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Posts Tagged ‘film’

Impossible launches special edition Polaroid 600 and metallic frame color film

14 Jun

Impossible has released a special edition of its Polaroid 600 instant camera with a two-tone black and white design. The new model is an online-shop exclusive and will set you back $ 179 in the US or €149 in Europe.

In addition, the company has revealed the Metallic Frame Edition color film pack for 600-type cameras which places your analogue instant photos into shimmering foil frames of different colors. Each photo in the pack of eight features a different colored metallic frame, including gold, blue, purple and pink. The Metallic Frame Edition film pack is $ 24.49 in the US and €21.00 in Europe. More information is available on the Impossible website.

Press Release:

CAPTURE THE MAGIC OF SUMMER WITH IMPOSSIBLE

Impossible curate a selection of instant cameras and vibrant frames that will help you capture the essence of summer

Summer is the perfect time to go outside and start shooting. As the weather gets warmer and the days get longer, there’s no better time to get armed with an instant camera and film from Impossible, to help you chase the magic of summer light. Shooting with instant film is all about slowing down, producing something tangible that can be shared – taking time out from the world of all things digital. Impossible now offer a range of styles for both beginners and avid photographers alike, this carefully curated selection of vivid frames and classic Polaroid® cameras will allow you to leave reality behind for just a moment and escape into the hazy hot days, and long balmy nights.

ALL THE COLORS OF THE RAINBOW, BUT METALLIC.
The latest release in our popular colorful frame series, Impossible has created the Metallic Frame Edition color film pack for 600-type cameras, placing your analog instant photos in a range of shimmering foil frames. Each photo in the pack of eight film features a different colored metallic frame, from gold and blue to purple and pink. You never know which color you’ll get next, making this the perfect pack for creating instant photos with a touch of chance this summer. Films priced at £18.99/€21.00/$ 24.49

IT’S ALL ABOUT MINT AND PINK THIS SUMMER.
Expanding Impossible’s Special Edition film series, this release has been specially created for use with Polaroid® 600 type and Impossible I-type cameras. First up, Impossible offers the original format color instant film in a bold and blushed Hot Pink that’s perfect for summer days and hazy nights. This is countered by the cooler tones of the Mint frame edition which provides an ideal palette for seaside scenes and nature photography.This release continues in the spirit of summer, allowing you to create unique and fresh photos for every occasion this season. Films priced at £18.99/€21.00/$ 24.49

A CLASSIC CAMERA WITH A MONOCHROME TWIST.
Offering a monochrome twist to the original Polaroid® camera, Impossible’s special edition Polaroid® 600 Two-Tone Black & White elevates the playful point-and-shoot classic with a custom black & white finish. Stand out from the crowd this summer and make real photos with a Polaroid® camera you’ll want to take everywhere, every day, for every occasion. 600 type is the perfect camera for anyone who’s just getting started with instant photography. Cameras priced at £129.00/€149.00/$ 179.00
http://www.impossible-project.com

Articles: Digital Photography Review (dpreview.com)

 
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Film artist explains what’s wrong with new ‘Spiderman: Homecoming’ poster

27 May

There’s a new Spiderman movie coming out (yes, really – another one) and the most recent poster been generating a lot of comments. Mostly they’re comments about how it looks like the creation of a fevered teenager that just discovered Photoshop.

While the film itself looks like it might not be terrible, the poster is a technicolor mishmash of disparate elements from the movie, thrown together with gleeful disregard for scaling or uniform lighting:

In an interview with The Verge, veteran illustrator Tommy Lee Edwards explains what probably went through the designer’s mind: “Here’s a bunch of references I got from the movie. Let’s put it all together and see how it looks.’ From there, you might be inspired to do a real poster. Instead, they just stopped at that point”.

Well, to be fair, nobody ever said graphic design was easy.

