by Nick Foreman

Grains of Time – XEQUALS Vintage Lightroom Film Presets

LN Learn : Lightroom

Film effects are not just for analog anymore. With our Lightroom film presets, we brought it to the digital world.

A Chronicle of Aesthetics: Navigating 150+ Lightroom Film Presets

This is a complete library of all of our Adobe Lightroom and Adobe Photoshop film presets. A curated archive unparalleled in its breadth and depth. Imagine having the unique aesthetic of over 150 vintage films at your fingertips, each one of these Lightroom film presets are a chapter from the halls of photographic history, ready to be woven into your contemporary creations.

Our collection, the largest of its kind, invites you to not merely use, but to explore, understand, and redefine vintage aesthetics in today’s digital photography narrative. Let’s journey together, intertwining past and present, crafting images that stand timeless across generations. Welcome to our rich tapestry, where every click is a stroll through history – all made available in Lightroom!

The List:

FUJI Velvia 100

Our first Velvia Lightroom film preset release was based on Velvia from the 90’s before the first cancellation of the emulsion. That Velvia was rated at 50, however only carried the name Velvia. This is the ISO 100 version of the Velvia family that was re-released in the 2000’s.

Tips for use:

  • Crank up contrast and blacks until you get the pop you are looking for in the details.
  • This is a Velvia film, so feel free to take the overall saturation up to ludicrous levels. If there is no skin tone in the frame, you can take it a long way and really have some strong oranges, reds, blues and greens.
  • If you have flesh tones in the frame, slowly bring back the Orange channel saturation, you will get a natural looking flesh at the expense of true Velvia color.
  • Take the clarity up to grab detail. The Velvia line is one of the strongest resolving films out there. Simulate the power.
  • This film is really designed for nature, and in turn so is the preset. Nor really recommended for people pictures.

Fujifilm Velvia 100, a part of the celebrated Velvia line, is known for its vibrant saturation and fine grain. While specific historical details and chronological events are not available in the search results, Velvia film stock, in general, has been acclaimed for its rendition of vivid colors and depth, making it a preferred choice for many landscape and nature photographers. Velvia 100 provides a higher ISO than its predecessor, Velvia 50, which offers lower sensitivity and different color balance. The Velvia line, with its distinctive color palette and high resolution, has firmly established itself in the photographic film market.

FUJI Neopan 100 Acros

Fuji Neopan 100 if Fuji’s preeminent monochromatic film for professional use. It uses a “TGrain” style emulsion, very sharp with fine grain and excellent tonality. When using this Lightroom film preset, keep in mind the following tips:

Tips for use:

  • Adjust white balance to find to tone you are looking for.
  • White balance subtlety shifts the tone without overly changing the image.
  • Increase/decrease black clipping to reinforce texture.
  • Use fill and recovery to push highlights toward white without blowing out detail. Alter the tone curve from medium contrast to high contrast if image needs more pop.

The Fujifilm Neopan 100 ACROS is a professional ortho-panchromatic black-and-white photographic film, notable for its use in a variety of photographic applications, including portrait, landscape, and architectural photography. Introduced as a part of the Fujifilm Neopan monochrome film line, which began with Fujifilm Neopan 100 SS, ACROS became recognized and appreciated among photographers for its fine grain and richness. However, it experienced a turbulent history, with the original ACROS film being discontinued in October 2018, leaving photographers and enthusiasts lamenting its loss. A successor, named NEOPAN 100 ACROS II, was eventually introduced, though some speculate it might be a rebranded version of another popular film, Kodak T-MAX 100, due to similar reciprocity failure characteristics. The ACROS film series continues to be a topic of discussion and comparison among film photography aficionados, highlighting its ongoing legacy and influence in the photography world.

FUJI Provia 100F X-Pro

Fuji Provia 100F reversal film cross processed in C-41 chemistry. The sample roll we processed came out with a blue/green cast to it. Emulation developed from that roll.

Tips for use:

  • Color cast created with split-tone.
  • Adjust saturation of the Highlight and Shadow colors to alter the effect.
  • White balance can be used to push the color in different directions.
  • Remember cross-processing is used to create unnatural unexpected results. If the image does not look right, lower the saturation of split-tone. If that does not help, you may not be looking for an X-Pro effect.
  • This X-pro does very good with skin tones and landscapes, especially with a lot of green.

