A lot of my early digital work was rooted in colour theory, and as a result despite wanting to limit my film photography to black and white I have shot through as many different colour films as I could find. Although there are any number of looks that can be achieved from shooting a colour film for photographers who want reliability and dependability there are only a few films that can hold up to different conditions and a variety of exposure types while delivering clean and beautiful results.
I bought 20 rolls and took my time working my way through them. I am not a fast shooter, and it is a rarity for me to finish an entire roll of film in a day, let alone a week. I think that even based on my limited use I can agree with the majority of positive reviews online. It is a strong film with light colours, and excellent latitude, based on a range of shooting situations. It has wonderful grain and wonderful sharpness, and especially excellent rendering during golden hour.
There is often a blue-green tint, even after my best efforts at colour correction, but I really like these calm tones, and prefer them to the yellow-gold of common Kodak films. I definitely personally prefer the rendering of colour and grain to the equivalent Kodak Portra and think that the dynamic range is just as good. However there is a large caveat to my Pro H experience. As it is I feel much more comfortable spending my money with Kodak and ILFORD, as well as Cinestill which seems to be making a large effort to produce interesting stocks, to which the film community has responded by using those films to create some wonderful images.
Innovation is one of the keys to industry, and although I can understand why it may be a financial niche to cater for film photography still welcomes innovation wherever it can be found, for both serious and hobbyist uses. The current in-production lines of film represent the culmination of all film production technologies, but when those become unreachable for the majority the entire industry becomes more of a niche. I wrote there about my search to simply experience an emulsion which is no longer in production, and the annoyance I felt that I would never be able to really feel comfortable in the process of using something which is now extinct.
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There's also print and apparel over at Society 6currently showcasing over two dozen t-shirt designs and over a dozen unique photographs available for purchase. The photo of the man in the hat for example. While Fuji h does, indeed, have a cooler rendition than Kodak Portrait is capable of much more accurate color rendition than what is shown here. The price of a single roll of Proh at Analogue Wonderland is down to 16 pounds.
Perhaps you influenced them to lower their price by writing this article? Their price on this particular film is unusually high, even if they tend to be inexpensive compared to other sellers in general. Before the price increase Proh was generally the cheapest professional color film I could buy here in the US.Carding gift cards 2019
Password recovery.I shared my thoughts with you, and showed how, with the proper post production, the X-T20 with the XF56mm f1. The article produced a lot of comments, emails, messages, etc. So, here I am, as promised, sharing the whole process, and the filter itself. The two photos we are going to use in this article. On the left, as a Reference, we have the H film shot. I took both at the same time, on the same spot, with almost the same composition, so they are an excellent pair to work on a matching post production.
I use Adobe products, so the whole process will be done on Lightroom. Cropping is not necessary, but it will help us achieve the whole film look. In order to have the ratio of the two photos matching, we have to start with a crop. A dialog box will appear, saying Aspect Ratio: 1. Now that the two photos match ratio, we can start with the postproduction. I find that this profile is very flat, but a little less dull than the Adobe Neutral Profile.
Focusing solely on the wedding dress is a great help when trying to get the white balance right. Now it is time to work on the white balance. Using the wedding dress as the white reference, I worked on both sliders until getting the closest look. Matching the dynamic range of H with the Basic tool.How to Edit In a Light & Airy Style in Lightroom
Matching the dynamic range of H with the Tone Curve. Another aspect that changes a lot between different films, is the dynamic range. The way highlights, midtones and shadows are rendered is a big chunk of the overall charisma of a film. Finally a little tweaking with the Tone Curve tool recreates the proper dynamic range. Matching colors with the Calibration tool.
While the dynamic range and the white are now almost identical, the yellows and the greens in the field are way not. This means that we are still to mimic how the film renders the colors. I tuned the tint in the shadows, and the hue and saturation of the primary red, green, and blue.
I did work with all these sliders, and the results are now very close: look at the green of the leaves, at the yellow of the dry leaves, at the brown of the tree, and at the pink of the skin. I worked on the red, the orange, the yellow, and the green, until I got to a point where the overall image really looks close to the H look.
Adding grain with the Effects tool. What now comes to the eyes, at a close look, is the texture. The H has this delicate grain, as a good medium format film at ISO should have.
Reducing corners sharpness and contrast with a Radial Filter. This basically means that the film or the lens, actually most probably the lens has corners issues. The X-T20 shot post-produced solely by applying the H film filter. I really like the mood of this filter! You can download it from hereif you want, but I would suggest you to recreate it by yourself, you can gather all the needed info by looking at the pictures in this article.
