Making a preset and calling it a film is easy. But making a digital film look like film is really hard. It’s not something you do manually and most film presets don’t get very close. In today’s video, we solve that.
This update brings a lot of small refines and bug fixes to mods and film looks. You’ll find updated presets marked 2.1. With any color, tone and mod improvements across the film styles including subtle tweaks to make films like Portra and Ektar even more accurate to film. Also, the new Digital orange fixer shown in this training video is in 2.1 and very useful.
I love film. But it’s expensive so I need film recipes that work.
So when I went to work on Filmist 2 it was after 5 years of refining Filmist V1 and sending our many free updates. I wanted more though and that’s where the idea of True-Film was born.
I also wanted a cleaner pack of presets and better darkroom-inspired mods like push and pull tools that emulated the way contrast changes when you push and pull your ISO in the camera.
It meant shooting film and digital side by side with the same light and settings. In fact, in film tests, I use the same aperture, shutter speed, and often the same vintage lenses to get the exact result.
Still, that’s not enough. Many films are long gone and even films I can use vary by batch, how people scan etc. So I have to test not only my scans but also look at how other people are using that film and what its result should look like.
In case you missed the launch video it gives a lot of quick examples.
For example the new Gen2 Porta 400 Film preset.
This is tough because this film is all about skin tones. You would think with the endless digital tools in Lightroom Capture etc that nailing out is easy. But getting a perfect film skin tone is super hard. I spend hours adjusting curves by one point and then another.
Sometimes I doubt myself and then I compare it to other products and presets to create a film that looks digital and realizes it’s working. It’s not that these are not good products, it’s that getting the film right is that hard, and in FIlmist it’s the entire focus.
Does that film feel boring or flat?
I’ve made videos about basing edits with film presets and how it stops you from pushing sliders too far. We’re used to extremes. From giant movie exposition to over-saturated photos. And it’s OK to push up your saturation. But start natural!
When people first try film presets sometimes they think it’s not enough of a change. It’s too flat or plain. This is because we’ve been conditioned by digital to over edit and it makes photos that seem fake and unnatural.
I think that’s why many film tools don’t look like the films. They are over-edited to try and please a before-after sample and make it look intense. But it’s not true to the film.
2024 is a year where natural things win.
People are jaded by fakery. In an AI world, professional photographers need to take away the disbelief people have started feeling. real photos are becoming more valuable than ever.
I designed these presets to be adjusted. So you can push op the intensity or add a mod like the Push contrast mod that mimics how film contracts increase when you push in the darkroom.
The result of these true-film ideas is film looks that are true to the film as much as we are possible but that also can be manualized to your needs and still have natural real-world feelings contrast and details.
The future of making these presets more True-Film.
With a mission of vitality and accuracy, I have a lot of free updates planned for my FIlmist users. My shelf is full of film right now that I’m doing more tests on. I watch countless videos old and new to try and refine films that are gone from shelves. These need to be preserved.
I’m working now on doing darkroom prints to further refine recipes because even scans are not always the same. Every scanner and software converts things differently. So I’ll be doing darkroom prints to reference and refine the recipes.
Ever feel your editing is messy, or you need a reboot?
Grounding changes your editing and improves your style. es, Filmic Lightroom presets and styles help a lot. But your style can still be whatever you want. Stay with me till the end and I will make this easy.
Why do most in-camera profiles look so bad? Why do I come back to an edit I liked and it seems gross? It’s because digital edits lack a reference point.
Here are some free Filmic Lightroom presets.
I’ll also add some videos today showing how I create and use Filmist Lightroom and Capture One presets and some of the things I learned along the way.
I’ve made many videos over the years as I explored film stocks and created the Gen.2 looks of my film presets like Portra, Ektar, and Classic Negative which have become the go-to styles for many.
OK, let’s get started…
1. Grounding works because we exist in analog!
Ever come back to an edit the next day or week and thought? What was I thinking? I sure have.
You lacked a baseline and went too far. It happens to all of us. Filmic Lightroom presets and styles are not just a hipster fad, and if you’re still not using them you are missing out. So first we’re going the base our edits as close to real analog film as possible. Don’t worry you don’t have to stay there.
Much like Shadow Hacking, which brings you back to in-camera thinking. Filmic Lightroom Presets presets and styles seem simple but are not. I was a skeptic. But today Filmic Lightroom presets are my go-to for every session and for the past 5 years I’ve been developing better film and filmic presets to improve this process.
