Recently one of my readers emailed me asking what my camera settings were and why. That sounded like a good article to write, so here are my Fujifilm X-T1’s camera settings. Where I thought it needed more explanation, well I added that too.

I will write some follow up articles before the end of the year explaining some of the camera’s features in more detail. So this is more of a general overview of my personal camera settings. The actual settings are bold and the non-bold text is my explanation. If you have some suggestions, feel free to contact me.

FujiFilm X-T1 (Firmware 4.0)

Shooting Menu 1

    • AE BKT = +/-1
    • ISO BKT = +/-1
    • WHITE BALANCE BKT = +/-1
    • FOCUS AREA = N/A
    • MACRO = OFF
    • RELEASE/FOCUS PRIORITY (Note: If you using AF + MF mode, AF-S will always operate with release priority anyhow)
    • INSTANT AF SETTING = AF-S (Note: AF-C is the other option)
    • AF MODE = SINGLE POINT (Note: Zone or Wide / Tracking are the other options. ZONE AF is available in concert with AF-S and AF-C. Basically, you can think of a zone as a super-sized AF frame: The camera will always try to focus on what’s covered by the selected zone, analyzing its contents from the center to its edges. Zones allow you to more easily follow subjects with erratic and unpredictable movements, a task that used to be quite challenging with a single AF point. Zone focussing is also kind of smart, as it won’t immediately lose a subject when it temporarily)
    • FACE DETECTION = OFF (Note: If you have Face Detection put to ON, the camera will focus only with CDAF. The faster Phase Detection AF (PDAF) works only if Face Detection is disabled).
    • EYE DETECTION AF = OFF (Note: This feature doesn’t work well).
    • PRE-AF = OFF (Note: If ON the camera will continuously adjust focus, even if the shutter is not pressed (or half pressed). This can help to get the first shot in focus quicker. Downside: more battery drain and noise)
    • AF ILLUMINATOR = ON (Note: Event photography or low light portraits make this feature essential. Lens hood may block the lamp)
    • MAX SENSITIVITY = 6400
    • MIN. SHUTTER SPEED = 1/60
  • IMAGE SIZE = L 3:2
  • IMAGE QUALITY = FINE+RAW (Note: You can only preview exposures on your camera in JPEG format. This means that your camera has to produce a JPEG out of every RAW file it creates (even in the RAW only mode) to provide you with a preview file, so that you have something to examine in playback mode. The JPEG that the camera produces when you opt to save RAW files exclusively is low resolution—often so low that it is impossible to tell whether the image is in focus when it is enlarged to full size. Shooting instead in FINE+RAW mode obviates this problem, though. With this setting, the camera saves the RAW “negative” in addition to a second file: a high-resolution JPEG “print.” You can use this JPEG for precise focus control immediately after you snap it by pressing the command dial, thereby enabling the zoom function).
  • DYNAMIC RANGE = 100% (100% = OFF = stark contrast. For the camera to underexpose the RAW file by 1 EV (DR200%) or 2 EV (DR400%), it must also use ISO settings of at least 400 or 800, respectively. Experienced RAW shooters who prefer to have as much control over the photographic process as possible generally turn the automatic dynamic range off (DR100%)).
  • FILM SIMULATION = PRO NEG. STD (Note: JPEG only but best setting for RAW as the JPEG is what is displayed on camera’s screen. This setting results in JPEGs with less contrast than the other film simulation modes)

Shooting Menu 2

  • WHITE BALANCE = AUTO (Note: To measure color temperature yourself, go to WHITE BALANCE > CUSTOM WHITE BALANCE and point the camera at a neutral white or gray object. Then press the shutter-release button all the way. If the measurement is successful, the message COMPLETED will appear on the display and you can then use the OK button to confirm. If you see UNDER or OVER displayed on the monitor, first adjust the exposure and then try again).
  • COLOR = 0 (Note: JPEG only)
  • SHARPNESS = 0 (Note: JPEG only)
  • HIGHLIGHT TONE = -2 SOFT (Note: JPEG only. The RAW format of the sensor has an exposure reserve of approximately 0.4 EV in comparison to the processed JPEG format. You can access this reserve with an external RAW converter. The live histogram should be set to SOFT at its edges to prevent RAW shooters from exposing their images too conservatively)
  • SHADOW TONE = -2 SOFT (Note: JPEG only. When you use DR100% with high-contrast subjects in order to use the live histogram to base your exposure on the bright areas of your image, the dark areas often end up appearing as blocked-up black areas. This SHADOW TONE setting of (–2) SOFT counteracts this problem, since it brightens the dark tonal values in the viewfinder (and in the live histogram))