This way you might making it even better, with just some little changes here and there. If you do, please share you changes here in the comments, so we can all have better tools for our beloved photos! I love working with complex lights and low light, both in studio and in the open.Have you ever been frustrated dialing in skin tones whilst editing?
You are not alone. Don't let it get under your skin. We're here to help! Every other week, our Founder Kirk Mastin hosts a Facebook Live Editing session to help you overcome editing challenges. In this live edit, Kirk walks you through how to dial in skin tones to perfection.
How to Make Your Photos Look Like Film in Lightroom
Mastin Labs presets are based on film scanned with a Fuji scanner, so everything covered applies both to film and our presets. When Kodak first developed their films, they primarily tested them on Caucasian skin. In the same way that makeup is made for different skin tones, film is suited for different skin tones.
Kodak films generally have more orange and yellow in them, which makes Caucasian skin look healthy and warm. Fujifilm made their film in a completely different environment and with different aesthetic goals in mind.
Their films, in general, have a cyan-heavy base and look really well on darker skin tones as well as lighter ones. Portra creates too much orange for darker skin. Dragging the temp down might help the skin but would discolor the rest of the image. The Fujicolor Original pack works perfectly. If you're shooting mostly people of color or Asian skin tones, we recommend sticking with the Fujicolor packs and films.
Another point on your style: The moment that you decide to shoot film or use our presetsyou're already on your way to becoming consistent, even if there are slight variations. If you mix the film look with other looks, then, yes, your consistency is going to be in trouble.
Here's the real deal: There is no good solution to terrible light inside of a venue unless you're using flash to create your own light. If you're shooting in a dark, tungsten-lit reception or wedding hall, nothing you do will give you good skin tones.Every film photographer we know loves a bit of film stock comparison…at Canadian Film Lab we certainly do! And what difference does changing my exposure make? Our overall objective was to help photographers see the benefit of exposing their images well and avoiding underexposure, and to help give you a feel for the look of the different film stocks.
All film was developed normally, with no push or pull processing. Full information on the metering technique used is at the bottom of this article. In each case you can click on the image to see a full size version.
This next shot is a great way to see the hugely important role that good exposure plays in the final look of your images. Here we have Fuji H shot at 2 stops under box speed, and 2 stops over box speed:.Openvr capture
We thought you might also like to see how each of the film stocks in our experiment, react to different exposures. Fuji H:. Portra And for the grand finale, ultra film geek experience…we shot a few other exposures too, ranging from 3 under to 4 over, for Fuji H, PortraPortra and Portra We wanted the comparison to be as direct as possible without getting into full blown controlled experiment territory! Where possible we kept our aperture at 2. We spot metered using an external light meter.
Our main aim was to correct the images as necessary in the scan and edit to create a neutral and pleasing skin tone. These lighting conditions are pretty much ideal, and the detrimental effects of underexposure in less than ideal light would be much worse than this.
Another significant disadvantage of underexposing your images is that the results become more variable. Mixing exposures across your scene will also result in differences in your final image, and so despite the good latitude of film in good light, accurate and consistent metering is still highly desirable in terms of your final results.
Additional exposure will create a denser negative. And in full direct sun for example, you would definitely risk losing detail at the top end of the exposure range.
In this type of lighting our general recommendation would be for 2 stops of overexposure for optimum results.Although modern pictures can look incredible in the right circumstances, the look of dramatic, old-fashioned film can really bring a unique life to your images.
Some pictures are simply more likely to respond well to this filter than others. For instance, you should generally look for images that have:. There are plenty of great sliders and filters on Lightroom that can help you to adjust the feel and nature of your images. These cameras had lenses that were less sharp and had fewer problems with fringing and flares. Start slowly and adjust the clarity only a fragment at a time, until you start to get the image that is right for your portfolio.
There are many different characteristics that make old film photos so unique. One of the most well-known is the faded shadows and highlights present in older photos. Use the tone curves to pull the black or dark shades in your pictures up, while giving your whites a more faded and vintage look. Have you ever noticed that old film cameras used to leave an almost golden tone on photos? If you want to know how to make pictures look like film, then you need to recreate the right colors using your HSL panel.
Some people may even decide to go entirely black and white. Simply start by adjusting the hue to warm up your images a little and see what happens. Slide your luminance down a little in certain areas, and make sure that you have plenty of saturation in colors like yellow and orange if you want a vignette effect. If you want to make sure that your photos look as realistic as possible, add a little grain back into each image. Be careful not to go over the top here! There you have it!
