Here on my blog, I didn’t talk a whole lot about my post-processing work so far. I could fill whole books with information about skin retouching, body reshaping, dodge & burn, and all the other various techniques since they are all based on endless different approaches and – much more interesting – philosophical point of views.
There are certain standards the (beauty/glam) industry is requiring, but there’s also room for (my & your) own style development.
One of the (last) steps in my post work – a must so to say – is the cultivation (refinement) of my imagery with film looks.
Why a Film Look?
Aiming for a film look has nothing to do with me yearning for the good old days or not being able to let go. Heck no, I truly love the digital era. But film looks instinctively (and unconsciously) evoke a feeling of authenticity. After all, this “look” has been fed to us and internalized for decades – meaning grainy specific B&W /color-profiled imagery and prints.
A photo appears to be much more realistic if it looks like an image of the analog era. Far from digital super HD that gives us a feeling of exaggerated (= unreal) clarity.
Conversion & Looks Help to Enhance My Vision
The specific character that came from a pushed B&W film or a slightly underexposed slide film are aesthetically so far away from the clean digital files we see with today’s high resolution cameras.
There is a unique elegance in film’s simple grain and mysterious qualities. For the film photographer, certain specialized looks have always been achieved by choices in chemistry, paper and technique coupled with the type of film or emulsion chosen. The varying differences in the consistency of light sensitivity in emulsions typically give each type of film its unique aesthetic.
With many films being taken off the market, it is still incredibly useful to keep those traditional names and what they meant to the film photographer alive, and use them as points of reference.
For me as a photographer in the digital era, using film simulation effectively is all about choosing a “look” that matches my vision and intention.
Using Plugins besides Photoshop or Lightroom
While sophisticated standard software like Photoshop & Lightroom gives you the ability to customize and personalize your images perfectly through individual edits such as highlights, shadows, contrast, color channels, skin retouching, liquefying and more, they never really provide the look and feel I’m used to (and adore) from my pre-digital days: The charisma of distortion, aka analogue film look.
Sure, you can add grain and build looks in Photoshop too, but working with specific and sophisticated add-ons (= plugins) integrated in your workflow in PS/LR is the only (simplistic) way to open a gate to a new world, to level-up your vision.
Dedicated film emulsion simulation plugins are a wonderful addition to the common retouching process (yet most plugins don’t come cheap…).
I Use Exposure by Alien Skin
Exposure gives my photos an organic and emotional appeal inspired by the history of analog photography. That’s exactly what I am used to from my old days of photography. Using these looks helps me wiping out that clean, overly-perfect digital flavor.
Further, the app helps me in developing my style. With over 470 presets that emulate the warmth of film, Exposure offers a wide range of starting points for developing my look. There are classic favorites like Kodak Porta, Fuji Pro 160, Provia 400F, Kodachrome, TRI-X, Polaroid, Ilford and Neopan, plus exotic ones like Panatomic-X, GAF 500.
Sometimes I discover a preset that sparks an idea. I then start to modify the original preset until I have created a unique look for one of my series. Sometimes this takes quite a lot of time – but it’s the creative process that translates my vision into the message of emotion and mood.
Every Series Conveys Its Own Look
Example images shown here are extracts from different shootings that are all based on completely different concepts and purposes. However, they are perfect to showcase the infinite possible outcomes. Each is represented by a “before” and “after” image. The “before” has already received its final touch ups in Photoshop so the “after” rather shows the effect of the specific look that I have applied to the image.
Conclusion: Reactivate Bygone Impressions
Triggering the feel of authenticity by using film character looks is a bullet proof way to gently convince viewers of a photograph’s validity.
But what is actually “real” in photography? Everything is subjective and each impression, every emotion is based on an experience – stored away in our conscious and subconscious mind, heart…
It’s my job to revive such personal and individual impressions…
Interesting post.
Has anyone used the VSCO film simulation software?
Hey Ray,
thanks for your input regarding VSCO. Myself I’ve never heard/used them.
But for all of us: Here a small list with the different plugins existing emulating film looks…
Analog/Color/Silver Efex Pro: https://www.google.com/nikcollection/
Alien Skin Exposure: http://www.alienskin.com/exposure/
Topaz B&W Effects: https://www.topazlabs.com/bweffects
Tonality (Mac only): http://macphun.com/tonality
DxO FilmPack: http://www.dxo.com/us/photography/photo-software/dxo-filmpack
onONE PERFECT B&W: http://www.on1.com/products/
VSCO: http://vsco.co/film
Have fun!