A film preset edit gives you a wide range of colors and tones but with a more subdued look that lets the truth of your photo come through so you can decide. When you add Shadow Hacking as I teach in my live workshop, you get photos that print nearly indistinguishable from film prints.
There are two levels of Filmic Lightroom presets.
Both are important but you should know the difference between them because the second is better for rebooting and a lot harder to make. So much so that most presets sold don’t qualify.
The first is basic Filmic presets. Level 1:
These are most Filmic Lightroom Presets and Filmic styles in Capture One LUTS, etc. They have a film-inspired tone and look. What’s that mean when you are making them?
Usually, it means darker more obscured greens, and deeper shadows but not overdriving contrast and color using what we learned from over a hundred years of Darkroom to effect digital edits.
Filmic Lightroom presets and styles that are just inspired by the film are the easiest way to make your own. I use them all the time. But I don’t use them for a grounding base film process reboot my edits and they can quickly grow back into over-driven digital edits.
The second is true Film like presets, Level 2:
Film Lightroom presets, capture one style, LUTS etc. represent a much more complex edit. You could spend a week making a look like the Portra 400 presets from Filmist.
A Film preset is not just influenced by analog styles. It’s tested and refined to look like the film. That’s what I did with Filmist which is why it’s taken me 5 years and improves with every version. I watch the reviews and look for more information all the time. Real films reset your editing brain more because they ground you.
When I started trying to create film presets I was thinking more of filmic. Make looks that were inspired by my film. But it was not enough so I started digger deeper and studying the nuance of individual stocks to get a true-to-life representation of those films.
2. This editing theory will reset your editing brain.
You might be thinking… Nothing new here. But the more you use this process in your edits. Level 2’s especially. The more you realize that these film stocks lasted decades for a reason. They seem simple at first you soon you realize well they are grounded and complicated.
Apply a film you like to every photo. Do your quick exposure adjustments and get the session looking balanced. When you edit with film-like presets and filmic styles you get perspective.
You might turn a filmic lightroom preset up or down. You might mod for contrast or transition totally different look. But your perceptions are grounded in the analog that is proven to withstand the test of time.
If you look at this session you can see the edit from when I first shot the session was ok. But it felt burned and it was inconsistent across poses and lighting.
Look how I came back and re-edited the session with Portra 160-like film preset and a few mods. Each pose is slightly different, but they all have a constant feel. I like them gentle like this but my old self would want to add more mods, saturation, etc. That’s fine, as long as you have grounding to keep you on point.
Soon you’ll find yourself going back to old edits and now they seem strange and overcooked. You reboot your brain in terms of editing. It does not mean other filters and edits are not important anymore. I still use Natural HDR or Bella 2 which are not specifically filmic.
In this AI World, real things are gaining value.
And so we relate to and believe in analog things. Especially in this new AI-driven world where sometimes everything feels fake. This level of photography is going to become more important every year and Filmic Lightroom Presets help me stay focused.
Yes, there’s a level 3. Shooting digital side by side with the real film and using that as your grouping for shadow, color, and editing. I do this to practice and further refine Filmist for example but it gives you even more grounding and perspective.
Even the way we adjust exposure changes with analog. Pushing the exposure slider is not the same as pushing film and as I’ve become more advanced in my Film presets, even the mod presets, curves, and exposure settings have improved.
See this video from my channel after I created the Gen.2 the Portra-like pushed film style.
You Ground with real film presets, then find YOUR STYLE!
Yes, editing with filmic styles and Filmic Lightroom Presets makes you edit everything better. Much like shooting film improves your understanding of shadow and creativity by resetting your brain to an analog state that lets you see your digital work from a new perspective.
But it’s important you ground to something solid. That means don’t just edit your first photo of the day and use that as your baseline edit. Start with an edit you know the analog human brain accepts. Film is a great start.
Start with a level 2 film preset. Not just a filmic look. That means using well-researched presets or spending the days of research you need to create one yourself that is accurately representative of a real film. Or download the free or complete filmist and that will get you started.
3. Filmic Lightroom Presets and film styles. Then move outward.
The grounding keeps you constant even when you’re not doing the filmic style.
