Recipes by image control
Positive Film recipes
Positive Film is the GR's slide-film mode: deeper contrast, richer saturation, a look that leans finished straight out of camera. It's one of the most recognizable GR looks.
The recipes below push it in very different directions - bright saturated color, sun-faded retro, quieter muted takes - so two Positive Film recipes can feel like two different film stocks.
Positive Film exists on the GR III, IIIx and IV alike, so everything below works across bodies - on the IV, expect a slightly warmer, brighter baseline.
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22 recipes · most saved first
Royal Supra
by Ritchie Roesch
Candy Color 400
by Luke Taylor
Lux Pastel
by Robert Luxun
Kodak Chrome
by Ritchie Roesch
Classic Chrome... but Better
by Luke Taylor
Americana Color
by Ritchie Roesch
Cotton Color 400
by Luke Taylor
Travelog
by Ritchie Roesch
Kodamax
by Ritchie Roesch
Vibrant Nostalgia
by Ritchie Roesch
Shady Summer Film
by Luke Taylor
Ritchie's Positive Film
by Ritchie Roesch
Analog Film
by Ritchie Roesch
Natural Analog
by Luke Taylor
Chrome Slide
by Ritchie Roesch
Kodak Magenta Chrome
by Luke Taylor
EktaSlide
by Ritchie Roesch
Positive Emulsion
by Ritchie Roesch
Natural Negative
by Ritchie Roesch
Vibrant Negative
by Ritchie Roesch
Warm Negative
by Ritchie Roesch
Vibrant Analog
by Ritchie Roesch
About Positive Film
What Positive Film does
Ricoh's manual describes it in one line: highly saturated images like those taken with positive film. It is the GR's slide-film mode and its most recognizable color look: dense saturation, an S-shaped tone curve, deep blacks and a bright, solid red (Asakura, on Ricoh's GR Blog, contrasts that true red with Negative Film's faded vermilion at identical settings). It holds color until it clips, and then it clips hard: a bright sky goes to white with no warning, which is the one habit every Positive Film recipe on this page has to manage.
It has been on every GR since the GR III launched, with the same name and the same nine sliders on the GR III, IIIx and IV. On the GR IV it also takes grain, with a size setting the older bodies do not have.
How the recipes here tune it
The sky is the tell. Almost every daylight recipe on this page runs Contrast (Highlight) negative, often -3 or -4, or leaves Highlight Correction on, so the saturation stays and the clouds survive; Royal Supra pairs Contrast +4 with Contrast (Highlight) -4 for exactly that reason. The vivid ones add Saturation +3 or +4 and sometimes a warm white balance shift toward amber; the softer, faded ones pull overall Contrast down, which lifts the blacks, and rotate Hue negative for warmer reds. The Image Control guide lists what each slider does in which direction, measured on Ricoh's own sample frames, and the recipe builder will draft a Positive Film recipe from a few questions.
Positive Film is also the mode where a GR III recipe drifts most on a GR IV: the IV renders a touch warmer and up to about a third of a stop brighter at the same values, and a saturated slide look shows that sooner than a muted one. A step or two toward blue on the white balance shift usually brings it back.
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