Fujifilm Provia 100F, also stamped with the code RDP III, is recognized for its versatility and fine grain quality in the realm of color reversal (slide) films. Noted for providing realistic and vibrant color reproduction, Provia 100F is lauded by photographers for a variety of applications, including landscape, fashion, and product photography due to its balance in color saturation and contrast. When comparing Provia 100F with other films in the Fujichrome series, it’s observed that while Velvia might provide more contrast and vivid coloration, Provia 100F delivers a more balanced and neutral palette, making it an excellent film for diverse photographic applications. Note that specific historical details or mentions of “X-PRO” regarding Provia 100F are not available in the provided search results.

FUJI Velvia 100F

Balance Velvia, for the Velvia look with out orangey skin tones. Colors are much more true to life, still a vivid film, but not over the top, like true Velvia.

Tips for use:

  • Skin tones look better in the version, however you may be able to amp up the orange saturation a bit if the flesh tones can be sacrificed.
  • If you need more blue pop, decrease the Blue luminance, you should be able to get Velvia skies without harming skin tones.
  • Refer to Velvia 100 for other ides.

Fuji Velvia 100F, a member of the Fujifilm Fujichrome line, is renowned for its remarkably high color saturation and vividness, making it a favorite among landscape and nature photographers. The film was introduced by Fujifilm at the PMA show in the spring of 2003 and quickly gained popularity in the photographic community due to its ability to produce extremely vibrant and sharp images, even in challenging lighting situations. VELVIA 100F (RVP 100F) offers notable granularity and is available in various formats, including 35mm, 120, 220, and large format sheets up to 8×10 inches. VELVIA 100F and its sister film VELVIA 50 have some distinctions in color reproduction, granularity, and contrast, allowing photographers to select a film that best suits their aesthetic and technical needs. Specific historical details or deep dives into its technology are not provided in the available sources, but VELVIA 100F’s impact and usage in the photography community are consistently highlighted across various reviews.

FUJI Velvia 50

Velvia 50 is the heir apparent to the original Velvia. Sharing many similar qualities to our other Velvia Lightroom film presets, the two are very similar, however, Velvia 50 is not as extreme in saturation as original Velvia, although still rather strong for skin tones. Unless you like people to look like they have bad spray on tans and an addiction to carrot juice.

Tips for use:

  • Avoid people in Velvia 50 conversions. You have to lower orange saturation, but it will ruin heavy orange shots, like fall leaves or sunsets.
  • Crank up clairity and saturation as you see fit.
  • Looks best slightly underexposed.
  • Watch for artifacts in black areas, if notices, lower black level and compensate by increasing contrast.

Fuji Velvia 50, part of the Fujifilm Fujichrome line, is highly esteemed in the photography community, especially among landscape photographers, due to its remarkable color saturation and fine grain. Introduced as a successor to Fujichrome 50, it quickly became known for rendering vibrant and rich colors, making it a staple for those looking to capture intense, dynamic images. Velvia 50 is often juxtaposed with Velvia 100 due to their shared lineage and notable differences in color reproduction and granularity, providing photographers with varied options depending on their specific needs and artistic preferences. The exact timeline of Velvia 50’s history, including pivotal moments and technical evolutions, isn’t detailed in the provided sources, but its impactful presence and celebrated status in photographic circles for capturing vivid images are apparent across discussions and reviews.

KODAK Ektachrome 100 VS X-Pro

Another experiment with E-6 film in C-41 chemistry. Kodak E-100VS really poped the colors and overexposed on the roll we had cross-processed. Great effect for landscapes and cityscapes. Not so good for skin tones. Look came out almost like a surreal Velvia.

Tips for use:

  • Refer to Velvia hints, as the outcome seems to be really over the top in the same way as Velvia film.
  • Highlights are gonna blow, be prepared. If you cannot handle that, be ready to man the recovery slider.
  • Skin is very orange, however, that is not such a problem with this conversion as colorshifting is desired in X-Pro work.
  • Use white balance creatively to nudge the image where you desire it to be

Kodak Ektachrome 100 VS (VS denoting “Vivid Saturation”) is a color reversal (slide) film renowned for its vibrant and punchy color palette. Although specific historical details and timelines are not provided in the search results, it’s evident that the film has been recognized and utilized for its enhanced saturation and contrast, especially in comparison to other films in the Ektachrome line such as E100G. Photographers often appreciate Ektachrome 100 VS for its ability to render dramatic skies and lush landscapes due to its vivid color reproduction. Comparisons between Ektachrome 100 VS and other films like Fujifilm Velvia indicate that the choice between them often boils down to aesthetic preference, with considerations for the subject matter and desired color output being pivotal. When choosing between Ektachrome variants or comparing Ektachrome with other brands, photographers might evaluate color vibrancy, contrast, and grain to determine the film that best suits their project.

KODAK Gold 200 X-Pro

Another cross-processing experiment, this time C-41 Kodak Gold 200 processed in E-6 chemicals. The orange base of the negative film really stands and is very visible in the image. The process creates a very warm image.

Tips for use:

  • Only use this Lightroom film preset if you want WARM images.
  • You can adjust the color cast in the split tone sliders. You can change the hue and saturation if need be, however you will no longer be emulating Gold 200 X-Pro’ed.
  • Highlights will blow, so be ready to crank up the recovery.
  • Increase contrast and black clipping is detail seems to get muddy, increase clarity to keep it sharp.
  • Remember that this is both a film and style Lightroom preset. Use it accordingly.

Kodak Gold 200 is a popular color negative film known for its balanced imaging characteristics. The film is recognized for having a suitable amount of grain, and it manages to be sharp without being overly so, thereby providing a well-balanced aesthetic that has made it popular among photographers. Recently, in March 2022, Kodak Gold 200 film was launched in a new 120 format, expanding its availability for those transitioning from 35mm to medium-format film photography. The film is notable for its versatility and can capture images effectively from dusk till dawn.

KODAK Portra 160 NC

Our simulation of Kodak’s skin balanced portrait/wedding film. Creates very natural skin tones and subtle color saturations. A very subdued film and produces very flattering shots of people.

Tips for use:

  • If you need nature color along with good skin tones, use Portra VC instead.
  • Portra NC creates images that are good for further processing. No colors are too far out there and images rarely “break”
  • There is a lot of latitude for post processing with this preset. Feel free to adjust almost any setting, except for the Color HSL settings…that would ruin the emulation…but would still lead to a good picture…just wouldn’t look like Porta NC any more.

Kodak Portra 160 NC (Natural Color) was part of the Kodak Portra family, a line of professional color negative films renowned for their fine grain and naturalistic color reproduction, initially introduced in 1998, with applications primarily focused on portrait and wedding photography. The Portra 160 NC was known for rendering neutral colors and was especially appreciated for its ability to accurately represent natural skin tones and soft hues, making it a preferred choice for portrait photographers and other applications where accurate color reproduction was crucial. Prior to 2011, Portra 160 was available in two versions: the NC (Natural Color) and VC (Vivid Color), each providing a distinct aesthetic to meet varied photographic needs, with the NC version providing a more neutral, true-to-life color palette, and VC offering enhanced saturation and contrast.

KODAK Portra 160 VC

The other half of the Portra Lightroom film presets line features vivid colors, while at the same time keeping realistic skin tones. Portra VC is our walk-around film we use on a regular basis. The film is great and the emulation does not do it enough credit. Great film for outdoor events as greens and blues pop while people stay looking normal. A happy median in a negative film.

Tips for use:

  • Play with green and blue saturation and luminance sliders to find best color pop. Move no more than +/- 10. Do not want to really throw colors off.
  • Naturally contrast, can increase a little of decrease a lot. Decreasing also flattens image, lowering saturation of colors.
  • Instead of lowering contrast, try to bring up clarity. Although clarity darkens, sometimes it will increase detail in contrasty images.

Kodak Portra 160 VC (Vivid Color) was a variant of the Kodak Portra film lineup, recognized for its vibrant colors and slightly higher contrast relative to the NC (Natural Color) version. This film, designed with professional photographers in mind, was especially esteemed in portrait and wedding photography due to its ability to deliver enriched color saturation, making it suitable for capturing images with a livelier, more vibrant aesthetic. Prior to 2011, Kodak Portra 160 was offered in two distinct versions: VC (Vivid Color) and NC (Natural Color) to cater to varied photographic needs. While the VC variant was applauded for providing striking, vivid colors and pronounced contrast, the NC was noted for its capability to reproduce neutral and natural colors, making it an ideal choice for accurate color reproduction in portraiture. The two versions allowed photographers to select a film that matched their specific aesthetic or project requirements, ensuring flexibility in color representation across different shooting contexts.

AGFA RSX II 50

Agfa RSX II was designed as a low-contrast, neutral color film stock. It does indeed seem vary tame in comparison to Velvia or E100VS, but these rolls still tended a little toward red. we think the red may be due to the film being expired, however we are not sure. The 50 speed tend to render the images with much more saturated colors and tends to be a touch darker in the blacks. This emulation was designed from a single roll of expired Agfa RSX II 50 developed at one of our local photo labs. Processed in straight E-6 chemistry with no pushing or pulling.

