This film is long gone but it was the true legend of color films and one of the hardest to reproduce digitally. So I spend years refining it to this this new KodaChrome 64 preset.
I combined all my experience to make the perfect Kodachrome recipe.
You can get Kodachrome 64 Gen.3 the new Velvia 100 and more in Filmist 2.4 complete. If you have Filmist 2 go to the update tab. I’ll also show you my settings during the video.
But the iconic look of Kodachrome 64 is something more. As what is considered the most iconic Kodachrome by most, Kodachrome was the defining look of legends like Steve McCurry.
One of the patterns I found and something especially hard to defeat on digital is that is always has this rich coffee chocolate sort of brown. This is not as simple as a white balance slider. It goes against what most digital camera produce.
The cocoa in Kodachrome.
If you’ve ever held up a strip of film you know it’s not all roses. As light changes the color shifts and most digital cameras fix this on the go with auto white balance.
Because of this and many other factors there s no one single look that is Kodachrome, Velvia etc. When I design film presets (and this is especially true in Kodachrome) i looked at hundreds of tests to find the balance. What did this film look like in it’s best moments.
But camera sensors also vary. So if you apply this and it feels a little red leaning or too cool. That’s where the white balance comes in. You don’t need to rework the curves or the color of the recipe itself in the presets. Just nudge that white balance a little bit and that cocoa undertone shines thru. That is Kodachrome 64.
Making film profiles in camera
I’m not sure there’s any such thing as a perfect recipe. I’ve never found any Kodachrome recipe that gets this close. It’s rich look works digitally on portraits , streets weddings and anything else.
There are many you make recipes in camera. The problem is that these are very limited. If you see how I made this recipe it’s with complex color controls and a lot of detail. Detail you can’t get in camera. For in camera profiles I don’t usually recommend trying to really emulate a film. If you really want a film look, shoot RAW and add presets or styles after the fact.
Also As a positive film it did not have the dynamic range we have today. That can be good. It give you those rich shadows I teach you about in Shadow Hackers. Don’t push setting up just because you can.
That said. I often use the chem kit mods in Filmist 2 to add a little more range while still retaining the rich color. Nothing wrong with mixing it up. But the preset itself trues to remain as true as possible to Kodachrome 64
I’m on a mission to change that and I want my first video of the year to do that. Most photographers don’t realize that photographic tone is the secret skill that makes them understand every shot. Today we learn it…
This video would have saved me years if I had known.
But videos like this did not exist when I was starting out. These are the 3 keys of tone in photography so you can master them fast regardless of your experience level. And they will change how you create photos.
The unabashed flaring of the sun gives a natural haze to this morning street that can’t be done with a single slider. It was processed gold using GoldChrome
The stuff that great photos are made of.
The photographic tone is the foundation of great photos. But the tone is a wide-ranging one that comes from the painters and the way they learned to understand shadow and contrast long before cameras.
This is the lost skill in Photography that I go on deeper in my workshops and today I’m sharing the keys to unlock this door in the simplest way I know how. IN consists of 3 elements that lead us to what tone does for us and why it is important.
Here’s how I explain photographic tone. But it’s more important to show!
Shadows create contrast
Contrast reveals tone
Tone creates atmosphere
These 1,2,3 lists mean little to your photographic tone without context. So in the video, we’re comparing different photos to see how not only edits but how shadow contrast and ambiance in each will define our result.
IN another Xpan style crop we see light creating bloom and reducing contrast. The net result is that tone is more subtle and more contrast is created in the overall image. Edited with Street’ist.
Most photographers don’t even know what it is
In my Exposed Master class, we learn everything about exposure and zones. Those are the technical aspects. But if you’ve been to Shadow Hackers or seen the Photo Perfect workshop you know that combining those with the artist’s aesthetic is what makes a great photo.
In the end, the tone is pretty simple and yet subjective. But if you constantly remind yourself of the three factors. Shadow, contrast, and tone, which is the combination of all the light and dark and mist and color. All of them combined create a tone in your own style.
We see the contrast between the burned tree and the tone of the model. Then edited with a David Hamilton-inspired process to create softness with contrast and a balanced photographic tone.
Less contrast is often more contrasty!
As much as I use sliders and settings and layers inside and out in my tool packs. Tone-like shadow is not created by the slider it’s just moved around.
When we use contrast to just create hard lines we lose tonal nuance and atmosphere. In the end, the contrast of the overall scenes is less, and viewers don’t see the nuance you wanted to show.
As I keep building these free resources and simplifying the process of understanding tone I help myself learn more and hopefully, you as I realize a dream that’s spanned 20 years to make a simple process for those of us who want to truly master our style in photography.
We compare two of these in the video. Note how the tone of this one is softened but less distracting than what might be called the contrast image. Edited with Filmist.
There are lots of free Lightroom presets around my site like Silver and Natural HDR. But my most popular ones are my free film presets and I’ve updated them today for Filmist V2.
In the FIlmist free film presets and styles pack you get the next-gen Portra 160, Fuji Classic Negative, and Agfa RSX 100 film styles.
Just using these film presets will give you edits that feel true to the film. Photographers are learning that real photos are what matters in this new Ai world. For more on this check out my post and grounding your edits with film styles.
Below is a hands-on video from my channel on how to use Filmist 2. If you need help installing the free LIghtroom presets or Capture One Styles, check out the videos on the help page.
