Fujicolor Superia 200 vs Moody Monochrome
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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Fujicolor Superia 200Moody Monochrome
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.
Portrait, photographed by Cody Blue
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11 reference scenes so far, each developed in-camera across the full recipe catalog. Contribute a photograph and every comparison made with it carries your name, or name a recipe you're missing and it joins the render queue.
The full recipe
11 settings differ, highlighted below.
| Setting | Fujicolor Superia 200 | Moody Monochrome |
|---|---|---|
| Film Simulation | Classic Negative | Acros Yellow Filter |
| Dynamic Range | 400 | 400 |
| Grain | Strong | Strong |
| Grain Size | Small | Large |
| Color Chrome | Strong | Off |
| Color Chrome Blue | Strong | Off |
| White Balance | Kelvin | Fluorescent 3 |
| Color Temp | 4000K | — |
| WB Shift | R0 B-5 | R-4 B-9 |
| Highlights | 0 | -1 |
| Shadows | -2 | +4 |
| Color | -2 | Acros Yellow Filter |
| Sharpness | -2 | -2 |
| Noise Reduction | -4 | -4 |
| Clarity | 0 | -3 |
Recipe by Ritchie Roesch (Fuji X Weekly) source
Recipe by Ritchie Roesch (Fuji X Weekly) source
View recipe page →Develop your photo in it →
designed for X-Trans IV, rendered on X-Trans V
What separates these two recipes
Fujicolor Superia 200 is built on Classic Negative and Moody Monochrome on Acros+Ye: two different film simulations as the starting point. They differ in 10 settings: Film Simulation (Classic Negative vs Acros Yellow Filter), Grain Size (Small vs Large), Color Chrome (Strong vs Off), Color Chrome Blue (Strong vs Off), White Balance (Kelvin vs Fluorescent 3), WB Shift (R0 B-5 vs R-4 B-9), 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.
Fujicolor Superia 200 is by Ritchie Roesch (Fuji X Weekly) (source). Moody Monochrome is by Ritchie Roesch (Fuji X Weekly) (source).
Photos shot with Fujicolor Superia 200 →·Photos shot with Moody Monochrome →
More comparisons
More comparisons
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- Classic Chrome vs Classic Negative
- Acros vs Monochrome
- Reggie's Portra vs Leica X
- Reggie's Portra vs Kodachrome 64
- Reggie's Portra vs Kodak Portra 400
- Reggie's Portra vs Fujicolor 100 Gold
- Classic Cuban Negative vs Leica X
- Classic Cuban Negative vs Kodachrome 64
- Classic Cuban Negative vs Kodak Portra 400
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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