Read more at The Verge

Articles: Digital Photography Review (dpreview.com)

 
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Formula for LomoChrome Purple 400 film reworked

25 May

LomoChrome Purple 400 –  first announced in 2013 – has been reformulated and should now have improved sensitivity at ISO 400, a more refined grain and better rendering of red hues. Inspired by classic infrared film, it uses C41 processing, making it an accessible way for analog shooters to try their hands at this style of photography.

Are these improvements to LomoChrome Purple 400 related to an overall increase in market demand for film? It’s hard to say. The good new is Purple 400 is now better than ever and will still shift your blues to green, greens to purple and yellows to pink.

Articles: Digital Photography Review (dpreview.com)

 
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Analog gems: 10 excellent, affordable film cameras

20 May

Affordable analog

Battles rage over whether digital or analog is the better medium. But those shouting on both sides are missing out on the simple truth that the two compliment each other beautifully.

With digital photography, there is an ability and sometimes a desire to achieve something precise, while happy surprises can be a big part of the analog draw. Keen photographers realize that shooting with both mediums keeps one creatively-focused and balanced: aware that perfection exists, but open to creative serendipity. Moreover, film gives the user a chance to slow down and be decisive, and digital allows the user to quickly see results and learn.

Of course, many of the readers of our site are digital diehards. But let’s pretend for a moment that we’ve convinced you to dabble a bit in analog. What would be a good camera to run a roll through? What follows is a list of 10 cameras, all of which are easy to find, technically capable, and reasonably priced. These are cameras known for holding up mechanically and don’t require obscure or discontinued batteries, like mercury cells.

Of course, this list is far from complete – there are many excellent film cameras available that fit our criteria. Which is why we’ll be looking to add more periodically. So if there are any you feel particularly strongly about, let us know in the comments. Happy shooting!

Canon AE-1

History: The Canon AE-1 was produced from 1976-1984 and in that time more than a million units were sold. One of the first affordable SLRs on the market to feature TTL auto exposure metering, the AE-1 was also the first SLR to use a microprocessor. It is constructed mostly of injection molded plastic to keep costs down. However, this leads to a comparably lighter body than most metal SLRs of the day.

‘From 1976-1984…more than a million units were sold.’

Why we like it: This camera is a solid choice for beginners, offering both a shutter priority and a manual mode (though sadly no aperture priority mode). Metering tends to be accurate and the camera can be powered by a variety of common drugstore batteries. Canon FD lenses are cheap and readily available for the system.

Buy one: These cameras are extremely easy to come across in working order for under $ 100. If buying on eBay, you can often pick up an AE-1 with a bunch of FD lenses and other accessories for about the same price as the body.

Also consider: The Canon AE-1 Program (shown above). The Program was released in 1981 is the follow up to the original AE-1. It is largely the same camera, except for the inclusion of a Program auto exposure mode that sets both shutter speed and aperture.

Pentax K1000

History: The Pentax K1000 first debuted in 1976 (same year as the Canon AE-1) and was manufactured continuously for just over two decades. The body is made mostly of metal and the camera is fully mechanical in operation (there is no auto mode). The K1000 has a built-in light meter that runs on generic drugstore camera batteries. Just remember to put the lens cap on to avoid draining the charge!

Why we like it: The K1000 represents a very different approach to the amateur SLR market than the Canon AE-1. Both are great cameras with redeeming qualities, but we really appreciate the Pentax’s mechanical design, which means it can be operated without batteries (unlike the Canon). And due to its metal build, K1000’s tend to stand the test of time quite well. In short, these cameras have a reputation for being simple, but reliable – great for beginners or purists. And there is also a ton of great glass to be had for the system.

‘We really appreciate the Pentax’s mechanical design, which means it can be operated without batteries.’

Buy one: Not only are these cameras built to last, they were made non-stop for 21 years! So it comes as no surprise that they are easy to find used. Expect to pay between $ 50-$ 175 for one on eBay, depending on the condition. Snagging a deal that includes the body and some Pentax glass is not super likely, but also not impossible. Some collectors claim the bodies with “Asahi” on the prism are more reliable – as they are older and supposedly use fewer plastic components internally – something to keep in mind.

