Robbie Ryan photographed Poor Things on film with fisheye and ultra-wide lenses, moving from a stark, near-monochrome Victorian London into a surreal, hyper-saturated world of candy skies and pastel Lisbon exteriors. The look is intentionally artificial and storybook — bold complementary colours, painted backdrops, and a heightened palette that treats every frame like a diorama under glass.
The Poor Things look, scene by scene
Poor Things changes its look as Bella grows. It begins in black and white in London, then bursts into surreal, saturated colour in Lisbon, with deep blue nights at sea. Wide, distorted lenses make every world feel strange.
London in monochrome
Black-and-white or nearly colourless images with soft grain. Strange, quiet and enclosed.
Much of the film's oddness comes from extreme wide-angle and fisheye lenses, often with dark, vignetted edges. If you have a wide or fisheye lens, use it — colour alone won't create the same surreal feel.
Recipes
Victorian Near-Mono
The desaturated, near-monochrome London chapters
Best light: Indoor or overcast scenes with strong shapes. Not for colourful scenes.
Film SimulationEterna Bleach Bypass
GrainStrong/Small
Color ChromeOff
CC FX BlueWeak
White BalanceShade
WB ShiftR-1 / B+2
Dynamic RangeDR400
Highlight-1
Shadow+2
Color-4
Sharpness-2
Noise Reduction-3
Clarity-2
ISOISO 800–1600
Why these settings
Eterna Bleach Bypass, Color -4
Removes almost all colour.
Grain Strong/Small
Fine, visible film grain.
R-1 / B+2
A slight cool tint in the remaining colour.
Lisbon Candy Sky
The surreal, saturated pastel exteriors under painted skies
Best light: Sunny days with colourful buildings and dramatic skies. Overdone in grey weather.
Film SimulationVelvia/Vivid
GrainWeak/Small
Color ChromeStrong
CC FX BlueOff
White BalanceDaylight
WB ShiftR+2 / B+1
Dynamic RangeDR200
Highlight-1
Shadow+0
Color+3
Sharpness+0
Noise Reduction-2
Clarity+1
ISOISO 200
Why these settings
Velvia/Vivid, Color +3
Bright, candy-like colour.
R+2 / B+1
Pushes slightly towards pink and magenta.
Highlight -1
Keeps detail in bright skies.
Steamship Cobalt
Deep blue night tones aboard the ship
Best light: Blue hour, night by water, cool light. Too cold for warm scenes.
Film SimulationClassic Chrome
GrainWeak/Small
Color ChromeWeak
CC FX BlueStrong
White BalanceShade
WB ShiftR-2 / B+4
Dynamic RangeDR400
Highlight-1
Shadow+2
Color-1
Sharpness+0
Noise Reduction-1
Clarity+0
ISOISO 800
Why these settings
R-2 / B+4
Strong cobalt blue.
Color Chrome FX Blue Strong
Deep, rich blues.
DR400, Shadow +2
Protects highlights while keeping deep shadows.
Kit list
Poor Things · 2023 · DP Robbie Ryan
The recipe handles colour and tone. These handle what a recipe can't.
For this look
neon & saturated
Ulanzi VL120 RGB pocket light
No neon sign handy? A pocket RGB light becomes your coloured practical — wash a wall, a face or a mirror in magenta and the recipe does the rest.
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Did you nail the look? What to look for
Either near-colourless or very colourful — not in between
Surreal, painted-looking skies
Wide, distorted perspectives
Dark edges or vignettes
Playful, strange compositions
Poor Things recipes — FAQ
Which Fujifilm film simulation is best for a Poor Things look?
Eterna Bleach Bypass for the nearly colourless London scenes, Velvia for the saturated Lisbon scenes and Classic Chrome for the blue night scenes.
How do I get the fisheye look from Poor Things?
Use a fisheye or ultra-wide lens close to your subject and add a vignette in-camera or in editing.
Which Fujifilm cameras can use these recipes?
All settings work on current X-Trans V bodies such as the X-T5, X-S20, X-T50 and X100VI. The X-T4, X-S10, X-Pro3 and X100V run the full recipes too. Every body renders slightly differently, so take a few test shots and adjust.
Who was the cinematographer of Poor Things?
Robbie Ryan, who was nominated for the Academy Award for Best Cinematography. Yorgos Lanthimos directed.