Making Color Pictures Using Acros, B&W Toning & Multiple Exposures


This is a combination of 8 B&W Exposures with different color toning applied to each.

The Fujifilm X100V, X-Pro3 and X-T4 cameras have a new tool for toning black-and-white pictures in-camera. I mentioned in my article about this new toning feature that there’s the potential to get creative with it, especially when combined with multiple exposure photography. I thought that it might be possible to create color pictures using the Acros film simulation, B&W toning and multiple exposures. This is certainly an unusual use of those tools! A sturdy tripod is a requirement for this experiment.

On my X100V, there are 1,368 possible colors to tone B&W pictures, but I concentrated on the more bold options. To make this work, the best results are found in the +/- 15-18 range. My camera has four multiple exposure options: Additive, Average, Bright and Dark. Additive and Average won’t work for this project because it muddies the colors. Bright and Dark will work, and they work similarly. For Bright, the camera compares the exposures and chooses only the brightest pixel at each location; for Dark, it chooses the darkest pixel. I found that one option typically works better than the other, depending on the scene. You could get creative and adjust the exposure of each image to control which colors are chosen; however, I didn’t do that for these pictures.

At first I tried using just three exposures: one with Toning set to WC -18 MG 0 (Blue), one set to WC +18 MG -18 (Red), and the other set to WC 0 MG +18 (Green). This worked alright, but there are not any in-between colors. The transitions from one color to the next are harsh. Still, I was able to create color pictures this way.

After a little experimenting, I decided that eight exposures worked better (you can combine up to nine). In addition to the Toning described in the previous paragraph, I added one with WC 0 MG -18 (Magenta), WC -18 MG -18 (Purple), WC -18 MG +18 (Teal), WC +18 MG +18 (Yellow), and WC +18 MG 0 (Orange-Red). This made the color transitions a little less harsh, but it’s still not ideal. The pictures look strange and nothing like “normal” color photographs. I also tried reducing some colors to as low as +/- 15 (instead of 18) in an attempt to control the outcome a little, but it’s hard to know what you’ll get until you’ve made all eight exposures.

The results remind me of some cross processing experiments that I did a number of years ago. You can get weird results, depending on the film and process. The toned B&W multiple exposures on my X100V loosely resemble the “worst” cross-processing results from those analog experiments years ago. This isn’t something that I’d want to do all of the time, but it was fun nonetheless. Most people will never try this, but a few of you will. I can see someone doing an abstract photography project using this technique.


I used three exposures for this picture.


Another three exposure picture.


This is an eight exposure image.


Another eight exposure picture.


I used eight exposures for this picture. 


Another eight exposure picture.


Eight exposures. The wind moved the grass between exposures.


This is another eight exposure image.

I never really thought that I’d be creating color images from black-and-white in-camera. The results aren’t especially great, so it’s not really a practical thing, more gee-whiz. I do believe, with practice and experimentation, it’s possible to get better results. I hope that you found this article interesting, and perhaps even a few of you were inspired to do your own experiments.

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My Fujifilm X-T30 Split-Toned B&W Film Simulation Recipe


Vintage Bolsey Camera – Farmington, UT – Fujifilm X-T30 “Split-Toned B&W”

While creating my “Bleach Bypass” film simulation recipe, which requires double exposures, I also discovered how to split-tone black-and-white pictures in-camera using double exposures. Split toning was originally a darkroom technique where one would give their black-and-white print a bath in two different toning chemicals, which resulted in shadows and highlights having two different colors. There are many different ways to split tone and many different potential results. This Split-Toned B&W recipe loosely mimics the aesthetic of ferrocyanide toning (blue) with diluted sepia (reddish-brown). You can get similar results very easily with software, but it’s fun to achieve a split tone effect straight out of camera.

For this recipe, you’ll capture the first exposure as normal. I find that increasing the exposure by 1/3 to 2/3 stop over what you might normally do produces better results. For the second exposure, photograph blue paper. I used an 8.5″ x 11″ medium-blue construction paper for my pictures. I like to purposefully make the second exposure out of focus, although I’m not sure that it matters much if you do. You can control the strength of the blue tone by how bright the second exposure is. The darker the exposure, the less blue there will be and the less faded the picture will appear. The brighter the exposure, the more blue there will be and the more faded the picture will appear. It’s fun to experiment with this, because you can vary the look significantly by how you expose the second image. If you want the highlights to be warmer, simply increase the tone of the first exposure to be more warm, or even use the Sepia film simulation instead of Acros. You could use a different color paper, or even use a cool tone instead of warm on the first exposure, if you wanted. You could really play around with this and come up with all sots of different looks.

Exposure 1
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Tone: +6 (warm)
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: +2/3 to +1 (typically)

Exposure 2
Dynamic Range: DR200
Highlight: +4
Shadow: +4
Color: +2
Color Chrome Effect: Strong
Grain: Weak
Sharpening: +1
Noise Reduction: -4
White Balance: Auto, 0 Red & 0 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1 to -3 (typically)

Example photographs, all camera-made JPEGs using this Split-Toned B&W film simulation recipe on my Fujifilm X-T30:


Open Blinds – Farmington, UT – Fujifilm X-T30


Ocean – Farmington, UT – Fujifilm X-T30


White Faux Blooms – Farmington, UT – Fujifilm X-T30


Monochrome Floral Arrangement – Farmington, UT – Fujifilm X-T30


Lily Bloom – Farmington, UT – Fujifilm X-T30


Throw Pillows – Farmington, UT – Fujifilm X-T30


Dirt Play – Farmington, UT – Fujifilm X-T30


Girl In The Sunlight – Farmington, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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