Photo credit: John Kratz

Olympus XA

History:  The Olympus XA is one of the smallest 35mm rangefinder cameras ever made. Sold from 1979 to 1985, this camera manages to tuck a very sharp Zuiko 35mm F2.8 lens (with a 4-blade aperture) behind a protective sliding door. The camera is aperture priority-only, however there is a +1.5 Exp. comp. lever on the bottom of the body. The camera itself is built mostly of plastic, but still feels dense in hand.

Why we like it: There’s a lot to like about this tiny rangefinder: It’s incredibly quiet, the lens is sharp and the metering is good. It also represents one of the most unusual camera designs of its time. The focusing lever is admittedly a bit small and fiddly, but the focus depth scale makes things a bit easier.

‘The Olympus XA is one of the smallest 35mm rangefinder cameras ever made.’

Buy one: It’s pretty easy to find this camera sold alongside its original accessory flash (which mounts on the side of the body). Expect to pay between $ 50-150 for one in working order, with or without the flash. A note of caution: sometimes these turn up in seemingly working order, but with a dead light meter (bad news for an aperture priority-only camera).

Also consider: The Olympus XA2. It is essentially a simplified version of the XA, but with a 35mm F3.5 lens and zone focusing. Some people find the XA2 easier for casual pointing and shooting.

Mamiya M645

History: The Mamiya M645 was the company’s first 6 x 4.5 format SLR-style camera and was manufactured from 1975-1987. It uses an electronic focal plane shutter and features an interchangeable finder and focus screen, but not interchangeable film backs. The camera uses a generic 6 volt camera battery. There are several different versions available including the M645 1000 and the budget-friendly M645J.

Why we like it: These are beautiful cameras both to hold and to operate. Not only that, they are also mechanically reliable. And while there are more feature-packed 6 x 4.5 cameras on the market (including many from Mamiya), few are as affordable as the original M645.

‘There are more feature-packed 6 x 4.5 cameras on the market, but few are as affordable or reliable as the original M645.’

Buy one: These cameras are easy to find in working order. You can expect to pick one up on eBay, with a lens, for between $ 250-350. Note: the M645J model (shown in the image above) is a stripped down version of the M645 for slightly less cash (it has a limited shutter speed range, no mirror lock-up, and one shutter release as opposed to two).

Nikon L35AF

History: Introduced in 1983, the L35AF was Nikon’s first compact with autofocus capability. Its sharp 35mm F2.8 lens and simple design led it to become a marketplace hit. The camera is fully automatic, but does have a +2EV exposure compensation lever on the front of the body. The metering cell is located directly below the lens and the camera can accept filters. It also has a built-in pop-up flash.

Why we like it: At first glance, the L35AF looks like a cheap, plastic camera. But looks are deceiving. This camera is in fact a gem (the body is actually metal with a plastic shell). As mentioned, the lens is sharp, and metering is accurate. AF is also surprisingly accurate. Plus, the camera is powered by two generic AA batteries. Technically-speaking, this is an outstanding film point and shoot. The only down side is the camera is a tad chunky.

‘The L35AF looks like a cheap, plastic camera. But looks are deceiving because this camera is in fact a gem.’

Buy one: You can expect to pay between $ 60-150 for one of these cameras, in working order, on eBay. However the L35AF often turns up in thrift store bins and at rummage sales. Spend a little time hunting and you might find one for under $ 10. There is also the Nikon L35AD, which is the same camera as the L35AF, but with an autodate function.

Minolta Hi-Matic AF2

History: The Minolta Hi-Matic AF2 first debuted in 1981 and is a fully-automatic fixed lens compact, with the exception of its manual film advanced/rewind (weird, we know). The camera has a fairly sharp 38mm F2.8 lens. And like the Nikon L35AF, the camera’s meter is located directly below the front element, which also accepts filters. The camera runs on two AA batteries and offers a pop-up flash.