So for example I will go to Filmist and use Potra Ektar-like film lightroom presets. Maybe Fuji 400h. I know these analog looks withstood the test of time and that our minds relate to them.
I don’t have to stop there and I may not even stay with a film look. Grounding your edits sounds boring, but it actually makes you flexible and creative and keeps you out of a rut. So even when I go to HDR, that grounding is affecting my edit.
So I look at the mood and shadows of my shoot. I may decide to veer from film and use other effects, actions, edits, or presets. But now can really feel where I am in the edit better.
It’s about rebooting the brain to see past the temporary creative blindness that the ever-changing sliders and tools can give us so that we use those tools better with each unique photo session.
At least grab the free Filmic Lightroom presets, film styles, and LUTS I linked above and try them for a while. If they seem not intense enough that’s normal. Your editing brain will soon reboot and you will open up a totally new horizon.
So Let’s Recap…
Ground the baseline of your edits with edits as close to real analog film as possible. Use Filmic Lightroom presets and film styles, or even create your own.
Edit photos with favorite films and use that as your grounded starting point. I will often start with Portra 400 or Ektar as my baseline because these films work on anything and I can apply them to an entire session.
You can expand out with mods, other filters, presets, actions etc., and the final look for your project. Use your first edits as a reference to not edit too far. Staying with the film is also fine. I often stay with the film look/
I hope this helps you refine your edit process as much as it did for me. Let me know in the comments and if needed I’ll do more videos on this. Gavin Seim
Photo contrast was normal in film but is so misunderstood in digital. And the contrast slider is not helping. Not yet attended Shadow Hackers LIVE? It’s a game-changer. Sign up here for free.
I’ll show you how to create great photo contrast and stop the slider.
I make use of contrast. But not like they teach us. The contrast slider It’s last on the list, not first.
This week I worked on Silver Presets v 5.3 and there are a bunch of new updates which I’ll show in today’s video. But what I teach you in today’s video is actually where the refinements of Silver came from this week.
In general digital photography is pushing everything too far to the right and in today’s video we’ll see how that does not improve our photo contrast and we[‘re being taught contrast all wrong.
Silver 5.3 update.
I always use what I discover to improve our editing tools. Today is no exception.
Today’s video was my mindset when I did the Silver 5.3 Black and White presets update. I’ll cover the updates briefly in the video as they related to this. But even if you’re making your own presets take note because these tips are really powerful in black and white presets. If you own V5 already you can log in and update.
Shadows hold your photo contrast hostage.
SO you have to hack the shadows. You may be watching this video as a primer before my shadows hackers. But the slice of shadow we focus on today in managing photo contrast and ending our reliance on the slider is very powerful.
Photo Contrast is the heart of your photo.
It’s not always the same. Sometimes that contrast means deep blacks, other times misty darks that blend with bold highlights. It’s the separation they create that I teach in other workshops and videos using Zones, editing, and in-camera techniques that lets us draw them out.
It’s the mixing of all this combined with the organic emotion or impact of a photo that brings it all together to make a great image filled with perfect photo contrast.
Go try these tips in your Photo contrast and then go further with Shadow Hacking.
As of 2023, this is the absolute best way to get dramatic black and white I have discovered. Plus I just did a big update to my Blackroom actions (login here if you own Blackroom)
But today’s video will fill you with black and white-ness, even if you don’t use my actions.
I’ll show you the best way to create black and white in Photoshop and why it;’s better than doing it only in Lightroom as we edit a landscape and a portrait. Go fullscreen and watch this one in 4k.
Improving your Dramatic black and white is about nuance.
New photographers often make the mistake of thinking that dramatic black and white is more about adding contrast. Something the opposite is true. It’s actually about using shadow correctly.
That’s why you see me in the video referencing to the Zones and thinking about where I want the tone to be placed. You control all of that.
Lightroom, C1, or Photoshop for Dramatic black and white?
Both work great as you’ll see in today’s hands-on video. If you have a good editing plan they bother convert beautifully. But I’ll show you in today’s video why you will always get a bit more if you finish in Photoshop, even if you started out in Lightroom or Capture One (which is what I do).
In the end, you can do all of this manually, create your own tools, presets, actions etc if you are really experienced, or use tools like my Silver presets and Blackroom actions.
The main thing is to try the methods I showed you today and your dramatic black and white photos will touch the sky sell more and win competitions. Really.