Shooting Menu 3

  • NOISE REDUCTION = 0 (Note: JPEG only)
  • LENS MODULATION OPTIMIZER = ON (Note: LMO or Lens Modulation Optimizer. This feature counteracts common optical phenomena (like diffraction and corner softness) when the camera converts the RAW data into JPEG images. To make it work, the firmware in the attached lens sends the LMO correction data to the camera. Currently, this is only supported in-camera with the built-in RAW converter. As of summer 2015, external converters such as Lightroom can’t process LMO data. This means that LMO corrections are only visible in JPEGs that are generated in the camera)

Shooting Menu 4

  • AF-LOCK MODE = AF LOCK ONLY (Note: There is a separate AE-L button)
  • FLASH MODE = FORCED FLASH (Note: Flash sync speed is 1/180 of a second or slower)
    • MOVIE MODE = 1920X1080 60fps

Shooting Menu 5

  • IS MODE = 2 (SHOOTING ONLY) (Note: Mode 1 is useful at very slow shutter speeds and when you are using very long focal lengths because the camera will also stabilize the live view image, making it easier to compose a shot. Turn off the OIS when you are working from a tripod or with shutter speeds that are slower than a second)
  • WIRELESS COMMUNICATION (Note: Refer to steps under Geotagging below)
  • APERTURE SETTING = A+M (Note: Option is grayed out & not able to be changed)
  • SHUTTER TYPE = MS (Note: Mechanical Shutter. Electronic Shutter [ES] is not good for moving subjects or flash photography due to the rolling shutter effect. ES allows you to take photos wide open in bright light without an ND filter. MS+ES defaults to mechanical shutter at 1/4000s or slower or a flash is used. The camera won’t focus between each shot in CL or CH tracking, if ES only (electronic shutter) or MS+ES is enabled)
  • AF+MF = ON (Note: If AF fails, you can immediately manual focus IF half-pressing the shutter button. For lenses that have clutches, like the 23mm and 16mm f/1.4, the focus ring can only be turned when the clutch is in the MF position).
  • INTERLOCK SPOT AE & FOCUS AREA = ON (Note: link the spot metering area to the position and size of the active autofocus frame in Single Point AF. Since it’s likely that your focus area covers the same part of your subject that is also relevant for exposure metering. This is handy when on a tripod and offsetting a subject to the rule of thirds – you can just move the AF area and exposure together. Only works in Single Point AF)

Set-up Menu 1

  • RESET = N/A
    • IMAGE DISP. = 0.5 SEC (Note: To provide a quick image viewing without interfering too much with your successive shots)
    • PREVIEW EXP. IN MANUAL MODE = EXP/WB (Note: Don’t turn off because showing the camera’s live Exposure is priceless for a quick method of determining proper exposure without using the light meter. If using flash [on camera or off] then this should be turned off or you won’t see anything through the viewfinder or back screen unless you have a modeling light)
    • EVF COLOR = 0 
    • LCD COLOR = 0
    • PREVIEW PIC. EFFECT = OFF (Note: Off presents a natural live view with less contrast that ignores all JPEG settings such as film simulation and highlight and shadow tones. Think of it as a “RAW Shooter Mode”)
    • FOCUS CHECK = ON (Note: Camera will automatically magnify the focus area when turning the focus ring in manual focus).
    • DISP. CUSTOM SETTING = I unchecked electronic level, film simulation, dynamic range (Note: In Manual mode the live histogram doesn’t show the distribution of tonal values for the image that is actually captured. You should thus ignore it and opt instead to heed the digital exposure indicator on the left side of the display to figure out whether your aperture and shutter speed settings will under- or overexpose the image).

