Open a RAW file, click once, and Astia is already there. That is the whole first step of an edit with the RAW Series A100F: the Astia 100F inspired color is built into a DCP camera profile made for the exact camera that took the photo, and the raw look locks its tone on top, so the look arrives before a single slider moves. The rest is a couple of minutes of finishing.
The whole edit is one frame, a white rose in direct sun. Press play to watch it happen, then scroll for what each move did.
Three moves, start to finish
The edit comes down to three moves. Here they are one at a time.
1. Click the raw look
It starts with one click on A100F raw +++, the strongest of the raw looks. Watch the Basic panel while you do it: nothing moves. That is not a preset pushing sliders around. The Astia color is built into a camera profile made for this exact body, and the look carries its tone and color balance on top of it. A white rose in direct sun is a hard test for any film look, because the subject is nearly all highlight and the color that matters is barely there. Here the petals keep their folds right up to the brightest edge, the blush on the outer petals stays a blush, and the leaves settle into a deeper, quieter green while the background drops away. The brightest whites stop just short of pure white, and the raw looks do that on purpose: on a slide, even clear film is never quite pure white. Every slider is still at zero and still yours.
2. Choose a strength
Every look ships in six strengths: four steps from A100F raw up to +++, and two minus variations. Move between them in the Profile Browser on the same frame, and each one changes the look without disturbing an adjustment you have already made. On files where the raw looks do not appear, a JPEG for instance, the eighteen universal looks cover the same range with an Amount slider from 0 to 200.
3. Finish in the LAB
Then the 64-tool PRESETPRO LAB that ships with the collection: fades, depth, grain, vignettes and print-style finishing. Anything in the LAB stacks on any look, raw or universal, so you can add a little weight to the midtones or a soft vignette without touching the Astia rendering underneath. One rule worth remembering: preset first, then profile, because a preset always resets the profile to the one bundled with it.
While you are in there, open the Masks panel. Every look also ships as a matching preset, and each preset arrives with its masking layer already built: sky, background, base, diffusion, grain, highlights, smoothing. They are live masks, not baked effects, so the grain, set at ISO 100 for this stock to match Astia’s very fine grain, is a slider you push to taste exactly like a mask you drew yourself.
Film color, not a filter
What makes it hold up is where the color lives. The Astia color is built into a camera profile made for your camera model, and the tone and final color balance are locked inside the raw look on top of it. Nothing is left on your sliders, so every edit you make afterward starts from zero and sits on top of the look instead of overwriting it. What a DCP camera profile is, and how Lightroom uses one, is covered in the DCP camera profiles guide.
A100F is also the first slide film in the RAW Series; the other four stocks are color negatives. Fujifilm made Astia the softest, most subdued film in its Fujichrome line, for skin and for subtly colored subjects, and the raw looks keep that restraint. Tones stay soft and color stays quiet, so the rendering never has to be dialed back before you can use it.
In one sentence: presets sit on the photo, this sits under it. Every supported camera gets a profile of its own, 753 models, each one built from the same Astia recipe and verified against the same master rendering, so switching cameras does not mean starting the look over.
Quick answers
Which version of Lightroom do I need?
The six raw looks need Lightroom Classic (Mac or PC), because the cloud version of Lightroom cannot load third-party camera profiles. Your download also includes a Cloud Edition carrying the eighteen universal looks and the complete LAB for the cloud app. Install takes about two minutes, and the install guide with video walks through it.
Is my camera supported?
A100F ships with a profile of its own for each of 753 camera models, from Canon, Nikon, Sony and Fujifilm to Leica, Hasselblad, Ricoh and OM System. If your camera is newer than the current release, the eighteen universal looks work on every photo in the meantime, and profile updates are free for the stock you own.
Is Astia only for portraits?
No. Fujifilm built Astia for fashion and portraiture, with skin first and faithful rendering of subtly colored fabrics and accessories, and the rendering keeps that restraint: soft tones and quiet color. The same restraint suits any subject whose color is subtle, like the white rose above. These are Lightroom profiles, not film, so they work on RAW files from any supported camera, and when a frame wants more color the vc row and the LAB add it. It installs alongside P400, P160, P800 and G200 in the same panel.
Can I adjust the look?
Yes, on two levels. The six raw looks are fixed renderings, so you pick a strength and then edit on top of it with every slider starting at zero. The eighteen universal looks carry an Amount slider from 0 to 200. Fades, grain, and finishing come from the LAB and stack on either kind.
Want to try it on your own files? Get the RAW Series A100F, inspired by Fujifilm Astia 100F. Already own P400, P160, P800 or G200? A100F installs into the same panel and shares the same LAB. See the full RAW Series collection, or, if film stocks are new to you, start with the complete film emulation guide.
Fujifilm, Fujichrome and Astia are trademarks of their respective holders. Presetpro is not affiliated with or endorsed by FUJIFILM Corporation. Adobe and Adobe Lightroom are trademarks of Adobe Inc.