Fujifilm Pro 400H is a color negative film that was first introduced in 2002 (originally named NPH400). It’s a popular print film that has survived the digital era, as Fujifilm continues to manufacture Pro 400H to this very day, while many other films have seen the chopping block. It’s a fine-grain (for ISO 400), natural-color, versatile film that’s especially good for weddings and portraits. I have used it a couple times myself, although not anytime recently. I do remember some of the idiosyncrasies of the film. Interestingly, the “H” in the name stands for “high speed,” which is the designation that Fujifilm gave to all their ISO 400 films.
I’ve tried in the past to create a Pro 400H recipe for Fujifilm X cameras, but I was never happy with the results. In fact, you might recall that I suggested Fujifilm include this as a new film simulation in future cameras. Recently a Fuji X Weekly reader, Mauricio, shared with me his settings for Pro 400H, and he asked my thoughts on it. I was able to try it out and I liked it! His settings were indeed close, although I felt it needed some tweaking to better mimic the film.
Anytime that you are attempting to recreate the look of a certain film with a digital camera, there are variables that make it difficult. How was it shot? How was it developed? Was it printed, and how so? Was it scanned, and how so? Those are common challenges, plus more. With Pro 400H, there is an additional challenge: the film can look much different depending on the light and exposure. There are several distinct looks that can be achieved using the film, and it’s not possible to recreate all of those aesthetics with a film simulation recipe. Despite all of the challenges, I do feel that I was able to create a look that is in the ballpark of the film, thanks to the help of Mauricio.
There were several compromises that I had to make. I tried many different things to get the aesthetics as close as I could. For example, the film is known for cool blueish shadows and a warm pinkish highlights. Split toning is not possible on Fujifilm X cameras. I could get the shadow color cast more accurate but at the expense of the highlight color, or I could get the highlight color cast more accurate but at the expense of the shadow color. The white balance shift that I settled on, which is the same one that was suggested to me in the first place, isn’t spot-on accurate for the shadows or highlights, but it’s a nice middle ground that’s close enough to both to be convincing. What you get is a cool color cast showing through in the shadows and a slight red color cast showing up in the highlights. The light and exposure of an image will change the look of it in a similar fashion to the actual film, although not completely the same. It’s as close as I could get it.
Fujifilm Pro 400H film has a huge latitude in the highlights. You can overexpose it by three stops easily (maybe four) and get a good print. In fact, a lot of people purposefully overexpose the film because the colors turn pastel and the images become more warm and vibrant. The X-Trans III sensor has a lot of dynamic range, but it cannot hold up to a three stop overexposure. I found that DR200 is a good setting in many circumstances, but in high-contrast scenes, DR400 might be a better option. I used DR200 for all of the pictures in this article, but some might have benefited from the higher dynamic range setting. I think in high contrast scenes, in order to prevent clipped highlights, if you aren’t going to select DR400, perhaps set highlights to -1. I debated on whether +2 or +3 is the best setting for shadows. I think a +2.5 option would be most correct, but unfortunately that doesn’t exist. My recommendation would be to use +2 in higher contrast scenes and +3 in lower contrast scenes. I used +3 for all of the photos here.
Another setting that I debated on was color saturation. I settled on +4, which I think is the most correct for simulating slightly overexposed Pro 400H. An argument could be made that +3, +2 and +1 are also correct, depending on how the film was exposed and handled. If you think that +4 is too saturated for your tastes, simply find the color setting that works best for you. Pro 400H is definitely a tough film to make a recipe for. I think these settings are going to be your best bet for achieving a look straight out of camera that mimics the film’s aesthetic. Even though I captured these photographs using an X-T20, this film simulation recipe is compatible with all Fujifilm X-Trans III and IV cameras.
PRO Neg. STD
Dynamic Range: DR200
Noise Reduction: -3
White Balance: Auto, +2 Red & +1 Blue
ISO: Auto up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all straight-out-of-camera JPEGs captured using my Fujifilm X-T20 Fujicolor Pro 400H Film Simulation recipe: