Red Leaf Film Emulsion Presets
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Color-grading is an important part of image editing. It can help to remove unwanted color casts and can also deliver a creative color twist that will add atmosphere to your images. In the days of film photography, most of the color ambiance was obtained with the film emulsion and the developing chemicals, with some color timing being performed under the enlarger with color heads. This consumed expensive resources and was mostly reserved for the cinema industry, where the job was performed by a colorist.
In the digital age, where raw images look flat and even, color-grading assumes the same role that film emulsions did, by re-introducing color shifts for aesthetic purposes. It can also serve to harmonize the color palette of a series of images (which may have been shot under different conditions) to achieve a consistent global look. For this task, the vectorscope is also extremely useful.
My question is this, do you find it better to apply NR and Sharpening to images right after importing the TIFFs to LR and then apply presets, or would you apply film presets and then finish with NR and Sharpening before export?
Once you have printed the films, it is time to make the screen. A screen printing frame consists of a wood or aluminum frame stretched with polyester mesh on it. The mesh holds the image onto the screen and lets ink pass through when you press it with a squeegee. You will need to coat the mesh with emulsion in order to expose the design onto the screen. Before you coat the mesh, it needs to be cleaned with a special screen printing degreaser to ensure any dust, lint, or particles is washed off so no bumps or pinholes appear in your emulsion.
Emulsion is light sensitive, so coating the screen is typically done in a darkroom that has special light-safe yellow bulbs in it. After the screen is coated and dried, align the film positive onto the screen and expose it with a screen printing exposure unit or an exposure lightbulb for an allotted amount of time. The screen hardens to light, but the film positive or black area of the film blocks light from reaching the emulsion. This leaves the area of emulsion unexposed or soft. After the screen is exposed, simply rinse it with water. The soft part of the emulsion that was not exposed rinses out, leaving areas of the mesh open that reflects your design.
The Really Nice Images Film Presets include several presets packs that were previously available on their own. These are the Faded Film presets, the Film Essentials presets, and the Iconic Films presets. The latter are the ones that will be most interesting for those of us looking to emulate the look of specific films in our digital images, while the Faded Film presets will be appreciated by working photographers that look for an easy way to achieve a unique look.
The Faded Film presets contain just that, presets that will mimic the look of faded films. These do not necessarily try to emulate a specific type of film, but rather create a unique look as is often desired, for example, in wedding photography. The Film Essentials package contains presets that let you add fading effects, grain, vignetting, contrast and frames to any of the other presets, so you can fine-tune your results. And finally the Iconic Film package contains a number of film simulations, including Agfachrome, Kodachrome, Ilford Delta and more.
Kodak Portra is another classic, loved both by amateurs and professionals for the way that it handles skin tones. The Really Nice Images Kodak Portra 160 film emulation preset does the original emulsion justice with its slightly subdued colors and its rendering of the red and orange hues present in fair skin.
The Really Nice Images film presets are a great way to get the look of film to your digital images. Not only are the presets very well-made, with accurate representations of the films they simulate, but also is the preset pack one of the more affordable ones, considering how many different presets you get. Admittedly, the choice of actual films is rather limited as compared to softwares such as DxO FilmPack, but then again the Iconic Films package alone can be had for as little as $39.99.
The opposite of yellow is somewhere near blue on the color wheel. So the blue sky will now look very dark on your film. The white cloud is a mixture of all colors so a lot of that light will pass through and it will look very bright. A yellow leaf will almost pass through 100% and hence look white on the film (actually black on the film, white on the print) Human skin has a lot of yellow and hence will look much brighter when adding a yellow filter. This works for all races by the way. Human skin regardless of tone always follows a mixture of Red>Green>Blue or Cyan
The earliest Japanese SLR for roll film was perhaps the Baby Super Flex (or Super Flex Baby), a 127 camera made by Umemoto and distributed by Kikōdō from 1938. This camera had a leaf shutter, but two years later came the Shinkoflex, a 6×6 camera made by Yamashita Shōkai, with a focal-plane shutter and interchangeable lenses. However, Japanese camera makers concentrated on rangefinder and twin-lens reflex cameras (as well as simpler viewfinder cameras), similar to those of the Western makers.