Tips for use:

  • Skin tones can run red, adjust orange and red saturation in the HSL tab to even skin tones. Light adjustments to fix skin tones should not overly effect the emulation
  • This preset is very responsive to global Contrast adjustments. Due to the saturation of the colors, high contrast can look great.
  • In the same vein, the blacks in you image can rapidly get out of hand, leading to some clipping of shadow. Try decreasing your Blacks slider, if you can, to alleviate the shadow blocking.
  • This preset really punches up the saturation. If you find it to be a bit over the top, try lowering the global Saturation slider a bit. If an adjustment of about 5-10 to the left does not help, then add a lower level of global Contrast before you lower the Contrast any more.

Agfa RSX II 50 was a professional-grade color reversal (slide) film manufactured by Agfa, which was notable for its fine grain and vibrant colors. The RSX II series, including the 50 ISO variant, was widely recognized for providing optimal film speed, contrast, and color rendition, catering especially to professional photographers who desired a high-quality medium for their work. The RSX II 50 film was specifically known for its ability to reproduce very good skin tones and overall color, making it suitable for portraits and various professional applications. It offered a balance of sharpness and fine grain, making it a preferred choice for many photographers during its production years. Additionally, the RSX II 200, a variant of the same film line, gained a reputation for being great for cross-processing, indicating that the RSX series was versatile in professional and creative applications. The RSX II 50 film, like many others, has been discontinued.

AGFA RSX II 100

I have seen samples of the film pushing red and very even. As we could not acquire samples of the film in date, we assume the red is a factor in expiration, however we did not attempt to correct it as we have seen no evidence to the contrary yet. This emulation was designed from a single roll of expired Agfa RSX II 100 developed at one of our local photo labs. Processed in straight E-6, with no pushing or pulling.

Tips for use:

  • Very balanced film really, but still skin tones can run red, which can be compensated by adjusting the orange and red saturation in the HSL to even skin tones. Tread lightly as you can break the emulation if you push the saturation down too far.
  • This Lightroom film preset is very responsive to global Contrast adjustments. Due to the saturation of the colors, high contrast can look great.
  • In the same vein, the blacks in you image can rapidly get out of hand, leading to some clipping of shadow. Try decreasing your Blacks slider, if you can, to alleviate the shadow blocking.
  • This preset really punches up the saturation. If you find it to be a bit over the top, try lowering the global Saturation slider a bit. If an adjustment of about 5-10 to the left does not help, then add a lower level of global Contrast before you lower the Contrast any more.
  • While very close to the RSX II 50 in color and saturation, 100 seems to be a shade bright with proper exposure, maybe about a half stop difference. This was reflected in the Tone Curve of the preset. If you feel the image is too bright, try to stick to changing Exposure and Brightness before altering the Tone Curve.

AGFA RSX II 200

Owing much to the nature of its brethren in the Agfa RSX II line of Lightroom film presets, RSX II 200 shares the same saturation with a slightly brighter image. When we exposed this trio of rolls, it seemed that the 50 exposed images 3/4 a stop dimmer than 200. Again, RSX II 200 is a well balanced film, with a tendency to strong saturation and a slight shift towards red in color. We attribute this to the expired nature of the rolls we exposed. This emulation was designed from a single roll of expired Agfa RSX II 50 developed at one of our local photo labs. Processed in straight E-6 chemistry with no pushing or pulling.

Tips for use:

  • This film responds almost exactly like Agfa RSX II 50 and Agfa RSX II 100. All strategies for those stocks work equally well here. RSX II 200 seemed to again create a slightly brighter image than RSX 100, by about 1/4 stop on most images.
  • Very balanced really, but still skin tones can run red, which can be compensated by adjusting the orange and red saturation in the HSL to even skin tones. Tread lightly as you can break the emulation if you push the saturation down too far.
  • This preset is very responsive to global Contrast adjustments. Due to the saturation of the colors, high contrast can look great.
  • In the same vein, the blacks in you image can rapidly get out of hand, leading to some clipping of shadow. Try decreasing your Blacks slider, if you can, to alleviate the shadow blocking.
  • This preset really punches up the saturation. If you find it to be a bit over the top, try lowering the global Saturation slider a bit. If an adjustment of about 5-10 to the left does not help, then add a lower level of global Contrast before you lower the Contrast any more.
  • While very close to the RSX II 50 and 100 in color and saturation, 200 seems to be a shade bright with proper exposure, maybe about a half stop difference over 100. This was reflected in the Tone Curve of the preset. If you feel the image is too bright, try to stick to changing Exposure and Brightness before altering the Tone Curve.

