Set IMAGE SIZE = L 3:2 and IMAGE QUALITY = FINE+RAW. The JPEG gives you a finished photograph with the film simulation baked in; the RAW is your safety net for the frame where the light lied to you.
L 3:2 FINE+RAW LOSSLESS COMPRESSED JPEG not HEIF
Four settings, in this order
They all live together at MENU > IMAGE QUALITY SETTING, in the first four positions.
| Setting | Choose | Why |
|---|---|---|
| IMAGE SIZE | L 3:2 | The sensor’s native shape and full 6240 × 4160 resolution. Cropping later is free; un-cropping is impossible. |
| IMAGE QUALITY | FINE+RAW | FINE is low-compression JPEG. The +RAW half costs card space and buys you rescue ability. |
| RAW RECORDING | LOSSLESS COMPRESSED | Bit-for-bit identical image data to UNCOMPRESSED, meaningfully smaller files. Every current editor reads it. |
| SELECT JPEG/HEIF | JPEG | Universal compatibility, and it keeps CLARITY available to you. |
What “RAW” actually means here
A JPEG is a photograph the camera has finished: film simulation, white balance, sharpening, noise reduction, all baked in and the rest of the data thrown away. A RAW file (Fujifilm calls it RAF) is the sensor reading before any of that. It contains more highlight and shadow information and lets you change white balance after the fact with no penalty at all.
Two beginner traps
- Expecting RAW to look better. Straight out of the camera a RAW usually looks flatter than the JPEG, because the film simulation has not been applied. RAW is potential, not polish.
- Shooting RAW only, then finding you cannot share anything from your phone without processing it first.
When to change it
- FINE alone for high-volume, low-stakes shooting: a birthday party, kids running about, long bursts. The buffer clears faster without the RAW half.
- RAW alone only once you have decided you will edit everything, and the JPEGs are just clutter.
- NORMAL essentially never. It saves space by adding visible artefacts to skies and smooth gradients, which is a poor trade on a modern card.
You can also assign a function button to toggle RAW on and off for a single shot, which is the elegant middle path: shoot FINE, add RAW for the frame you care about.