Every look, as a Lightroom preset and a Sony Alpha recipe

Classic Chrome is Fujifilm's documentary profile — modelled on the muted, slightly cold rendering of reportage slide film. Saturation drops across the board, shadows pick up a teal cast, greens slide toward olive, and highlights stay clean and faintly warm. It flatters overcast light and city streets far more than bright sun.

Velvia is the landscape slide film that made saturation a style. Greens go electric, blues deepen dramatically, contrast is steep and blacks crush early. It rewards clean, colourful scenes and punishes messy ones — there is no subtlety to hide behind.

Astia is Fujifilm's portrait profile: low contrast, gentle highlight roll-off and a slight overall warmth that keeps skin looking alive rather than baked. Colour is present but restrained. It is the profile to reach for when the subject matters more than the scene.

Classic Negative emulates consumer colour-negative film: magenta creeping into the highlights, cyan settling in the shadows, crushed blacks and midtones that stay warm and contrasty. It is the most opinionated of the Fujifilm profiles and the reason a lot of people bought into the system.

Eterna is Fujifilm's motion-picture profile: very flat, desaturated, with markedly lifted blacks and a slight cool bias. It is not a finished look — it is a base built to survive a grade, which makes it the natural pick when stills and video have to match.

Bleach bypass comes from skipping the bleach step in film processing, leaving silver in the emulsion: contrast climbs, saturation collapses toward monochrome, and the whole frame takes on a metallic sheen. Harsh, gritty and unmistakably cinematic.

Nostalgic Negative is built on American new-colour photography of the seventies: amber shadows, faded lifted blacks, golden skin and a general sense of a print left in a drawer for forty years. Warm without being orange, faded without losing structure.

Acros is Fujifilm's black and white profile, named after the film stock: exceptionally fine grain, strong micro-contrast and clean gradation from deep blacks through to open highlights. It holds detail in the shadows better than most digital monochrome conversions.

Portra 400 is the portrait negative most digital shooters are actually chasing: forgiving latitude, soft contrast, skin that lands warm but never orange, and greens pulled back so they never compete with the subject. Understated by design.

Gold 200 is the drugstore film that turned into an aesthetic: a golden overall cast, punchy yellows and reds, shadows that lean slightly green, and blacks that never quite reach black. Cheap film chemistry became a look people now deliberately buy.

800T is cinema film respooled for stills, balanced for tungsten light: shot at night the shadows go deep blue while sodium and neon sources bloom warm orange, with the characteristic red halation glowing around every bright point. The definitive night-city film.

Superia is the Fuji counterpart to Kodak Gold, and it leans the opposite way: green-cyan in the shadows, saturated greens, and highlights with a faint magenta tilt. Slightly cool, slightly strange, and instantly readable as nineties consumer film.

HP5 is the reportage black and white stock: visible grain, punchy midtones, blacks that stay deep while still holding detail, and highlights that never quite reach paper white. Grittier and more forgiving than Acros, and far more forgiving of pushed exposure.

The complementary grade that runs through modern cinema: shadows pushed teal, skin held warm and orange, everything else desaturated so the two poles carry the frame. Overused in bad hands, still extremely effective when the separation is subtle.

Dark, desaturated and contrasty: the look that dominates urban photography feeds. Shadows go deep and cool, colour is pulled back to near-neutral, and grain keeps it from feeling digitally clean. Light separation matters more than colour.

The last hour before sunset, amplified: amber highlights, glowing skin, soft lifted blacks and just enough haze to feel like the light is physically in the frame. Warm without tipping into orange, soft without going flat.

The twenty minutes after sunset when the sky still holds light but every surface has gone cool and blue. Low contrast, open shadows, desaturated except for the blues, and an atmospheric haze that flattens distance.

Light, clean and almost unprocessed: luminous whites, pastel highlights, minimal contrast and neutral skin. The wedding and interiors default, and hard to do well — with nothing hidden in the shadows, exposure and white balance have to be right.

The fashion-magazine grade: crushed shadows, cold highlights, restrained colour and enough contrast to sculpt rather than flatten. Skin is kept slightly cool and matte. Everything serves the shape of the light.

The early-2000s compact camera aesthetic that came back around: oversaturated colour, aggressive sharpening, highlights that blow flat, a faint green-magenta cast and the unmistakable look of a direct on-camera flash. Technically bad, culturally dominant.

Soft, milky and romantic: lifted highlights, low saturation, and a palette that leans toward dusty pink and sage. Contrast is kept minimal so the whole image reads as hazy and diffused rather than sharp.

Neon-lit night photography pushed to its logical extreme: magenta and cyan driven hard, blacks crushed to nothing, saturation cranked in the highlights where the signs live. It needs actual neon in frame — the grade amplifies light sources, it cannot invent them.

The understated travel and lifestyle palette: saturation pulled back everywhere, colour steered toward terracotta and olive, shadows kept warm, skin left natural. Quiet enough to work across a whole feed without any single frame shouting.