Classic Film Classic-Pan 200

This emulation was designed from a single roll of Classic Film Classic-Pan 200 developed in D-76. Developed in stock solution for 8 minutes @ 20C (68 F). Development times for film used are from digitaltruth.com, where we go for all film dev-chart needs.

Tips for use:

  • Tends to render a bit dark, try to use Brightness to lighten Mid-Tones without effecting Highlights or Shadow.
  • Adjust skin tones by manipulating the Orange slider.
  • Works best with low to mid global Contrast.
  • Crank the Clarity to bring out detail in busy images.
  • Darken the sky by reducing the level of Blue in the B&W mixer.

Classic Film is a German film company that focuses on creating classic cubic silver halide black and white film emulsions. Currently we can only track down two actual film stocks they produce…Classic-Pan 200 and 400. They claim the stock is designed to be similar to the classic Kodak Double Super XX and Plus-X. We won’t comment on those claims, however we will say that the film can produce beautiful, evenly toned images, with acceptable grain for their given ISO. Both respond similar to color, however have slightly different tone at the same exposure.

Classic Film Classic-Pan 400

Incredibly similar to the 200 flavor of this film. In fact the only legitimate difference between Classic-Pan 200 and 400 Lightroom film presets is the aggressiveness of the tone curve of the 400 speed at the same level of exposure. This emulation was designed from a single roll of Classic Film Classic-Pan developed in D-76. Developed in stock solution for 9 minutes @ 20C (68 F). Development times for film used are from digitaltruth.com, where we go for all film dev-chart needs.

Tips for use:

  • This preset has a nice moderate curve and only light adjustments to the B&W mixer. As such, it will hold up to really cranking up the Contrast and Clarity.
  • As with any B&W preset, if skin tones are not pleasing adjust the Orange level in the B&W mixer.
  • This preset applied to high ISO images from your DSLR will tend to have a traditional, grainy look. Make sure you have minimal noise reduction if you wish to use the camera noise as grain.
  • Do built some tension in the skies, decrease the level of Blue in your image. The skies will grow dark.
  • Raising the Clarity and applying aggressive sharpening will enhance noise, making it more grain-like and simulate a grainy-high acutance developer.

Daguerreotype

Our rather feeble attempt to capture the look of a Daguerreotype view from straight ahead. It is impossible to truly emulate a Daguerreotype, due to the unique process by which they are created. This was a challenge to us, and while not truly accurate, we feel it is as close as we can get in Lightroom to duplicating that classic process. If you have never seen a Daguerreotype in person, find an art museum with some in it. They are an amazing sight to behold, and we feel nothing has quite compared to it in fine detail yet.

Tips for use:

  • Work the contrast slider to get the over all tone you desire.
  • To save skin tones from the loss of reds in image, drag the orange saturation down and the red luminance down.
  • Lower Clarity to create a soft focus, also adds a nostalgic look to it..
  • Increase Clarity to really create a sharp, detailed image. That is how a good Daguerreotype is supposed to look.
  • Recover and Black clipping most likely will need to be adjusted. This curve blows highlights easily and blacks out shadows. Adjusting recovery and black clipping will not overly effect the color tone.

The daguerreotype was the first commercially successful photographic process in the history of photography. It was introduced in 1839 and quickly gained popularity due to its ability to produce highly detailed and sharp images. An image is created on a sheet of copper plated with a thin coat of silver. This plate is exposed to light in a camera, and the image is developed using mercury vapor. The result is a unique, direct-positive image on a reflective surface. Daguerreotypes are known for their incredible detail and clarity, but they are also delicate and easily damaged. Each daguerreotype is a one-of-a-kind image, and there are no negatives or duplicates.

FOMA Fomapan Classic

Foma’s Fomapan Classic is a nominally rated 100 speed film, with exposure latitude to encompass ISO 50 – 400 dependant upon method of processing. The film has good tones and a pleasing, fine grain. We enjoyed this film and found the results of these Lightroom film presets to be enjoyable, but we are really interested in how it looks shot at ISO 50. We look forward to using different processing on this film to create more Lightroom film presets. Fomapan Classic is an enjoyable film showing almost as good as its 200 speed sister film, Fomapan Creative. This emulation was designed from a single roll of Fomapan Classic shot at ISO 100 and developed ourselves by hand. Developed in stock D-76 for 7 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, the end all be all of B&W processing information.