Why we like it: There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness-to-price ratio, this camera is hard to beat. And while there is no exposure compensation lever as you’ll find on other fixed lens compacts of its time, the camera will warn you if there is not enough light or if a subject is too close. It does this by emitting an irritating beep. It’s plasticky, light weight and a lot of fun to shoot with.

‘There are affordable film cameras, and there is the Hi-Matic AF2. In terms of lens sharpness to price ratio, this camera is hard to beat.’

Buy one: These camera can be purchased in working order for between $ 10-35 on eBay. And if you are really turned off by the manual film advanced, consider the Minolta Hi-Matic AF2-M instead. It’s the same camera, but with a motorized film advanced.

Photo credit: Jonathan Mauer

Olympus Stylus Epic

History: The Stylus Epic or Mju II, as it was called in European and Asian markets, is a fully automatic, weatherproof compact camera that debuted in 1997. Like the Olympus XA, the Stylus Epic features a sliding door to protect the lens – it also doubles as an on/off switch. These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design. Plus the camera is powered by a long-lasting and easily obtainable lithium battery.

Why we like it: There’s a lot to like about the Olympus Stylus Epic. While not everyone is a fan of the camera’s odd, rounded design, this writer finds it fits perfectly in a back pocket. This, plus its weather-sealing make it a great take-everywhere-camera. Also, the flash starts charging as soon as the cover is opened, meaning it should be ready to go when it comes time to photograph a decisive moment.

‘These cameras are revered for their sharp 35mm F2.8 lens, good autofocus and compact design.’

Buy one: These cameras are a cult classic and can be a tad tricky to acquire. This is partly due to the fact that Olympus made numerous compacts under the ‘Stylus’ and ‘mju’ names. However the Stylus Epic/Mju II is optically the best and therefore the most coveted. You can generally find one for between $ 150 and $ 250 on eBay – not bad for a camera originally marketed as a budget compact.

Nikon N90s

History: The N90s, also know as the Nikon F90x in Europe, first debuted in 1994 and was manufactured until 2001. Geared toward advanced amateurs, this camera sounds quite advanced on paper, for a film SLR. Features like 3D Matrix metering, a top plate LCD, 4.1 fps continuous shooting in AF-C and a 1/8000 sec max shutter speed sound like digital camera specs. But don’t get too ahead of yourself, it has only a single AF point and AF performance does not compare to that of modern DSLRs. Still the camera is quite capable. And it runs on four ubiquitous AA batteries, which is a plus.

Why we like it: The turn of the century was an interesting time for camera makers: as consumers slowly began to shift from film to digital, a lot of advanced film cameras debuted at a time when the market was drying up. In a sense, the N90s offers nearly the same feel and handling of a modern Nikon DSLR in a film SLR body. If you’re a Nikon digital shooter, there’s simply no reason not to pick one of these up just to try. They are fantastic. 

‘The N90s offers nearly the same feel and handling of a modern Nikon DSLR, in a film SLR body.’

Buy one: It’s kind of crazy how cheap these cameras can be had. On eBay, expect to pay between $ 40-$ 120. Plus, they are easy to find in working order because of how recently they were manufactured. Just don’t expect to find a sweet deal on one with with a lens included. Oh and be aware, the rubberized coating on the body can become unpleasantly sticky with age, especially if the camera was stored in a warm environment.

Photo credit: Amydet at English Wikipedia

Minolta X-700

History: At the time of its release in 1981, the X700 was Minolta’s top tier manual focus camera. A market success, it was manufactured continually until 1999 and was also the final manual focus SLR the company made.  Stand-out features include TTL flash metering, a bright viewfinder and multiple auto exposure modes. Like the Canon AE-1, the body is made mostly of plastic, which keeps the weight (and manufacturing cost) down. It uses generic drugstore camera batteries.

Why we like it: The X-700 offers both Program auto exposure and Aperture Priority modes as well as full manual mode, making it a good choice for those learning. Plus, Minolta glass is fairly easy to come by on the cheap for this system.

‘The X-700 offers both Program auto exposure…as well as full manual mode, making it a good choice for those learning.’

