It was finally easy to get beautiful images the way I wanted them to look without much effort. Capture One's incredible color editor in particular is the main reason that I didn't miss presets. More specifically, the bright and airy overexposed pastel look. I appreciated the speed and ease of use, but I was tired of being locked into one specific look. When I decided to make the permanent switch from Adobe Lightroom to Capture One back in 2020, it was somewhat of a relief to be done with the presets I had previously purchased. Although Mastin Labs was a breath of fresh air at the time, given that film can look quite different depending on the scanner that's being used to digitize the negatives, it is somewhat of a niche offering. It primarily caters to wedding and family portrait photographers, which is certainly not a bad thing. The only caveat here was that those presets were based on film scans solely from a Fuji Frontier, which is a very specific look. I remember the excitement that my colleagues and I felt upon seeing them for the first time. © Nicklaus Walter | Fuji Neopan 400 Preset © Nicklaus Walter | Kodak T-Max 3200 PresetĪ few years later, Mastin Labs came on the scene with bright and airy presets that far more accurately reproduced the look of analog film. The simulated grain was also too much, as clients at the stock photo company that I worked at were always requesting images to be reprocessed without the fake grain. They were best reserved for flat light or overcast days when you needed to add some punch to an image. VSCO presets were more or less unusable in studio environments or for any images with high contrast light. Though they first seemed like the perfect solution, ultimately they were way too heavy handed. Eventually though, presets from VSCO became available for Adobe Lightroom which was the first time I'd ever seen digital images look even vaguely similar to film. I tried that, and nearly went insane in the process. For quite some time there were no real options besides messing with various tone curves and color channels in Photoshop. The way film renders has a classic look straight out of the box that can still be difficult to achieve with a digital camera, even for seasoned post production artists.Īs someone who shot film frequently for a couple years before getting my first serious digital camera, you couldn't blame me for trying to find a way to recreate the timeless beauty of analog film with my digital images. There is one aspect of analog film however, that arguably still reigns supreme. These are wonderful features that many of us can no longer live without. With digital, feedback is instant, resolution is overabundant, and there isn't a price tag associated with every press of the shutter. The advent of digital photography has largely been a gift for artists looking to push their creativity to its limits without the constraints that are inherent to analog film. When you buy links through our site, we may earn an affiliate commission. © Nicklaus Walter | Kodak Ektar 100 Presetĭecaf Journal is reader-supported. Fujifilm's offering has its own beauty and appeal, but these presets seem more accurate to me based on past experience with film. I must confess that I even stopped using Fujifilm's legendary film simulations in favor of The Classic Presets. Sign in Subscribe photography A Review Of The Classic Presets For Capture One
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