New Fuji Pro 160 preset for FIlmist 2 is beautiful. But teaches us something about color.

Today I’m launching a great new emulsion in FIlmist 2.3 The Fuji Pro 160NS preset to sit alongside the legendary Fuji Pro 400H. But even if you don’t use Filmist, the lesson from today’s video is big

Get Filmist 2 here or download the free sampler. If you already own V2 login and update here. I also mentioned Natural HDR 4 in the video.

I didn’t even know this. It took me years of creating this thing like this preset to understand how much we have lost. This really came to light in the latest update of my Fimist presets and Styles.

160NS is a great film. In digital terms, it seems close. Especially on some photos. But consider that Fuji did all the research and development to make this distinct film. There was reason for that.

As you watch look for the details. In a world of sledgehammer sliders, AI, supersaturation and synthesizes guitars. Everything has to be over the top. or does it?

The Fuji 160NS is not that far from the 400H. In today’s world, many might say, I don’t see the difference. But maybe something is deeply wrong with your edited photos.

Fuji Pro 400H and Fuji Pro 160NS presets for lightroom and capture one.
Side by side you can see how the color tones vary and those can make a huge difference (click for larger).

Why? We don’t think with that kind of detail anymore.

In digital the work I invest to make 400H and 160NS as presets is a lot for me. But nothing compared to what Fuji spent creating and marketing them. Even with all that work it was considered worth it to make another product that was just a little varied.

That should tell us something about how much more nuance photographers thought about back then. Film was the preset of the day and those little differences mattered.

It’s there. The tools are powerful enough. The courses are at our fingertips.

But it’s hard to wow people on Facebook or compare with fake Ai photos with a slight tonal variance. We have changed our mindset from subtly to a sledgehammer. It’s a really good hammer.

Once you start seeing the nuance. It comes back. You value it again and you start feeling the little variables in color and tone. Just like when you Hack Shadows you quickly connect with how magical photos are created.

It’s another reason I love to edit with film, shoot real film, and study what makes it work. because it makes me a better photographer when I shoot digitally, and it will for you also.

Gavin Seim

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About the Author

Glad you're here.

I'm from WA State USA and started studying photography in 97. I started work as a pro (using that word loosely because I sucked) using film at age 16. I learned fast but was not as easy to find training then. Sometimes I beat my head against the wall until I figured stuff out.

As digital dawned I went all in and got to study with masters like Ken Whitmire. In 09 I founded the Pro Photo Show podcast. I started promoting tone-focused editing. When Lightroom arrived, I started developing tools to make editing and workflow better.

20 years of study and photography around the country earned me a Master of Photography (M.Photog) from PPA. I got to see my workshops and tools featured in publications across the industry. Once I even won the prestigious HotOne award for my "EXposed" light and tone workshop.

Wanting something calmer, I moved to Mexico in 2017. It's a land of magical light. I'm here now exploring light and trying to master my weak areas. I make videos of that for my Youtube channel, sharing what I learn. I hope you'll stick around and be part of Light Hunters Tribe... Gavin

Gavin Seim

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