Buy one: You can expect to pay between $ 75 – $ 150 on eBay for one of these cameras with a lens. And like the Canon AE-1, it’s pretty easy to come across a bundle with camera, extra glass and accessories for around the same price as a single camera and lens. 

Photo credit: Retired Electrician

Canon EOS 5

History: The Canon EOS 5, also sold as the EOS A2 in some markets, is a semi-professional SLR manufactured starting in 1992 and discontinued around the turn of the century. It uses Canon’s latest EF mount, first introduced in 1987. The camera features 16 zone evaluative metering and offers a top burst rate with AF, of 3 fps (5 fps in one shot mode). Other standout features include 5 selectable autofocus points as well as the very first iteration of Canon’s infamous eye-controlled focus. The body is powered by a single 2CR5 lithium battery. These batteries can be a tad pricey, but they’re easy enough to find online. 

Why we like it: High and mid-range SLRs from the 90’s are strange beasts: retro in format, while offering some modern-DSLR features. The EOS 5 is a great example of this: it’s highly capable despite its lack of a sensor. Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.

‘Canon diehards can learn a lot about of the lineage of their modern DSLRs by spending some time with the EOS 5.’

Buy one: No need to break the bank. You can pick up one of these cameras body-only for between $ 30 – $ 100 on eBay. But because they use the modern Canon EF mount, picking one up with a decent lens is going to set you back considerably more.

What cameras should we add?

Is there a camera you feel strongly should be added to this list? Is it affordable, readily available and technically capable? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

 
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FilmLab is a film negative scanning app for smartphones

14 May

Thanks to cheap secondhand cameras and a general ‘retro trend’ film photography is experiencing a true revival. However, most photographers who shoot film still need digital versions of their images to show them off online or send to friends and family, which is why film-scanning hardware and software is a necessary part of the equipment.

Software developer Abe Fettig has found current solutions too expensive and slow and has therefore used his spare time to start working on the FilmLab app as a side-project. FilmLab now exists as a prototype and is impressively simple. Negatives or slides of any size have to be placed on a light table and can then be scanned using your smartphone. 

Pointing the app at the roll of film automatically identifies the images, corrects for distortion and converts negatives into positives. A tap on the shutter then records several Raw files which are merged for optimal image quality. Alternatively, if you want better image quality and/or higher resolution, you can also load images taken with a DSLR or other camera into the app for conversion into digital positives.

Abe is now hoping to work full-time on the app for a while to iron out the bugs and make it work with more types of film stock and phones. You can support this project by donating $ 3 to the app’s development and getting access to ongoing updates, or by donating $ 18 for access to the first Beta builds that will let you be among the first users to try out new features.

The plan is to offer the app as a $ 2/month subscription service once it is finished, with a one month free trial period. This would make it inexpensive, or even free, for those users who do a short-term project digitizing film. You can find out more about the project and see some scanning samples on the FilmLab Kickstarter page.

Articles: Digital Photography Review (dpreview.com)

 
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Sony releases short film showing off Xperia XZ Premium super-slow motion mode

12 May

Sony Mobile has released the first super-slow-motion short movie that has been completely recorded on a smartphone. All of the movie’s scenes were recorded by 120 amateur videographers from 21 countries on the Tróia peninsula near Lisbon, Portugal. The footage was shot under the direction of award-winning director Chris Cairns and using the new Motion Eye mode of the Sony Xperia XZ Premium smartphone that is capable of capturing moving images at 960 frames per second.

Articles: Digital Photography Review (dpreview.com)

 
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VR at the Tribeca Film Festival

04 May

Artists and filmmakers at the Tribeca Film Festival offer differing views on whether virtual reality creates more or less ’empathy’ in viewers than traditional film.

Articles: Digital Photography Review (dpreview.com)

 
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Lomography launches Simple Use Film Camera

18 Apr

If you thought the market for single-use cameras was dead, think again. Lomography today launched its Simple Use Film Camera that comes in three variations: color negative film, black & white film or the Lomography-exclusive color-shifting film LomoChrome Purple.