Dan,
From your comment: “Sometimes I discover a preset that sparks an idea. I then start to modify the original preset until I have created a unique look for one of my series. Sometimes this takes quite a lot of time – but it’s the creative process that translates my vision into the message of emotion and mood. ”
Can you discuss this process a little bit more in detail. I am not asking to disclose your preset or your trade secret, but just to understand how it works and how big difficult (or not) would be to try this route? Would you recommend this approach for what level of expertise?
Regards,
Marco R.
Hi Marco, thanks for reading and your question. Sure, no problem:
Like with Presets (Lightroom), a standard setting of an emulated film within a plugin is just a starting point for me.
Let’s say I do a B&W conversion with an emulation of an Ilford Delta 400 film:
1) I enhance, touch and finish the color photo first (processing in Lightroom and Photoshop).
2) Then I’m looking for the most suitable B&W film/conversion that fits my idea of the image/series.
Depending on the look & message of the image (lighting, beautification, expression) I have different needs like being contrasty, soft, radiant, dull etc. Let’s say I’ve decided to go with the Delta 400…
3) I choose that emulation but in 99% of the time I will do alterations like making it more contrasty, reducing/pushing grain, forcing tonal aspects from specific colors intentionally (like making blue darker, orange brighter etc). Don’t forget: The conversion is based on a color image, working with the color spectrum).
The same goes when applying color film emulation. I always tweak the atmosphere a bit for supporting my idea of the image’s message/look better.
In short: With every new series it needs its time in the beginning to determine the final look. But once done I can replicate the look based on the own tweaked preset.
It’s the same like you buy one of these millions Preset-Packs out there: It always looks great on the advertised images…but mostly never works with your own. You always have to alter presets so that they fit exactly your own series/imagery.
That’s why – in my opinion – all this Preset Packs & Actions out there are totally overrated (and copies of copies of copies…)
Working form a starting point with a Preset/Plugin Preset can be done with any expertise; no problem at all. One just needs to have a bit of time (which is totally worth it to get the results one is looking for…).
I hope this helps.
Best,
Dan
Dan,
I’ll admit it – I’m a film nut. Have been for some 40+ years. Made the switch to digital 15 or so years ago and couldn’t be happier with the medium. That said, I find the digital film simulations just don’t recreate the emulsions I used for so many years; to me, they look contrived. So, when I want something to look like film, I will by golly use the real thing, like this shot on Portra 160 in a Yashica 124 TLR. Once I scan the negative or transparency, then the digital mode takes over and the sky’s the limit.
It is the rare client who will afford me the opportunity to use real film (“I want it now – what do you mean, you have to have the film developed?”), so mostly my forays into Film World are for personal projects and fun stuff. I have yet to encounter a client who says, “Make them look exactly like Ektachrome 64…”
I treasure the next art nude session with my Cambo 4×5 and the ever-shrinking roster of choices of the real stuff….
Allen Moore
Hey Allen, thanks for your opinion. I totally understand your approach.
I too started out shooting real film 30 years ago, both color & b/w. Unfortunately I never used analog again in the last 10 years.
I would have to revive that – but it’s also a cost factor (for personal projects). Film got expensive and a good quality scan (I don’t have an own machine like ‘Coolscan’ or similar) is expensive. And (!) if shooting again with film, it would have to be with my Hassi 6×6. Time consuming and unaffordable at this point…
Very appealing image you posted here, thank you! Please post some real analog images when done with your Cambo 4×5!
Thanks & best, Dan
This is a very interesting post Dan I too started shooting film in the 80’s and have allot wet darkroom experience. I still use film, but the choice of emulsions has shrunk in the past few years and I shoot it far less frequently than I did say 5 years ago. Exposure 7 does to a good job of approximating emulsions but in a side by side comparison of 16×20 prints from Portra 160 I still think film has the edge. That said Exposer 7 really shines in the fact that it allows us to recreate emulsions that are no longer available like the beloved Kodachrome. I guess momma took our Kodachrome away
You’re right, Ralph.
None of the emulations software are able to replicate the look 100% – at least not in characteristics; grain probably yes (because that’s exact science).
Yet Exposure & Topaz Lab produces good results and without looking too close to a direct comparison.
A more important point for me: With any emulation I see the digital flavor going lost and that’s what counts as a first step.
Happy shooting!
Dan
Hi Dan.
And to all other followers. I am a fan of using film types (plug-ins) etc.
Anyway, I thought I’d leave you with a little image from a very recent Noir Nude Image.
I hope you all enjoy it, but there’s plenty more where they come from of course.
Sincerely
Mark
Thanks, for sharing, Mark. Did you use an emulation on that pic? If yes can you posts just a 1:1 detail so we see the grain added?
Best,
Dan