Tips for use:

  • Utilize white balance to adjust photo to best appearance.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, increase black levels to bring out more detail.
  • When subject has blotchy skin, and you have already reduce Orange to no avail, lightly reduce the Reds in the B&W mixer.

Foma Fomapan Classic, particularly the 100 ISO variant, has been widely recognized for its quality and affordability in the world of black and white film photography. Recognized for its cubic grain structure, Fomapan 100 shares similarities with other renowned film emulsions like Tri-X or HP5. It’s celebrated for producing beautiful, artistic results even though it is sold at a lower price point, which makes it accessible to both amateur and professional photographers alike. Fomapan 100 Classic, alongside its 200 Creative and 400 Action siblings, is noted for having good latitude, being flexible with a range of +1 EV when over-exposed. Its fine grain and rich tonality have made it a favorite amongst various photographers, often being chosen for its excellent value for money, especially in different formats like 120. Whether utilized by beginners or professionals, Fomapan has made a considerable impact in the film photography community due to its consistent results and economic accessibility.

FOMA Fomapan Creative

Foma’s Fomapan Creative is a nominally rate 200 speed film, with exposure latitude to encompass ISO 100 – 800 dependent upon method of processing. The film has beautiful tones and a pleasing, classic grain. This has become a new favorite of ours in the day it took to shoot and develop our test roll. We look forward to using different processing on this film to create more Lightroom film presets. Fomapan creative has been a sheer joy for me. This emulation was designed from a single roll of Fomapan Creative shot at ISO 200 and developed ourselves by hand. Developed in stock D-76 for 6 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, home of the Massive Devchart for B&W processing.

Tips for use:

  • Utilize white balance to adjust photo to best appearance.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, increase black levels to bring out more detail.
  • When subject has blotchy skin, and you have already reduce Orange to no avail, lightly reduce the Reds in the B&W mixer.
  • Work the Contrast and Clarity in unison, between those two sliders you can simulate the effect of different developers on the emulation.

FORTE Fortepan 100

Forte is a Hungarian manufacturer of classic grained black and white film using traditional emulsion techniques. Forte’s B&W family consists of 100, 200 and 400 and the three are known for unique grain and classical tones. Fortepan 100 tend to be a bit crisper and cooler than its companion films. This emulation was designed from a single roll of Fortepan 100 shot at ISO 100 and developed by hand. Developed in 1:1 D-76 for 10.5 minutes @ 20C (68F).

Tips for use:

  • Utilize white balance to adjust photo to best appearance, it simulates the effect of colored filters.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, increase black levels to bring out more shadow.
  • Work the Contrast and Clarity in unison, between those two sliders you can simulate the effect of different developers on the emulation.

Forte Fortepan 100 is a black and white film notable for its ISO 100 sensitivity and necessitates processing in a suitable black-and-white developer. It’s acknowledged for producing images with a slightly high contrast but also maintaining a richness that makes the images usable. In comparison to other films with similar speed from first-tier manufacturers, Fortepan 100 has been critiqued for being somewhat more grainy. When used in 120 rollfilm, it tends to be quite curly upon development. The tonal scale of Fortepan 100 has been praised as outstanding, and unlike films that exhibit a gloomy black look, the silver in Fortepan 100 imparts a brownish-black hue to the negatives, which remain printable. Despite some critiques, the film has found a place among photographers who appreciate its unique characteristics.

Forte Fortepan 200

The 200 speed version of Forte’s Fortepan seems to render images slightly darker than its 100 speed counterpart. This could have been a function of the film, our exposure or our development; whichever may be the cause this was the sample we had to emulate from. This emulation was designed from a single roll of Fortepan 200 shot at ISO 400 and developed oursleves by hand. Developed in stock D-76 for 7 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, the end all be all of B&W processing.

Tips for use:

  • Utilize white balance to adjust photo to best appearance, it simulates the effect of colored filters.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, decrease black levels to counter the over darkening in shadows.
  • Work the Contrast and Clarity in unison, between those two sliders you can simulate the effect of different developers on the emulation.

Forte Fortepan 400

The 400 speed incarnation of Forte Fortepan seems to be lower contrast than the other emulsions in the line. While similar to the 200 in tone, it is slightly darker than the 100. The contrast is discernibly lower than the 200 speed film. This emulation was designed from a single roll of Fortepan 400 shot at ISO 400 and developed ourselves by hand. Developed in stock D-76 for 7 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com.