The cameras come with a built-in flash and Lomography says they are perfect for parties, road trips, weddings and similar occasions. Three different color gel flash filters let you tint your color or LomoChrome Purple shots and if you are feeling adventurous you can even try replacing the pre-loaded film when the roll is finished. Lomography says the camera is designed for single-use only and film replacement can be tricky, but still gives detailed replacement instructions on its website. 

The film sensitivity is ISO 400 for all three types and finished rolls can be developed in any lab. The camera is powered by an AA battery, and shutter speed and aperture are both fixed at 1/120s and F9 respectively. A three camera bundle is available to order on the Lomography website now for $ 52.92. You can also buy individually, in which case the color and black & white cameras will set you back $ 16.30 each, the LomoChrome Purple is $ 21.90. 

Articles: Digital Photography Review (dpreview.com)

 
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How to Simulate the Look of Analog Film Using Lightroom

06 Apr

The tones and organic nature of analog film are things many of us have began to long for in our digital age. Don’t worry, though, this will not be an article about the merits or disadvantages of digital photography or whether film is better or worse than digital. The purpose of this tutorial is to deliver what might be called the best of both photographic worlds. And if not the best, a very liveable compromise between the charm of analog film and the convenience of digital imaging – how to simulate the look of analog film using Lightroom.

How to Simulate the Look of Analog Film Using Lightroom

Photography, like most everything else, is invariably on a forward march of advancement. Always looking for the next best thing; better cars, better computers, and for us photographers…newer digital cameras. Intriguingly enough, often times we end up missing the “old school” feel of the very things we sought to replace with successive newer versions.

Imparting our digital photos with the great look of film is not only but possible, but simpler than it has ever been before. Furthermore, we can conduct all this retrograde post-processing alchemy in Adobe Lightroom. Yes, I promise it’s easy.

How to Simulate the Look of Analog Film Using Lightroom

Things to Note

Now is a good time to pause and make a small disclosure. There are many other variables that exist which determine the final look of a print made from analog film. These variables range from the type and temperature of the chemistry used to develop the film, to the way it was printed and scanned. Even the age of the film when it was shot can change the look of the final results. So remember that while exact accuracy might not be possible the fun of the process itself certainly is!

First Things First – Find a Film You Like

The first step in the process is to find the film you want to replicate. There are a number of ways to go about this. If you happen to be one of those glorious hybrids who shoot both digital and film then you likely have some examples readily available. But the easiest way I’ve found to discover a multitude of images made with analog film is to have a look at Flickr.

There are quite a few groups there that specialize in “film only”, so each image posted is shot on analog film and then scanned into the computer. Some of these groups, such as Film Database require participants to post their images with the film type indicated. Once you find an image with a grain and tone you like, it’s very simple to learn which film was used to create that image. The more images you can find that were shot with that film, the better you can understand the general feel of it.

How to Simulate the Look of Analog Film Using Lightroom

Moving to Lightroom

Once you’ve found the film-look that you’d like to replicate, it’s time to move into Lightroom and let the fun begin. First, we’ll look at the three key things to pay attention to when it comes to simulating the characteristics of film color tone, contrast, and grain. Then, we’ll walk through creating the look of film with a sample image, so you can see just how easy the process really is!

Color Tone

Color tone is a broad term that, for our purpose, describes the overall color temperature of a film and the saturation of those colors. Analog films come in virtually every color tone under the rainbow (pun intended). Some films are very warm toned with rich, vibrant colors. While others are more subdued, with cooler tones and less color saturation. Even black and white films have certain color tone variations.

When looking for the chromatic characteristics of a film, be sure to take note whether the overall tone is warmer or cooler in temperature. Then, look to see if there is any color cast to the image such as blue, red, green, etc. If the film you’re replicating is black and white, still pay close attention to any coloring that might be present. Black and white film is always more than just black and white!

