “warm white” fluorescent lights.
m FLUORESCENT LIGHT-3 Use under “cool white” fluorescent lights.
n INCANDESCENT Use under incandescent lighting.
g UNDERWATER Reduces the blue cast typically associated with underwater lighting.

In conditions in which AUTO fails to produce the desired results—for example, under certain types of lighting or in close-ups of portrait subjects—use custom white balance or choose a white balance option suited to the light source.

White balance is adjusted for flash lighting only in AUTO, WAWHITE PRIORITY, AAAMBIENCE PRIORITY, and g modes. Turn the flash off using other white balance options.

White balance options can also be accessed via shortcuts (aShortcut Options).

Fine-Tuning White Balance

Pressing MENU/OK after selecting a white balance option displays a fine-tuning dialog; use the focus stick (focus lever) to fine-tune white balance.

To exit without fine-tuning white balance, press DISP/BACK after selecting a white balance option.

You cannot tilt the focus stick diagonally when fine-tuning white balance.

Custom White Balance

Choose k, l, or m to adjust white balance for unusual lighting conditions using a white object as a reference (colored objects can also be used to lend photos a color cast). A white balance target will be displayed; position and size the target so that it is filled by the reference object and press the shutter button all the way down to measure white balance (to select the most recent custom value and exit without measuring white balance, press DISP/BACK, or press MENU/OK to select the most recent value and display the fine-tuning dialog).

  • If “COMPLETED !” is displayed, press MENU/OK to set white balance to the measured value.
  • If “UNDER” is displayed, raise exposure compensation and try again.
  • If “OVER” is displayed, lower exposure compensation and try again.

kColor Temperature

Changing the color temperature changes overall hue.

Color temperature can be adjusted to make pictures “warmer” or “colder” or deliberately produce colors that differ radically from those in real life.

  1. Select k in the white balance menu.

    The option currently selected for color temperature will be displayed.

  2. Edit the color temperature using the focus stick (focus lever) and press MENU/OK.

    A fine-tuning dialog will be displayed.

    You can also adjust color temperature in increments of 10 K by rotating the rear command dial.

    Choose from values of from 2500 to 10000 K.

    To exit without fine-tuning white balance, press DISP/BACK after choosing a color temperature.

  3. Highlight a fine-tuning amount using the focus stick.

  4. Press MENU/OK.

    The changes will be applied. The selected color temperature will appear in the display.

Color Temperature

Color temperature is an objective measure of the color of a light source, expressed in Kelvin (K). Light sources with a color temperature close to that of direct sunlight appear white; light sources with a lower color temperature have a yellow or red cast, while those with a higher color temperature are tinged with blue.

DYNAMIC RANGE

Control contrast. Choose lower values to increase contrast when shooting indoors or under overcast skies, higher values to reduce loss of detail in highlights when photographing high-contrast scenes. Higher values are recommended for scenes that include both sunlight and deep shade, for such high-contrast subjects as sunlight on water, brightly-lit autumn leaves, and portraits taken against a blue sky, and for white objects or people wearing white.

Options
AUTO V100% W200% X400%

Mottling may appear in pictures taken at higher values. Choose a value according to the scene.

If AUTO is selected, the camera will automatically choose either V100% or W200% according to the subject and shooting conditions. Shutter speed and aperture will be displayed when the shutter button is pressed halfway.

W200% is available at sensitivities of from ISO 320 to ISO 12800, X400% at sensitivities of from ISO 640 to 12800.

D RANGE PRIORITY

Reduce loss of detail in highlights and shadows for natural-looking results when photographing high-contrast scenes.

Option Description
AUTO Contrast is adjusted automatically in response to lighting conditions.
STRONG Adjust dynamic range by a large amount for very high-contrast scenes.
WEAK Adjust dynamic range by a smaller amount for moderately high-contrast scenes.
OFF Contrast reduction off.

WEAK is available at sensitivities of from ISO 320 to ISO 12800, STRONG at sensitivities of from ISO 640 to 12800.