Set-up Menu 2

      • Fn1 = SELF-TIMER
      • Fn3 = FOCUS AREA
      • Fn4 = FOCUS AREA
      • Fn5 = FOCUS AREA
      • Fn6 = FOCUS AREA
    • AE-L / AF-L BUTTON SETTING = AE-L / AF-L (Note: No need to reverse the buttons on the back of the camera as they are labeled anyhow)
    • H1 = 12800
    • H2 = 25600 (Note: These numbers are the defaults as I don’t use this function. It is used to choose the sensitivity assigned to the H1 and H2 positions on the ISO Dial)
  • FOCUS RING = CW (clock-wise)
    • AUTO POWER OFF = 2 MIN  (Note: You can wake the camera up from its sleep mode by pressing the shutter-release button halfway down)
    • HIGH PERFORMANCE = ON (Note: According to Fujifilm, setting this setting to ON could decrease battery life by up to 50%, but half the start up time. The camera never completely powers off in order to decrease start up times. Tech support told me it increases the processor speed (thereby using more voltage hence 20% decrease in battery life) which will up the sensor reading speed of the autofocus (speeding that up) in both single and burst modes, reduces shutter lag as well as photo review processing and also in camera RAW to Jpeg conversions.).
    • OK = N/A
    • WHEN SWITCHED ON = ON (Note: ON would delay camera startup).
    • SAVE ORG IMAGE = OFF (Note: This is used to save unprocessed images of those taken with in-camera Red Eye Removal)
      • sRGB = VUDU
      • AdobeRGB = DWA
  • COLOR SPACE = sRGB (Note: sRGB vs Adobe RGB – doesn’t matter for RAW files)

Set-up Menu 3

      • RESIZE IMAGE FOR SMARTPHONE = ON (Note: size reduced to )




    • GEOTAGGING = ON (Note: Choose whether location data downloaded from iPhone is embedded in pictures as they are taken)
    • LOCATION INFO = ON (Note: Display the location data last downloaded from a smartphone)
  1. Every single time you want the GPS coordinates updated in the camera you must:
  2. Put your camera in WIFI mode
  3. Go into your phone’s settings and reconnect to the camera’s WIFI network
  4. Go into the Fuji Camera Remote app on your phone
  5. Select the Geo-tagging option to send your current GPS coordinates to the camera
  6. End the WIFI connection from your camera and go back to shooting. The more accurate you want your GPS coordinates to be the more frequently you’ll need to go through these steps.
    • INSTAX PRINTER CONNECTION SETTING (Note: Using this feature will automatically crop your photos. It’s better to transfer them to your iPhone and use the INSTAX app)
  • EDIT / SAVE QUICK MENU (Note: I need to set this up)
  • USB MODE = AUTO (Note: This is selection is needed for tethered shooting)
  • LOCK
    • LOCK SETTING = UNLOCK (Note: Allows a universal lock or unlock of the options. No reason that I can see to Lock anything when it can be overridden without a password)
    • FUNCTION SELECTION = NONE CHECKED (Note: Same as above but lows for picking individual functions to lock verses a lock everything)
  • FORMAT = N/A

Q-Menu (left to right, top to bottom)

  • BASE
    • COLOR- 
    • SHARPNESS – 
    • (blank)
    • (blank)
    • AF MODE –
    • SELF TIMER – 
    • FLASH MODE – 
  • C1
  • C2
  • C3
  • C4
  • C5
  • C6
  • C7