Contrast

This is perhaps the most straightforward aspect of the entire replication process. Contrast is simply the difference between lights and darks within an image. Films carry different contrast latitudes (again, development is key) which you can observe. Are the blacks dark and dense or are they lighter and more faded? Are the highlights bright and contrasted or is the photo flatter and less punchy? Later in Lightroom, the contrast slider will do a lot of the work for you.

Grain

Perhaps the most fickle property of analog film is the presence of grain. Grain is brought about by the size and number of the tiny light-sensitive silver crystals found in the film’s emulsion. Higher ISO film has more grain and lower ISO films generally have less grain. Depending on the film these grains can be larger or smaller, rough or fine, and literally everything in between. It’s a good idea to view the image at the largest size available when examining the grain of the film. Pay special attention to the amount, size, and coarseness of the grain when taking your notes. You are taking notes…aren’t you? Of course, you are!

The Process of Simulation

How to Simulate the Look of Analog Film Using Lightroom

Fujifilm Provia 400X (Image courtesy of Fujifilm)

Now here comes the good part. We will take a digital image and give it the look of a particular analog film. In this case, I’ve chosen a mid-range ISO film, Fujifilm Provia 400X. It’s a moderately saturated film in terms of color, with nice contrast. At ISO 400 the grain is apparent, but not as coarse as some other mid-range ISO films. In most of the images that I viewed from this film, there exists a slight blue color cast present.

Make a Roadmap

So, before I do anything in Lightroom, I make a road map to help me along the way during my processing. It will list the core attributes of the film I’m hoping to replicate. Do this for your film now:

  • Color Tone: Slight blue hue especially in the shadows. Color saturation is moderate. Color temperature is slightly cool.
  • Contrast: Moderate to strong contrast with deep blacks.
  • Grain: Quite apparent but relatively smooth.

Do Basic Adjustments First

We begin with a photo that has been corrected for exposure but no adjustments for color or contrast. This is the best place to start for replicating analog film.

How to Simulate the Look of Analog Film Using Lightroom

Image before processing.

I crop the photo slightly and then move back to the Basic Panel.

How to Simulate the Look of Analog Film Using Lightroom

Follow the Roadmap

Going back to the road map list I made earlier, contrast is the first adjustment. I increase the contrast slider to +81 but this still doesn’t give me the depth in the shadows I’m after, so I go further and darken the blacks by -40. While I’m here, I reduce the saturation to better match the moderate qualities of the Provia 400x. Since the image needs to be slightly cooler, I decrease the temperature a very small amount as well.

To add a little more blue to the shadows we will next use one of the great unsung hero of Lightroom, the tone curve. Click on the tone curve panel and be sure it’s set to “channels” view. Since I want to add a blue color cast, I select the blue channel (see below).

How to Simulate the Look of Analog Film Using Lightroom

Since I want to apply the blue toning mostly in the shadow areas of the image, I raise the leftmost end of the curve upwards slightly. This will introduce a blue hue to the blacks. Be careful not to overdo it here. A little goes an incredibly long way.

How to Simulate the Look of Analog Film Using Lightroom

Using the Curves Adjustment, in the blue channel – adjust the blacks as shown here to add a cool tint to shadows.

Adding Grain

All that’s left now is to focus in on our grain situation. My original digital image was shot at ISO 500 which is close to the ISO 400 of the Provia. Here’s a 1:1 zoom of the original image.

How to Simulate the Look of Analog Film Using Lightroom
But film grain bears many more nuances. So let’s adjust the grain in the effects panel based on our notes from earlier. We observed that Fujifilm Provia 400x sported grain that was moderate, but rather fine. So I experiment with the Amount, Size, and Roughness sliders until I reach a grain effect that approximates the appearance I’m after. Don’t be afraid to manipulate these sliders into submission! The correct combination only comes from visually comparing the adjustments.

How to Simulate the Look of Analog Film Using Lightroom

Here is the grain we’ve added compared to the original image. At a 1:1 view the difference because readily apparent.

And now, you’re all done!

