This is The Digital Story Podcast 1,031, Dec. 23, 2025. Today's theme is, "More Realistic Film Simulations with a Dash of Grain." I'm Derrick Story. Film simulations by Fuji, Nikon, and OM System are great for color and tones, but there's a missing ingredient when compared to actual analog shots: grain! This week we're going to explore the virtues of a few dashes of grain and learn how to apply it for more realistic film simulations. All of that, and more, on today's TDS Photography Podcast. I hope you enjoy the show. Digital Photography Podcast 1031 Tune-In Via Your Favorite Podcast App! Apple Podcasts -- Spotify Podcasts -- Stitcher Podbean Podcasts -- Podbay FM -- Tune In More Realistic Film Simulations with a Dash of Grain Author's Note - I've published an article on Live View that includes lots of photo examples to accompany the text. You can read it for free here. This all started with Firmware Update 3.0 for my Nikon Zf. There were all sorts of great new features including on they called Film Grain Options. I had to check this out. It features six intensity levels and three grain sizes. Generally speaking, I select intensity level 2 or 3 and small for the size. Combined with a film simulation setting, such as Tri-X or Kodacolor, the results are much closer to real film than anything I had previously rendered from a digital camera. It was the missing ingredient! The new Film Grain Options is located in the Camera Menu about two-thirds the way down. Remember, you have to upgrade your firmware to V3.0 for it to appear. I recommend shooting RAW+Jpeg when working with grain and simulations. The settings will be applied to the Jpeg, and the RAW remains a pure capture without the effects. Nail the exposure, and you can use the Jpegs right out of the camera. The RAWs are there if you need them. For extra fun, I recommend using a vintage Nikon lens with the FTZ II adapter to further enhance the analog look. If you use an AI-S optic, such as the Nikkor 50mm f/1.8 AI-S with the FTZ II, you'll still retain a lot of camera functionality, such as Aperture Priority, but get closer to that classic Nikon look. Don't forget to add the lens to the Non-CPU Lens Data option in the menu. By doing so, its information will be listed in the EXIF metadata of your shots. The OM System OM-3 Film Grain Option The Nikon Zf isn't the only camera that provides this feature. I continued my research and discovered that the OM System OM-3 has its own grain implementation. I love shooting B&W with this camera via the MONO setting on the front creative control dial. What I discovered was that after I choose the MONO 1 setting, I can fine tune its rendering. The options include highlights/shadows, shading effect, sharpness, and yes, Film Grain Effect. OM System provides four grain choices: Off, Low, Medium, and High. I started with Medium for MONO 1, and loved the results. Why didn't I figure this out earlier? FujiFilm X100V Offers Film Grain Too Surely Fuji, with all of its great film simulations, wouldn't pass on this opportunity. And even though their implementation isn't as flexible as Nikon's, it's available. On my X100V, Grain Effect is listed in the IQ menu with two parameters: Roughness and Size. Each parameter has options. For Roughness, there's Strong, Weak, and Off. For Size, we can choose between Large and Small. I combined Strong with Large and selected the Acros film simulation. And just like my experience with the Nikon Zf and the OM-3, adding film grain to the Acros simulation enhanced its analog-like rendering. This option was also available on the GFX100S medium format camera, so I'm guessing that it's there for all Fujifilms. Comparing Film Grain Renderings to RAW Files As much as I like creating Jpegs that I can use right out of the camera, I still capture RAWs as well. There are scenarios when I don't want the effects and would rather start from scratch with a RAW file. Plus, the RAWs are also great for comparison purposes. They're like the "control files" in a whacky creative experiment. My query: Were the grainy film-simulated images better than the smooth, saturated digital files? As you may have guessed, it depends on the subject and the story being told. I also like that I can go crazy with the Picture Controls on the Zf (where the film simulations are located), add grain, and not worry about overdoing it because the RAW version is always there if I need it. For me, this encourages experimentation and creativity. You Can Do It in Post Too If your camera doesn't offer built-in grain control, or you want more fine-tuning capability than what it offers, you can add this effect in post-production. Most apps include this adjustment. In Lightroom, for example, you can change the amount, size, and roughness of grain with sliders, so it seems more controllable than it is in-camera, which bakes it in. The colors remain true, but the grain can vary. Final Thoughts All of this craziness began with a ...
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37 min