Here are the improved film styles in the free film pack.
The latest refinements of these film styles are like true film. I’ve shot more film, done more side-by-side testing, and made every film recipe in Filmist 2 better.
I hope you love these and buy the entire Filmist film presets pack. It’s years of work and it is the best lightroom and capture one film presets I know of. But for now, at least grab my free film presets pack and enjoy.
Oh, and you also get free film LUTS in the free and complete pack so you can get the true film look in video editors like Premiere Pro, Resolve, and other photo apps like OnOne and Luminar.
Portra 160 Gen.3 Film Preset
Portra 160 free film preset is a classic and the latest Gen3 version is even more refined. Portra 400 and 800 are also included in Filmist Complete.
How do I decide what presets to use? The power of REAL Photos.
I’ve been making high-grade Lightroom presets and free Capture One styles for many years. So why am I obsessed with getting perfect film looks? It comes back to maintaining that natural real look that the film created and that I’ve managed to duplicate in Filmist 2.
I use the balance I learn in creating film presets to improve my other presets. That’s why they all play together well.
Some photos need a different look. I normally use films as a starting point. But depending on my photo I’ll also use Natural HDR, Streetist, and my other packs.
Each of these packs also has mods. So while I love the ChemKit2 mods in Filmist I don’t hesitate to go to ModKit from Silver 5 black and white presets or maybe GoldChrome for a rich color warm look.
Fuji Classic Negative updated in Filmist 2 Free Presets Pack
The Classic negative look is inspired by Superia 200. One of my most requested presets and the new Filmist 2 version is even better and more accurate than what you get on a Fuji camera.
The film looks for digital is more powerful and moddable.
The thing with film presets is that you won’t edit this way manually. Digital sliders are designed to let us push hard and the nuance of good film styles can take weeks to refine.
In a real darkroom, we could manipulate how we develop and print. So I put a ton of time into the ChemKit2 mods in Filmist. They let you use a film look and then adjust it instantly with darkroom-inspired processes. I included of of these for tone in the free pack. Turn it up and down and see what happens.
The beauty of using Lightroom presets and Capture One style packs is that with well-made film styles, you get edits that take hours in seconds. Once you get used to the milder grounding look of film it becomes a go-to. But if you have a photo that is not working with film, don’t hesitate to branch out.
Agfa RSX 100 II Free Capture One Style and LR Preset
Agfa series films are rare as digital film styles very much but they will soon be one of your favorites. I included Afga RSX 100 with stunning color and fine grain in the free film presets pack.
I hope you enjoy the Filmist 2 free film Lightroom presets and styles pack and that these filmic styles let you see digital in a new light and use the rest of your presets, actions, and tools better.
Grounding is having a starting point. Filmic Lightroom presets and styles help a lot. But your style can still be whatever you want. I’ll show you why in today’s video.
Why do most in-camera profiles look bad? Why do I come back to an edit I liked and it seems gross? It’s because digital edits lack a reference point.
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 to 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.
There is a shadow atmosphere happening here even though the EKtar 100-like. A level 2 film preset in Filmist is not super intense it constantly works and is a grounding development process.
2. 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.
Street air is a preset from Street’ist. This level one filmic preset has a lot of color and nuance like a chemical film, but does not try to be any specific film.
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.
A re-edit of a session a more refined film edit and a good grounding from analog.
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.
The creamy shadows of this Delta 3200-like. You can mod or turn these presets up to enhance the effect. But I start simple and natural to get a good grounding.
3. Edit grounded. 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.
It does not always stop at a preset. Sometimes I take go further into Photoshop and use chemical-based edits like this cyan plate platinum mix from Emulsion 4 actions. Analog just keeps giving.
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.
This is a Level 1 Filmic Lightroom preset from Natural HDR. That is it’s using film tone and color inspiration but not trying to be a specific film. I use these liberally but not as my grounding point.
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
With Filmic Lightroom Presets like Portra 400-like, you almost can’t fail. Styles like Velvia 100 like let you stay colorful and still know you’re on point and not over-cooked.
Presets and edits that mimic the look of film in a darkroom give your photos an authentic look.
But you need more than that. You have probably used some of my most popular or my free film like presets such as my Classic Negative style, and Portra film presets. These work so well because digital makes it really easy to over-edit in ways that were non a problem in the darkroom and we need to balance that.
We’ve all gone back over our images and seen icky, overly saturated adjustments. So it’s easy to panic and begin underediting after that. Due to underediting, I actually designed Muse presets to create more cinematic edits.
Balance is what my new Darkroom Hackers editing class is about.
This is not a “how to use the best film presets class.” I will show you how to use Filmist, Silver, and other tools; even Photoshop, for amazing color and black-and-white darkroom-like edits.
But this class is more than that. It’s a power-packed LIEV hour of how to understand what RAw editors are doing. Whether you’re using STyles for Capture One, Lightroom Film Prestes, Photoshop layers, or your own manual edits.
I’m going to show you how to achieve that organic look that feels like it came from the darkroom while still being able to create great color mixes and bold shadow blends. You’ll learn how to use film-like presets and make your own looks that pop off the page.
I’m excited about Darkroom Hackers because how we edit matters, and the photographer that knows these things get ahead of the competition in so many ways.