That is the power of the dramatic black and white. Let me know what you think.
I made a comparison of Luminar Neo vs Lightroom vs Capture One with no affiliate links, sponsors or brand bias.
Lightroom and Capture One are the big dogs in 2023. Watch my annual review here. But what about Lightroom vs Luminar Neo, it Capture One vs Luminar Neo? Today we find out!
Luminar gets advertised as the easy editor. But most reviews are affiliate or even sponsored videos. We need smaller devs and competition, so I don’t want to ignore them. Today we’ll compare Lightroom Vs Luminar Neo and even bit of Capture One in a real world test.
Download my Free Luminar Neo preset I made for the video. Also use my Filmist LUTS in Luminar Neo as LUTS work amazing in Neo. Download the Filmist free pack and the very least and give it try.
I admit, comparing Lightroom vs Luminar Neo surprised me!
Both in that Luminar Neo does a lot of things, but also I expected more. I feels like Skylum has been focusing on fun features that advertise, rather than refining the app and making it pro tuned. With things like UNDO not even working as of March 2023 (v1.7) this app is not ready to be a photographers daily driver.
In general Luminar Neo gives a broad suite of editing tools for RAW files. It actually has more tools than Lightroom, even if some are a bit gimmicky, many are quite useful.
Luminar is trying to bridge the gap between photoshop and Lightroom. And to a point, it does that with fun add on’s, AI tools and some basic layer control. But it’s still nothing close when it comes to the layer based editing to Photoshop or even Affinity Photos. This like LR and C1 is is a RAW style editor first.
How well does Luminar Neo vs Lightroom Process your files.
Overall it’s honestly good. Masks are clean, selections are nice if a bit slow. AI seems to work more of less Ai-like.
BUT as I showed in the video and below, Luminar falls apart in more difficult shadow and highlight situations. Instead of giving a smooth roll-off in clipping, it bands. Something Lightroom used to suffer from, but these days is maybe even a bit ahead of Capture One.
Is it worth using Luminar Neo vs Capture One vs Lightroom?
Not exactly. Neo is a powerful tool but it’s just as expensive and Lightroom and Photoshop Combined. So while it might be easier to learn and get started (for sure it’s easier than Photoshop) it’s also far more limited, has lower quality Raw processing and it’s lacking a lot of basic pro grade features.
Skylum is treating Luminar more like a mobile app than a serious pro photography tool. It’s many tools are in disconnect with interface problems, lack on expandability and they try to sell extras and instead of fixing slow or buggy features.
While importing is fast, even basic tools like resetting a photo, cropping and exporting are slow and drag when compared to Lightroom and Capture One in general. But the results of the many tools do work well.
Is Luminar really the easy Photo Editor?
That’s how Luminar Neo vs Lightroom. is promoted. The easy, cheaper one click editor. In a sense it’s easy. The learning curve seems straight forward and it can do some things you would normally need Photoshop for.
On a learning scale of 1-10, I would rate Luminar a 4, Lightroom a 5, Capture one a 6 and Photoshop an 8 in it’s learning curve.
While this won’t replace Lightroom, Capture One, Photoshop or Affinity for pros, you will get a lot of tools and if you’re looking for a new app to play with, Luminar Neo offers a lot in one package but it’s more expensive than both LR and PS, combined!.
That said the problems and inability to do simple things any pro app should do make things not so easy of you operate by those standards. Here’s looking at you UNDO, come on Skylum.
You can do a lot here from replacing skies (do very many of us do that) to great portrait edits. It’s just important to separate marketing from realty and then decide what you like best. Luminar Neo vs Lightroom.
A decent jack of all trades is Luminar Neo vs Lightroom
I hope with feedback like this, Skylum can raise the bar and make Luminar a real contender against Lightroom and Capture One. Because we need contenders.
I’m still rooting for it and will give the Skylum team a chance to listen and take action. I want to be clear in all of this. It’s a good app. But when comparing to top pro apps we can’t pull any punches and we have to compare apples to apples, dollars to dollars.
In the battle Lightroom vs Luminar Neo this year, Lightroom + Photoshop gives you more bang for less buck. But Neo has a lot of potential and I really hope that by 2024 the scales start tipping.
Tell me your thoughts in the comments. Will you use Luminar Neo, or stick with Lightroom / Capture One in 2023 — Gavin Seim