![]() ![]() © Randy Kepple Photographs A Range of Presets That was certainly not my experience shooting film. I’m not sure who decided this was the digital equivalent to emulating film. Most of the time it simply looks like a bad photocopy. When it comes to emulating the subjective look of color film, most so-called analog film presets flatten the curves and pull up the shadows and flatten the highlights. While the grain is more pronounced due to its increased edge sharpness, it was distinctive and organic. It’s a high acutance developer (because it does not contain a silver solvent). Rodinal was patented in 1891 and is the oldest photographic product still available. My personal favorite was Kodak Tri-X developed in Agfa Rodinal diluted 1:50. I became intimate with film and its nuances and characteristics. Every roll and sheet of black and white film was developed and printed by hand. © Randy Kepple Photographsīack in the day, I worked at Moon Photo, a small black and white lab in Seattle. My past is deeply rooted in working with film and that gives me a perspective and cynicism that most photographers will never have: the ability to understand what film is actually supposed to look like. As a black and white purist at heart, I’ve always been very critical of digital solutions to emulating an analog process. Every panel has the option to toggle on/off or dial in with amazing subtlety.Īs Alien Skin says on its website, nuances matter. Everything is customizable, including the grain, which you can actually turn off. No digital pebble bashing like you’ll find in Lightroom- or Photoshop-based effects. As you resize a filter, the grain “breathes” and you can see this happen in real time. The grain is what truly sets this software apart from the rest. These presets capture the natural warmth of film with glowing skin tones and pastel color palettes. Exposure 6 offers an authentic, analog warmth that’s true to the heritage of film wrapped in a digital interface that’s easy to implement into your workflow. Like a vinyl record, there’s an organic warmth to film grain that’s different than the sterile noise of digital software. The film edges and vintage effects are authentic, vintage prints and negatives scanned by Parker Pfister. Then added in subjective characteristics with feedback from film purists such as Jeff Ascough and Parker Pfister. Like scientists from a ’50s B movie armed with electron microscopes, they’ve analyzed actual film emulsions for grain characteristics. That heritage and attention to the smallest detail has been carried forward with the release of Exposure 6. One of the first solutions for digital photographers seeking to emulate the analog warmth, softness and grain of film. You may know Alien Skin for their Eye Candy software aimed at graphic designers (did you know they developed the first drop shadow for Photoshop?), but they quickly became the darlings of the photo community when they released Exposure in 2005. More than a decade of research and feedback from industry-leading photographers from around the world has gone into Exposure 6. If you’re serious about bridging the gap between digital and the timeless subtleties of film, you’d be hard pressed to find a more realistic solution without actually shooting film. Aside from the nostalgia of creating an image that looks like it was taken by your grandparents, most of these tools leave you wanting more.Įxposure 6 from Alien Skin Software changes all of this. To see that in action, check out this video by Adobe that quickly demonstrates the new Lightroom masking system.Digital film effects are what I like to call the “Pursuit of Imperfection.” What is this fascination with film? Seems that everyone is pushing out vintage film presets, filters and apps. For example, you could create a radial gradient to darken an image, use the “subtract” option to subtract part of the mask, and still adjust the shape, size, and location of the original gradient without affecting the part you brushed out. One cool new feature is the ability to adjust components of a mask independently of one another. They work in much the same way as previous versions of Lightroom, with a few new additions. You can click any of them to create a local adjustment mask. The brush, linear gradient, and radial gradient masking tools are listed right underneath the new AI masking options. RELATED: How to Combine Masks in Adobe Lightroom Classic Local Adjustment Options For example, the luminance range mask lets you either select a luminance range or select an area of your image with a dropper. Depending on which mask you’re combining with the original, you’ll use different refinements. From there you can refine the secondary mask. ![]()
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