Tips for use:

  • If too low contrast for your needs, bump up Clarity and Global Contrast.
  • Utilize white balance to adjust photo to best appearance, it simulates the effect of colored filters.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, decrease black levels to counter the over darkening in shadows.

Fuji 160C

Fuji 160C is one of Fuji’s Professional print films featuring their 4th color layer. 160C is a saturated film, great for many purposes but a bit overdone for normal portraiture. The film provides great saturated color with very fine grain. This emulation was designed from a single roll of Fuji 160C shot at ISO 160 and developed at a local photo lab. Developed in standard C-41 chemistry.

Tips for use:

  • Utilize white balance dropped to adjust photo to best appearance.
  • 160C is a saturated print film, you can drag down the global saturation to tone down the overall effect.
  • If you are using this Lightroom film preset for Portraiture, consider using Fuji 160S instead. If you need saturated colors but more subtle skin tones….
  • Orange Saturation channel controls skin tones, by lowering the orange saturation you can improve skin tones whilst maintaining the overall saturation.
  • This emulation hits clarity hard, and if image is shows signs of too much clarity, back it down to a reasonable level.

Fujicolor Pro 160C is a professional-quality, medium-speed, daylight-type color negative film, appreciated for its extremely fine grain and higher contrast. Recognized for its vivid but not unnatural colors, this film finds utility across various applications, notably in portraiture, architecture, and commercial work due to its high contrast and vivid color representation. The film is particularly suited to architecture and travel photography owing to its pleasing color representation. Pro 160C, along with Pro 160S, was noted for features such as smooth skin tone rendition, unprecedented neutral grey balance, exceptionally fine grain, and wide exposure latitude, becoming a viable option for various professional applications. It’s able to provide a valuable balance between preserving the natural aesthetic while adding a touch of vibrancy where it counts.

Fuji 160C – Crossprocessed

So, we had a few rolls of Fuji 160C left. Every roll we shoot gets a couple test frames shot off to aide emulation, so after finishing this roll, one of our friends asked if we had an E-6 processing we needed done, as he does E-6 by hand and his stock of chemicals is about done. Not having any E-6 that needed processing, we said all we had is some random C-41 laying around, if he wanted to play with some cross-processing. So he took 4 different rolls and did so. This is one of those rolls. Fuji 160C did not do well in cross-processing when it comes to human subjects. Skin tones turn yellow, bright, almost green, yellow. However it’s flaws provide an interesting effect on landscapes, making reds/oranges shift yellow, yellow shift green and green go almost neon in tone. Not the most versatile of our Lightroom film presets we have made, it is unique, if not downright ugly for some use. You have been warned. This emulation was designed from a single roll of Fuji 160C shot at ISO 160 and developed by a friend by hand in E-6 Chemistry. We do not know the particulars about the process he utilized.

Tips for use:

  • If you want this to look realistic, use another Lightroom film preset. This X-Pro emulation is a bit extreme for normal, everyday use.
  • If you must use this preset for some reason on human subjects, you will need to adjust the orange hue control, bringing it more towards red.
  • Greens are wild, but are great for some crazy looking spring photos.
  • Seems to work well on under-exposed images. Not great for overexposed.
  • Again, if you don’t see a good use for this effect, use something else. This was a flat out wild cross-process result.
  • You can tame the X-Pro effect by lowering the saturation in the Split Toning, but it will not help much. Most of the color effect is encoded in the HSL settings.

Fuji 160S

Fuji 160S is another of Fuji’s Professional print films featuring their 4th color layer. 160S is a portraiture film, great for many purposes but designed specifically for portraiture. The film provides neutral color with very fine grain. Provides excellent skin tones for Asiatic, African and tanned Caucasian tones. Not the greatest for pale Caucasian. This emulation was designed from a single roll of Fuji 160S shot at ISO 160 and developed at a local photo lab. Developed in standard C-41 chemistry.

Tips for use:

  • Utilize white balance dropped to adjust photo to best appearance.
  • 160C, although a neutral portrait film, is still more saturated than you may desire. You can drag down the global saturation to tone down the overall effect.
  • Orange Saturation channel controls skin tones, by lowering the orange saturation you can improve pale skin tones whilst maintaining the overall appearance. In mixed portraits, this may be a compromise you have to make.
  • This emulation hits clarity hard, and if image is shows signs of too much clarity, back it down to a reasonable level.