How to Simulate the Look of Analog Film Using Lightroom

Final image.

Don’t hesitate to go back and tweak the exposure or other adjustments to get the look you want. But remember if you change the contrast or color edits your photo might distance itself from the analog film you’ve attempted to simulate.

*Bonus* Try increasing the color noise reduction slider to remove any traces of color noise. Color noise is a trait exclusive to digital imaging and is not found in analog films.

Here’s the finished simulation of Fujifilm Provia 400x film compared to our original digital photo.

How to Simulate the Look of Analog Film Using Lightroom

Before and after.

Conclusion

While we can’t exactly replicate the look of film due to variances in the development and printing processes, we can achieve very similar looks. In a way, we have more versatility since we can strive to achieve the look of a multitude of films in our digital darkrooms. Show us your own analog film simulations in the comments section below!


Want to get a jump start at creating your very own analog film simulations? Take a look at these presets developed by myself, which replicate the looks of numerous classic analog films. All with just a click of the mouse!

  • Analog Film Simulations: Volume 1
  • Analog Film Simulations: Volume 2

The post How to Simulate the Look of Analog Film Using Lightroom by Adam Welch appeared first on Digital Photography School.


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Ultra large and custom film sizes now on order from Ilford Photo

06 Apr

UK black and white film manufacturer Harman Technology has announced that its annual large format and custom film ordering scheme is open from now until May 26th. The scheme allows users of cameras that take unusual film formats to order certain Ilford emulsions within a set window so the company can set aside factory time to bulk-produce formats it wouldn’t otherwise be able to make financially viable.

As was the case last year Ilford FP4 Plus, HP5 Plus and Delta 100 emulsions will be available to order in sheet sizes from 2.25 x 3.25in to 20 x 24in. Rolls are also on offer for 127 film and formats 9cm wide, as well as 50 foot rolls of 20in film. Not all emulsions can be ordered in all formats but most of the more popular formats are covered. 120 backing paper can be ordered in 100ft lengths.

Harman says there are minimum order quantities that need to be reached before manufacturing can go ahead, but in the case of the sheet films usually a single order of a box of 25 sheets is enough. Roll films though need between 2 and 15 orders to make them practical to cut.

The company lists retailers across the world with which orders can be placed and the sizes/emulsions on offer. Prices will need to be checked with those retailers. Shipping to distributors will begin in August 2017. For more information see the Ilford Photo website.

Press release

ILFORD PHOTO ULF, CUSTOM & SPECIALIST FILM MANUFACTURE 2017

Buoyed by ongoing global resurgence in photographic film use, HARMAN technology Limited is delighted to be offering film photographers the opportunity to place orders for a range of specialist film products and formats for the 12th consecutive year.

To enable this film photography revival, it is vital that a wide range of film formats are available including film for ultra large format and collectable cameras.

By consolidating orders HARMAN technology can supply products that would not normally be viable to manufacture.

“This program enables us to further support film photographers who use and value our conventional products” said Giles Branthwaite, Director of Sales and Marketing at Harman technology. “Through running the ULF program each year, we are able to satisfy the strong demand for specialist film formats. Whilst manufacture is not easy, we have been rewarded by high demand ensuring we will continue to address and care for this market.”

Films available for this year are ILFORD FP4 PLUS, HP5 PLUS, and DELTA 100 PROFESSIONAL. Not all films are available in all formats.

For a full list of the 2017 items and participating dealers visit:
http://www.ilfordphoto.com/ulf

The options available reflect what has been asked for over the past 12 years. HARMAN technology is happy to consider any other size suggestions but do not guarantee to make them available.

For sheet sizes an order for just one single box can be made, but for roll sizes this is not possible due to potentially excessive waste. Please see the minimums and multiples required next to the appropriate roll size.

Note:
Orders must be placed with the listed ULF reseller partners no later than Friday 26th May.

The UK factory will start to ship orders to Distributors during August and end users should check with the local ULF reseller for expected arrival dates.

Articles: Digital Photography Review (dpreview.com)

 
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