Big Negative vs Kodak T-Max 100 Soft Tone
The same photograph, developed by the camera in both recipes. Drag the divider.
Every image is rendered by the camera itself and verified from its metadata. How this works
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Big NegativeKodak T-Max 100 Soft Tone
Same photo, two recipes. Swipe a side to change that recipe, hold it to see it on its own, or tap to inspect up close.
Seawall, photographed by Lucas Costa
The gallery is just getting started.
9 reference scenes so far, each developed in-camera across the full recipe catalog, and we're still testing the pipeline. Contribute a photograph and every comparison ever made with it carries your name and your link, like the credit above.
The full recipe
12 settings differ, highlighted below.
| Setting | Big Negative | Kodak T-Max 100 Soft Tone |
|---|---|---|
| Film Simulation | Classic Negative | B&W Green Filter |
| Dynamic Range | 400 | 200 |
| Grain | Strong | Weak |
| Grain Size | Large | Large |
| Color Chrome | Weak | Off |
| Color Chrome Blue | Strong | Off |
| White Balance | Auto | Daylight |
| WB Shift | R-2 B-5 | R-6 B-3 |
| Highlights | -2 | -0.5 |
| Shadows | 0 | +1.5 |
| Color | +3 | B&W Green Filter |
| Sharpness | 0 | -1 |
| Noise Reduction | -4 | -4 |
| Clarity | -3 | -1 |
Recipe by Luís Costa (Life, Unintended) source
View recipe page →Develop your photo in it →
designed for X-Trans IV, rendered on X-Trans V
Recipe by Dan Allen, published by Ritchie Roesch (Fuji X Weekly) source
What separates these two recipes
Big Negative is built on Classic Negative and Kodak T-Max 100 Soft Tone on Monochrome+G: two different film simulations as the starting point. They differ in 12 settings: Film Simulation (Classic Negative vs B&W Green Filter), Dynamic Range (400 vs 200), Grain (Strong vs Weak), Color Chrome (Weak vs Off), Color Chrome Blue (Strong vs Off), White Balance (Auto vs Daylight), and more.
The full settings sheet for both recipes is under the viewer above, differences highlighted. Every render is the photographer's single RAW file developed by a Fujifilm camera's own processor and verified against the camera's metadata. The pictures are the settings, nothing else.
Big Negative is by Luís Costa (Life, Unintended) (source). Kodak T-Max 100 Soft Tone is by Dan Allen, published by Ritchie Roesch (Fuji X Weekly) (source).
Photos shot with Big Negative →·Photos shot with Kodak T-Max 100 Soft Tone →
More comparisons
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- Classic Chrome vs Classic Negative
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- Reggie's Portra vs Leica X
- Reggie's Portra vs Classic Chrome
- Reggie's Portra vs Kodachrome 64
- Reggie's Portra vs Kodak Portra 400
- Classic Cuban Negative vs Leica X
- Classic Cuban Negative vs Classic Chrome
- Classic Cuban Negative vs Kodachrome 64
How this works
How this works
A photographer submits a RAW file. We connect a real Fujifilm camera over USB and have its processor develop that one file in every recipe in the catalog, using the same in-camera engine that develops your photos when you shoot. Each render's settings are verified from the camera's own metadata before it's published.
Is this really the camera, or a software simulation?
Really the camera. Every image here is a JPEG developed by a Fujifilm camera's own processor. We send the photographer's RAW file to the camera over USB with a recipe's settings, and the camera develops it exactly as if it had been shot that way. No Lightroom, no presets, no emulation.
Is it the same photo in every recipe?
Yes. Each scene is one single RAW file, developed once per recipe. Everything that changes between two renders is the recipe: same light, same moment, same exposure.
How do you know a render actually matches the recipe?
Every developed JPEG carries the camera's own record of the settings used, written into its metadata. We read that back and verify it against the recipe before a render enters the gallery.
Why is a recipe missing on some scenes?
Physics, mostly. DR400 recipes need the shot to be taken at ISO 500 or higher, and DR200 at ISO 320 or higher; below that the camera refuses. A few recipes also use settings the USB conversion can't reproduce (like toned black-and-whites); those wait rather than render wrong.
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