Everything you need to know about how to make your photos look like film in Lightroom! Remember to follow us on Twitter and Facebook for more tips and tricks on getting the most out of your photography. Envira Gallery helps photographers create beautiful photo and video galleries in just a few clicks so that they can showcase and sell their work.
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How To Get That Medium Format Fuji PRO 400H Look On Your Digital Fuji Files With Lightroom
But certain annoying trends make me develop a Clint Eastwood-esque scowl. Pro H is one of the most versatile color films on the market, but it only seems to be used to achieve one look. Fujifilm Pro H is a speed color negative film meant for professional use in 35mm and medium format cameras. It boasts an incredibly wide exposure latitude, extraordinarily fine grain, and a true-to-life color palette. In practice, the film performs incredibly well — the finer grain results in a kind of sharpness and resolution normally reserved for slower films.
In medium format this film becomes even more impressive — the film takes on a silky-smooth, ultra high resolution look that represents the best of modern film photography. The wide exposure latitude afforded by Fuji Pro H makes this sharpness and resolution available in almost any lighting situation.
Under-exposure latitude bottoms out at a respectable two stops under, but its over-exposure latitude can reach beyond even four or five stops over. This also means that they can shoot freely, as they can make artistic exposure decisions without the immediate threat of crushed shadows or blown highlights.
But while Fujifilm Fujicolor Pro H is incredibly sharp and easy to use, its most distinctive trait by far is its color palette. The color balance of Pro H is remarkably neutral across the board with an added depth to blue and green.Shadow health comprehensive assessment plan
Not only does its accuracy result in a subtler, more nuanced look compared to other professional color negative films, but it also offers a more flexible base for color editing. Skin tones are particularly interesting on Fuji Pro H. Whilst films like Kodak Ektarand to a lesser extent Kodak Portratend to bring out warm orange and red in skin, Pro H instead elects for a colder skin tone.
Depending on the subject, this can either make their skin look smooth and natural or devoid of all blood. Skin tone quirks aside, Fuji Pro H is a malleable, versatile, and reliable film fit for both professional and casual usage.
It delivers a beautiful, yet accurate look that flirts with digital cleanliness while offering that signature tonal gradation that makes film the great medium it is.
As far as color negative emulsions go, Fuji ProH is one of the best, if not certainly the most versatile. The color palette lightens up considerably and shifts more towards pastel. This specific usage of ProH is popular among wedding photographers looking to add a certain lightness to their photos, as well as enterprising Instagrammers looking for a specific visual signature.
Social media and the internet in general has a tendency to make us reduce things, people, and ideas into caricatures of themselves, caricatures which we unfortunately confuse for their entire being. Fuji Pro H, among other things in our hobby, is a victim of that phenomenon. Yes, Fuji ProH can do the bright wedding look and the hip instagram film lifestyle shot, but it can also serve as a wonderful landscape film, can work as a great street photography tool owing to its stellar exposure latitude and detail rendition, and can single handedly improve the performance of even the dinkiest point-and-shoot camera.
Josh Solomon is a freelance writer and touring bassist living in Los Angeles. He has an affinity for all things analog.When trying to make digital emulate film I think an important disclosure is that nothing is going to be exact so don't expect that but you can get it really close Here's a few things we will discuss to get you headed in the right direction: 1.
Using film emulating presets 2. Changing your settings in camera 4. Shooting with gear that gives you more film like results 5. Hacking your camera with Dual ISO.
Film Stock and Exposure Comparisons | Kodak Portra and Fuji
Using Film Emulating Presets A great thing beyond the dynamic range how much range the camera can show from the darkest to lightest points in the image of film is the color.
When you have a few hundred images from a wedding to turn around, not having to edit every single image for basic color is huge. So the first way you can achieve these color differences in digital photography is using Presets. They're great and have lots of options but can be a bit spendy. You can also try making your own by watching online tutorials, there's tons available.
You can watch the one I made here. Also, there isn't a single preset, mine, VSCO or Replichrome thats going to be click and go everytime. You will need to do minor adjustments to white balance and tones but they will definitly get you started. I suggest making these changes in camera raw but you can also do this in Lightroom. With the edits, one of the main things about film is the push towards brightness and blacks without sacrificing detail.
You have two areas that control your highlights. One in the basic adjustments panel and another in the tone curve panel. Play with both to see which you prefer. Typically the first is the better one to start with. You also have a whites slider in your basic panel that you'll want to slide to the right typically to add a bit of pop to your whites. Next lower the contrast with the contrast slider by sliding it to the left slightly. Next take the blacks slider or the darks in the tone curve panel and moving them to add contrast back in.
Another great adjustment is the clarity slider found under your basic panel.
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