General Notes

  • Focal length range of the zoom lens. To translate the lens focal length to their full-frame equivalents, you have to multiply them by the APS-C crop factor of 1.5.
  • For handheld shots, an old rule of thumb recommends using shutter speeds that are at least as fast as the reciprocal of the full-frame-equivalent focal length that is in use. For example, with a 50mm lens and an APS-C crop factor of 1.5, the minimum safe shutter speed for handheld camera use would be [1/( 50 × 1.5)] s = 1/ 75s. In other words, when you are shooting handheld with a 50mm lens and don’t want shaky images, you should use shutter speeds that are at least as fast as 1/ 75s. Or you can use the OIS to add a few more stops.
  • Extending the dynamic range for RAW shooters:
    • RAW shooters typically set the camera to DR100% and perform the tone mapping of their shots later during RAW processing. DR100% provides a realistic live view and live histogram (WYSIWYG) since the current firmware of the X-T1 cannot simulate the JPEG results of extended DR settings (DR200% or DR400%). The typical strategy of a RAW shooter is to expose towards the highlights of a high-contrast scene, making sure that there’s sufficient color texture in the bright parts of the shot. This can result in an image with dark midtones and blocked shadows. However, while blown highlights are hard to restore, blocked shadows can be lifted (pushed). This can be done in almost any external RAW conversion software to get balanced results from scenes change the exposure. Lightroom and Adobe Camera RAW (ACR), for example, feature five different controls (exposure, whites, blacks, shadows, and highlights) to perform this task. Whenever you change an exposure slider, you are effectively changing the ISO of any part of the image that is affected by this slider. However, in the digital domain of the RAW conversion stage, nothing is lost and everything is fully reversible. Selectively changing the exposure of an image is known as tone mapping.
  • Using the Light Meter and Histogram in Live-View:
    • If bars are piling up like a bell curve at the right end of the histogram but cut off mid-peak, parts of your shot will be overexposed with blown highlights. If this affects important parts of your image, you should correct the exposure downwards.
    • If the histogram leans to the left, leaving plenty of space on the right, the shot might end up underexposed. In this case, you can adjust the exposure upwards.
    • Finalize the exposure by finalizing the light-meter needle.
  • Firmware upgrade version: To see, hold the “DISP BACK” and turn the camera on.
  • Exposure Compensation Dial works in Aperture Priority mode or Shutter Priority mode. If your in Aperture Priority mode, turning the Exposure Compensation Dial changes your shutter speed. If your in Shutter Priority mode, turning the Exposure Compensation Dial changes your aperture (f-stop). Exposure Compensation Dial doesn’t work in Manual Mode. This is not explained in manual or book.
  • By default, the front command dial takes care of fine-tuning shutter speed, while the rear command dial is used to change the aperture of lenses that don’t feature a built-in aperture ring. I have this reversed in the options.
  • As a rule, the lenses for the Fuji’s achieve their best performance with apertures between f/5.6 and f/11. A wide-open aperture has a tendency to lead to blurring and shadows around the edges of an image. On the other end of the spectrum (f/11 to f/22), the narrowest apertures can produce diffraction blur.
  • The maximum exposure window when using the B (bulb) setting is 60 minutes. The maximum exposure window when using the T (time) setting is 30 seconds.
  • Samyang 8mm Fish-Eye f/2.8:
    • Set focus mode selector to manual as this is an all manual lens. This will also allow for zoom and highlights to assist with focusing.
    • There are 1/2 stops between each of the f-stops.
    • At f2.8 it is perfectly usable and at f4-5.6 it leaves nothing for me to be desired in a fisheye lens. The edges are a bit softer the further you get towards the corners and there is some vignetting when shooting this lens wide open. At f5.6 the corners are very sharp for a fisheye lens. And if you set it to f5.6 and a focus distance of 2m (6ft) you get a sharp focus zone from about 0,5m (2ft) to infinity. The lens is very small and very wide, so watch for your left hand fingers being shown in bottom right corner of frame before clicking. The lack of autofocus is not really an issue with a fisheye lens, as you can generally set it to about 0.8m and f/8 and shoot to your heart’s content.

Exposure Notes

  • Auto Exposure (AE)/Light Metering:
    • Multi-Metering (Matrix): Used predominantly for most subjects and is an advanced metering mode.
    • Spot Metering: Best for difficult light situations that require additional attention like portraits. Due to viewfinder parallax, you should avoid using this method in combination with the optical viewfinder when shooting objects that are relatively close to your camera.
    • Area-Metering: Use for landscape shots.

Auto-Focus Notes

  • Focus:
    • The Fuji’s relies on contrast detection autofocus (CDAF) technology. This focusing method has several advantages over the phase detection autofocus (PDAF) method used by single-lens reflex cameras. CDAF systems are very accurate and require no adjustment. There are no front- or back-focus issues (in contrast to DSLR cameras).
    • Like the X-E2 and X100S, the X-T1 uses a hybrid autofocus system that combines traditional (and slow but very accurate) contrast detect autofocus (CDAF) with fast phase detect autofocus (PDAF). PDAF works with roughly 100,000 sensor pixels that are distributed throughout the central nine of the camera’s 49 autofocus frames. However, this is where the similarities end, because the X-T1 offers predictive object tracking not only at 3 fps, but also at 8 fps: It calculates speed, acceleration and deceleration of an object in order to predict how far away it will be from the camera when the image is actually exposed. By pre-focusing on this calculated/predicted distance, the camera can compensate for shutter lag and similar delays.


  • For video playback use the D-pad. Down is for play and pause.

