This film was totally unfamiliar to me until recently, but not to film shooting community: it seems to be very popular. The name could make you think it is a color film, but no, it is a B&W film used for cinema. This is the second cinema film-based style I have tinkered lately.Continue reading Kodak Panchromatic Color Separation Film 2238 – A B&W Capture One -style
This time I have tinkered two new B&W Capture One -styles that are based on cinema films. First comes an iteration of Eastman DoubleX. My previous version was a regular B&W conversion that had contrast, sharpness and clarity based on the look that I have seen in many photos taken with this film. At that time I had no scans that would show how sensitive the film is for different colors and this is now corrected in this new version. I tweaked both sharpness and clarity settings to better emulate certain development I think is better looking than the reference images I used to tweak the earlier version.Continue reading DoubleX II Capture One -style
This study is about trying to create Fujifilm Natura 1600 film’s colorscape with Capture One. This must have been one of the hardest films for me to mimic with Capture One as my older color wheel layout made some color gradients look unnatural. After lots of attempts I decided to combine some color ranges and thus simplify the color wheel layout. Which on the other hand caused slight compromises especially in brown-orange hues and light reds. Still, I like the color output and name this style according to the film as, at the moment, this is still quite successful attempt at mimicking the film’s colors and look.Continue reading Fujifilm Natura 1600 Capture One -study
I admit I had not thought Astia (the real film Astia, not the film simulation) worth a study. I believed that having kind of copied the look of the film simulation there was no reason to explore the look of the film. Just recently I made a study of Agfa CT Precisa film (not published here yet) and when I was checking the outcome of that study I happened to stumble to a decent reference of Astia film. I thought, why not give it a go right away.Continue reading Fujifilm Astia 100F Capture One -style
I found that the greens for this style still needed a fine tune. This time I divided the color wheel’s green range from two to three patches. I also added a version with deeper shadows as I personally found that the base version is a bit too light looking.
You can download the new version 3 from here:
Here are my picks of the styles I have created for Capture One. Get to the download by clicking the name of the style. This list is actually of the ones I have actively in my Custom Styles so I do use them and as such I am constantly updating the styles when the need or cause arises. This post also includes some styles that I haven’t published in separate posts.Continue reading Collection of my Capture One -styles
The topic for this study is Kodak Vision3 500 Tungsten balanced film. It’s a movie film that has been taken into photography use widely. At least Cinestill has commercialized the use of the film for photography. The look it gives appeals a lot for reasons that aren’t probably logical but more about feelings. You could use a filter to daylight-balance the film but many live with the blue hues it gives in mixed lighting and even in daylight.
When I started using Capture One this particular film was one of my first goals to replicate, or get the aesthetics to my arsenal of possible looks to be used in digital photography. I wasn’t much after the blue colorscape, or the halos that are the side-effect of taking away the Remjet -layer of the film before exposure (like with Cinestill film). When I searched for images taken with this film using a daylight balance-filter I fell in love with the look. And I made and published couple of Capture One -styles of this film then.Continue reading Kodak Vision3 500 – a Capture One -study
This time I decided to commit some time for the black&white look. I studied different looks, like Ilford FP4 and and HP5 Plus before I started studying the T-Max 400. HP5 seems very popular in digital form and having seen it available at quite high price from The Archetype Process (TAP), I decided I just try these looks before making a purchase. TAP makes wonderful work with films to get them to digital era and I am sure I would not regret buying the black&white pack from them if I was sure I liked the look of HP5.
When I finished my study for the HP5 I decided to compare it to the T-Max 400 and gave it a go also. What I found out is that, at least with my abilities to make the styles and see differences, they basically looked the same. There are differences in the blues for example (err, the greys presenting the blues), but most important difference I found was with the pink tones, like lips. HP5 rendered lips and pinks very lightly and here is where T-Max seemed to look more natural and, better, giving more 3D to the light skins. So, I finished a style with the look of the T-Max 400 in my mind.Continue reading Kodak T-Max 400 Capture One -style -study
The fourth iteration of one of my favorite film looks changes practically everything from my previous iterations. This is even more closely based on the original’s colors.Continue reading Fujifilm 160NS Capture One -study (Version IV)
Probably everyone who has shot portraits with film knows this film, even though it now is discontinued. And the amount of presets or styles giving the look of this film is enormous. I tried this look earlier but didn’t succeed with it and scrapped the whole project. But I wanted to try again, and here I add one more style to the sea of film emulations of this film.Continue reading Fujifilm 400h – a Capture One -style study