Meyer's dishes take diners from land to sea, open fields to lunar landscapes and back again. It's hard to convey the deft complexity of the chef's cooking without naming (almost) all the ingredients used. Even the hors d'oeuvres are worth taking time over like the shiso leaf cooked tempura style adorned with a film of beef consommé, or the bite-size anchovy and eggplant olive oil tart, followed by a breaded escargot with squid ink. Crunchy and meaty, the play on textures of every appetizer is a real explosion of flavors.
One amazing benefit of shooting with movie film is the emulsion is designed to have greater latitude. This means retaining more highlight and shadow detail. Cinestill 800T latitude is excellent and I rate the film from ISo 100 to ISo 1600. I then develop the film as normal at box speed. No push or pull. For me Cinestill 800T film is better over exposed as there is less apparent grain but that is personal preference.
Both Cinestill 50D 120 and Cinestill 800T 120 are excellent films. I would happily use either film again. If I could only use one of these film stocks it would definitely be Cinestill 800T. I love the halation effect offered by the 800T film and the ISO 800 film box speed makes it a very versatile emulsion. There are not many films that can be shot at ISO 100 to ISO 1600 on the same roll. If you are looking for a super fine grain colour film Cinestill 50D offers that. The ISo 50 is limiting though so you may need to use your camera on a tripod, use fast lenses or only photograph in good light.
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!
Note - Film stocks are created using the same concept, manufactured with emulsion color balances that anticipate being used in standard tungsten or daylight environments.Using Camera Preset White BalancesAll digital video & still cameras will have Daylight & Tungsten presets\, some will also have Fluorescent\, and Cloudy Sky settings. Most still cameras will have a preset for Electronic Flash\, which is basically the same as daylight. Selecting a preset white balance that fits the type of light being used can give generally pleasing results\, and can be a popular choice when you are working quickly. However using a preset that is different from the color temperature of your lighting can give pretty inaccurate results\, as some of the following photos will show. |
Photographers need to use a camera like this for some time to really appreciate the options available in terms of colour. I did not have enough time to try the different emulsions intensively in real world conditions, as I would like to use the Velvia mode, which would take me back to the days I used the original 50 ISO emulsions. Instead, I centered my attention on the Classic Chrome, a recent mode that does not recreate a film but more an aspiration of photojournalists.
*It may be worth noting: Color films are more seriously affected than black-and-white films because adverse conditions usually affect the emulsion layers to various degrees. So when your box of colour film arrives from Carmencita Film Lab, put it into cold storage if not using it immediately.
If you plan on using your film in less than 6 months, you should put your film in the fridge, right next to your milk and leftover gazpacho. In general, manufacturers recommend storing your emulsion at 8°C /46°F or lower.
Humidity is one of the biggest enemies of photographic equipment in general, but even more so when it comes to lenses or the film emulsion itself. In warm environments there tends to be a lot more humidity in the air and drastic temperature changes to your equipment can lead to condensation on the surface of your lens. Luckily, this is fairly uncommon, but over the course of time this can lead to the appearance of fungus inside the elements of your lens glass; this is even more likely to occur if they are stored for a long time.
Chris and I agree, this is one of our favorite emulsions to shoot. Different from Portra 160 and 400, Portra 800 is formulated on the older Vision2 stock. While Portra 160 and 400 are on newer (and arguably better) Vision3 stock for digital conversions, there is something about Portra 800 that gives it very pleasing tonalities that digital presets just cannot match.
Originally, the removal of the photographic emulsion with its image from individual negatives and combining them in position on a glass plate. Now the use of stripfilm materials, and the cutting, attachment, and other operations for assembling. The positioning of positives and negatives on the flat before proceeding to platemaking. 2b1af7f3a8