Tethered Shooting:

  • First you will need the plugin for the Mac:
  • FujiFilm Tether Shooting Plug-in (Mac),FUJIFILM Corporation
  • Where to find it and Installation:
  1. Install ZXP file using Adobe Extension Manager.
  2. Navigate to File -> Plug-in Manager to enable “FUJIFILM Tether Shooting Plug-in”.
  • Taking Tethered Pictures with Lightroom:
  1. In Setup Menu 3, Select USB MODE – AUTO. Do NOT connect the USB cable until this step is complete.
  2. Connect the camera.
  3. Connect the camera to the computer using the USB cable and turn the camera on.
  4. Activate tethered shooting.
  • The camera does not leave a image copy onto the memory card in the camera.
  • MicroUSB to USB 2.0 Cable less than 4.9’ (1.5m)

HDR Photography Notes

  • Setting Up the Camera:
    • Set camera up with Aperture Priority by setting shutter speed to “A”.  [Exposure Compensation Dial will NOT work in Manual mode]
    • Set aperture to a wide field of view (maybe f/9.0 or f/11.0).
    • Rotate drive dial to bracketing (BKT) and select AE BKT with a variation of ± 1.
    • Use a low ISO (200).
    • Set up lens to manual focus. This ensures that all nine images will be focused exactly the same.
    • Use a tripod and shutter release, or consider a 2 second delay.
    • Select either MULTI or AVERAGE exposure metering.
    • Shutter Speed 2 seconds or less (the slowest shutter speed in all AE modes is 30 seconds, so your basic exposure (with 0 EV correction) should not be longer than 2 seconds. If you require shots that exceed 30 seconds of exposure time, it’s better to use manual mode  in concert with the Bulb (B) setting of the shutter speed dial).
    • When the individual images are composited, anything that has moved will appear as transparent “ghosts” in multiple locations.
  • 9 Shot Method (-4, -3, –2, –1, 0, +1, +2, +3, +4 EV):
  1. Set the exposure compensation dial to neutral (0) and press the shutter release. Make sure to either use a remote shutter release or the self-timer. The camera will now record the first three shots of the scene, with exposure levels of 0 EV, –1 EV, and + 1 EV.
  2. Set the exposure compensation dial to –3 EV and press the shutter release. The camera is now recording three more images that deviate –4 EV, –3 EV, and –2 EV from the original exposure.
  3. Finally, set the exposure compensation dial to + 3 EV. After releasing the shutter, you’ll get three more exposures, this time with +2 EV, +3 EV, and +4 EV.
  • HDR Photography – Software Workflow:
  1. Lightroom: First I import photos from SD card from camera and get rid of any photos that aren’t interesting enough for me to want to work on. Then I will note which images are part of which and export the first group of HDR photos to Photomatix.
  2. Photomatix: I combine these photos, remove ghosting, adjust HDR sliders as needed. Then I save the image edits with medium sharpening back into Lighhtroom. You could be done here….or for extra effort you can improve upon the final outcome by continuing back into Lightroom and Photoshop as you will see below.
  3. Lightroom: I flag the photos to be deleted (Control-x keys) which I previously exported to Photomatix as they are already highlighted. I do this so that I don’t get confused about what photos have been processed…except for the 0 EV photo (middle exposure). The imported photo is renamed “Photomatix 01” and given a flag, color or rating to help me see what images are processed. Now I fix the 0 EV photo (middle exposure) that we just set aside in lightroom the best I can using the develop module. I focus mostly on the Basic section but also go down to Detail section to select Luminance “Noise Reduction” slider and goto Lens Correction section to select the “Remove Chromatic Aberration” check box. When done editing I rename this version “Lightroom 01”. I then export these two images into Photoshop as two layers to be better balanced. To do this select both photos (Photos > Edit In > Open in Photoshop as Layers…).
  4. Photoshop: If mistakes are made while using Photoshop, goto the History Palette and undo items to step back a few steps. Decide which image has the better overall features. This will be you “top” image. Drag this layer above the other layer. Next we will align the images by selecting both (Edit > Auto Align Layer…). Select option “Auto” when given a choice. Now the “Photoshop Magic” begins. We are going to combine the best features of both images by using a Mask Tool. A Mask Tool reveals the image details from below that you want to be visible on the “top” image. So you are essentially combing the best features of each photo. Make sense? Lets get started by selecting the top image and selecting the mask selection at the bottom of the page (looks like a Japanese flag). Then you will select the Brush Tool on the left side of screen and make sure that your color selected is black (symbol looks like two pages with the black page above the white page). The brush size is adjusted with the bracket keys (“[” and “]”)  The Opacity will be adjusted at the top of the page with the slider (100% will completely reveal the image below after a swipe with the mouse. 50% would partially reveal the lower image’s details). When done we will Shift Select both images so as to merge them (Layer > Merge Layers). Next you will probably need to use the Crop Tool (on left side) to crop any edging issues (drag corners in as needed and use the arrow keys to move the crop around on the image then hit Enter when satisfied). Now for some image clean up of high-contrasty things in foreground or background using the Spot Healing Brush Tool (J key). First zoom in (Z key, then “Command +” or “command -“) and use arrows to move around the image. Select Tool (left side) and adjust size with the bracket keys (“[” and “]”). Now just mouse click on those high-contrast spots that look like mistakes to help clean up the image. To sharpen the sky (tone mapping), first duplicate the image (Command-J), then select image copy (Filter > Sharpen > Unsharp Mask).