When an option other than OFF is selected, TONE CURVE, and DYNAMIC RANGE will be adjusted automatically.

TONE CURVE

With reference to a tone curve, adjust the appearance of highlights or shadows, making them harsher or softer. Choose higher values to make shadows and highlights harsher, lower values to make them softer.

Option Description
HIGHLIGHTS -2 to +4
SHADOWS -2 to +4

COLOR

Adjust color density. Choose higher values to increase saturation, lower values to reduce it.

Options
-4 -3 -2 -1 0 +1 +2 +3 +4

SHARPNESS

Sharpen or soften outlines. Choose higher values for sharper outlines, lower values for softer outlines.

Options
-4 -3 -2 -1 0 +1 +2 +3 +4

HIGH ISO NR

Reduce noise in pictures taken at high sensitivities. Choose higher values to reduce noise and smooth outlines, lower values to leave outlines visible.

Options
-4 -3 -2 -1 0 +1 +2 +3 +4

CLARITY

Increase definition while altering tones in highlights and shadows as little as possible. Choose higher values for increased definition, lower values for a softer effect.

Options
-5 -4 -3 -2 -1 0 +1 +2 +3 +4 +5

The additional processing required at settings other than 0 increases the time need to save each shot.

Clarity is adjusted automatically when the mode dial is rotated to AUTO or SP.

LONG EXPOSURE NR

Select ON to reduce mottling in long time-exposures.

Options
ON OFF

The additional processing required when ON is selected increases save times.

LENS MODULATION OPTIMIZER

Select ON to improve definition by adjusting for diffraction and the slight loss of focus at the periphery of the lens.

Options
ON OFF

COLOR SPACE

Choose the gamut of colors available for color reproduction.

Option Description
sRGB Recommended in most situations.
Adobe RGB For commercial printing.

PIXEL MAPPING

Use this option if you notice bright spots in your pictures.

  1. Press MENU/OK in the shooting display and select the HIMAGE QUALITY SETTING tab.

  2. Highlight PIXEL MAPPING and press MENU/OK to perform pixel mapping.

Results are not guaranteed.

Be sure the battery is fully charged before beginning pixel mapping.

Pixel mapping is not available when the camera temperature is elevated.

Processing may take a few seconds.

EDIT/SAVE CUSTOM SETTING

Save custom camera settings for commonly-encountered situations. Saved settings can be recalled by rotating the mode dial to positions C1 (CUSTOM 1) through C4 (CUSTOM 4) (aCustom Modes).

xFMOUNT ADAPTOR SETTING

Adjust settings for lenses attached via a mount adapter. The camera can store settings for multiple lenses (LENS 1 through LENS 6).

Any changes made using this item also apply in movie mode (axFMOUNT ADAPTOR SETTING (Movie Recording)).

Choosing a Focal Length

Enter the lens's true focal length.

Distortion Correction

Choose from STRONG, MEDIUM, or WEAK options to correct BARREL or PINCUSHION distortion.

Color Shading Correction

Color (shading) variations between the center and edges of the frame can be adjusted separately for each corner.

To use color shading correction, follow the steps below.

  1. Rotate the rear command dial to choose a corner. The selected corner is indicated by a triangle.

  2. Use the focus stick (focus lever) to adjust shading until there is no visible difference in color between the selected corner and the center of the image.

    • Press the focus stick left or right to adjust colors on the cyan–red axis.
    • Press the focus stick up or down to adjust colors on the blue–yellow axis.

To determine the amount required, adjust color shading correction while taking photos of blue sky or a sheet of gray paper.

Peripheral Illumination Correction

Choose from values between –5 and +5. Choosing positive values increases peripheral illumination, while choosing negative values reduces peripheral illumination. Positive values are recommended for vintage lenses, negative values to create the effect of images taken with an antique lens or a pinhole camera.

To determine the amount required, adjust peripheral illumination correction while taking photos of blue sky or a sheet of gray paper.

EDIT LENS NAME

Change the lens name.