Lightroom Notes

  • I have been shooting with raw plus fine Jpegs switched on. Annoyingly, when Lightroom imports these files it copies them all to the computer but only imports the raws into the Lightroom database. You will find the Jpegs in the same folder, but they won’t show in LR. To fix this, in LR, go into Preferences and on the General tab you can tick a box which gets LR to treat jpegs as separate images next to raw files – problem solved.
  • Down near the bottom of the right hand “develop” pane under “camera calibration”, there’s a drop down menu next to “profile” that usually says “Adobe Standard” when you’re working on raw files or sometimes “embedded” for jpegs or some types of DNGs. Open a Fuji raw file and there’s a drop down menu there containing all of the profiles. There are profiles there for several camera makers, but Fuji is using their film emulation settings and seem to come pretty damn close to their in-camera emulations….
  • Let’s go over data that is actually read by Lightroom / Photoshop Camera RAW:
    • White Balance, as set by the camera. Instead of your chosen value such as Auto, Incandescent, Fluorescent, etc, only the actual color temperature and tint are read from the RAW file.
    • Common image metadata such as Capture Date/Time, Exposure, Focal Length, Flash, Camera Make and Model, Lens information, etc.
    • Copyright information such as Author’s Name, etc. (if it exists)
  • That’s basically it. Now here is the information that is discarded:
    • Film Simulation and Filter Effects
    • Color Space (only relevant for JPEG images and JPEG images embedded into RAW files)
    • Dynamic Range
    • Intelligent Face Detection
    • Focus Area and focus point location in the frame
    • Color, Sharpness, Highlight Tone, Shadow Tone and Noise Reduction
    • Distortion Correction, Color Shading Correction and Peripheral Illumination Correction
    • Lens Modulation Optimizer
    • All other settings in the camera menus
  • All of the above settings do not affect RAW files in any way. Whatever you choose in your camera simply gets written as header information to Fuji’s RAF files. Please note that “Long exposure NR” (Noise Reduction) is the only setting that affects RAW files. However, Adobe will still not know if Long exposure noise reduction was turned on or off in your camera.
  • Fuji has a set of color profiles known as “Film Simulation” available in its cameras. By default, a camera profile called “PROVIA / STANDARD” gets applied to images. That’s the profile I typically use when shooting with Fuji cameras. Whichever Film Simulation you pick, I would suggest to stick to it if you want to see consistent colors in Lightroom (or it will be too much of a headache). And do not worry about modifying other color adjustments, since those might indirectly affect your RAW images as well (for example, setting high values for Highlight Tone and Shadow Tone).
  • If you want to always have Fuji’s native colors in your images and not the default “Adobe Standard” camera profile (which is often pretty dull), you might want to set up an import preset that gets applied to your images when they are imported into Lightroom. This is a very simple and straightforward process, so let me show you the best way to do it.
  1. First, open any Fuji RAW / RAF file in Lightroom’s Develop Module.
  2. Keep White Balance under the “Basic” sub-module “As Shot”, if you want Lightroom to read what your camera set WB and Tint to.
  3. Scroll down to the Camera Calibration sub-module.
  4. Pick the same color profile as what you have set in your camera (for example, Camera PRO NEG. STD).
  5. On the left panel, scroll down to the “Presets” sub-module and press the “+” sign next to it, which is used for creating a new preset.
  6. A new window will pop-up. Give the preset a name, for example “Fuji Import Preset”. The default folder “User Presets” is fine, but you can create a different folder if you want to.
  7. Only select “White Balance”, “Process Version” and “Calibration”, then click “Create”.
  8. Once you do this, a new preset will appear in the Preset menu, under the specified folder. Now all you need to do is specify this preset when importing images. Bring up the Import Window, then look at the right side of the window and expand “Apply During Import”. Click the “Develop Settings” drop-down and pick the newly created import preset. Now when you import photos with the preset selected, every one of imported photos will be automatically changed to the previously selected camera profile, which will match whatever you picked in your camera.

About David Aronson

Photography & Videography For Real Estate, Interior Designers, Architects & Commercial Buildings - Fort Lauderdale - PhotoGuy.Com