Fuji 400H

Another of Fuji’s Pro Print films, 400H is their mid-speed color negative film. Our sample featured fairly subdued colors, much like 160S. Grain, like a lot of our other Lightroom film presets, is reasonably fine for a 400 speed negative film. The test roll showed the emulsion to be very versatile and we found it to be one of the better 400 speed films available, on par with Portra 400 NC. This emulation was designed from a single roll of Fuji 400H shot at ISO 400 and developed at a local photo lab. Developed in standard C-41 chemistry.

Tips for use:

  • Global saturation is toned down, can increase to produce more saturated colors if needed.
  • The colors are subdued, making this good for portraits, however the base preset is rather dark. Use the Auto preset on dark images.
  • Bright images are best handled by the base preset, the auto preset will blow out highlights.

Fujifilm Pro 400H is a color negative film renowned for its vivid colors, especially in apt lighting conditions, and is highly regarded for its flexibility and forgiveness in various shooting scenarios. The film delivers high-quality images, commendable color and tonal separation, and a notable level of sharpness. It is known to handle bright, sunny conditions adequately but gives better results in even light, being utilized for a myriad of applications including landscapes, nature photography, car shows, and portraits, offering pleasing overall results. Pro 400H is characterized by its excellent and neutral color rendition, soft contrast, fine grain, and great latitude. Despite some quirks related to skin tones, the film is celebrated for its versatility and reliability, catering to both professional and casual use, delivering a unique aesthetic with its distinct color palette.

Fuji 800z

Fujicolor Pro 800z is Fuji’s high-speed professional color print film. The film is an ISO 800, daylight balance film. 800z is a very vibrant film with bold colors and high contrast. Fuji advertizes 800z as producing almost grain free textures, however grain is highly evident in the 135 format. This emulation was produced from a single roll of 135 format 800z film. The film was lab processed in a Noritsu minilab machine in a standard C-41 process.

Tips for use:

  • This emulation features a very steep Tone Curve, simulating the film’s strong contrast. If image appears too dark after application, do not adjust Exposure. To compensate, decrease the Contrast slider until shadows lighten to desired density.
  • If you attempted to recover shadow detail by reducing the global Contrast and you still desire a lighter image, then try increasing Exposure or Fill Light. If you adjust Exposure or Fill Light without decreasing the global Contrast, you will blow out highlights quickly.
  • Clarity is set moderately high in all three iterations of this Lightroom film preset. If you desire a softer image than default, simply reduce the Clarity as desired.
  • The simulation can be harsh to Caucasian skin tones under certain lighting conditions. To counter act bad skin tones in you image, decrease the Orange Saturation slider in the HSL tab of the Develop Module or HSL tab in Adobe Camera Raw. A decrease of about 10-15 increments will usually clear up and poor skin tones, but you will trade off good skin tones for vibrant oranges in the rest of the image.
  • By default, greens really pop. If the green effect is too much for your image, try decreasing the Green Saturation in the HSL tab by about 20-30 increments. You should find favorable greens somewhere between the default setting and the recommended adjustment.
  • You are also able to tone down excessive color by simply reducing the global Saturation until the image gets desire effect. You will still have proper color balance for 800z, just not accurate saturation.

It’s a color negative film known for its relatively high-speed of ISO 800, making it suitable for low-light and action photography. It was appreciated for its fine grain, rich saturation, and excellent sharpness, particularly under challenging lighting conditions. The film was favored by professional photographers for its versatility in various shooting contexts, such as weddings, where light can be unpredictable. Unfortunately, the Pro 800Z has been discontinued by Fujifilm, making it a sought-after item among film photography enthusiasts.

Fuji FP-100C

FP-100C is Fuji’s peel apart instant film made to be compatible with the old Polaroid packfilm cameras and camera backs. The only option for Holgaroid uses now days, FP-100C is gaining popularity, as Polaroid 669 is more and more difficult to locate since production ceased. The FP-100C emulation was created using an old Polaroid Swinger. Not much else can be said as far as development, it did it itself. Scanned on an Epson V500 though.

Tips for use:

  • Fairly high contrast, so if its too much lower Global Contrast.
  • Dark, but not too saturated. Feel free to lighten images with Brightness or Exposure when not using the Auto Preset.
  • Give colors a kick if need be by increasing the Global Saturation.
  • Play with Clarity to alter local contrast and apparent sharpness. You can approximate the quality of camera you wish to portray this way. Take it low and soft for cheap, old school Polaroid cameras. Take it higher and sharper to simulate the use of the film in cameras using a Polaroid back.
  • Use the XEQUALS Holga Base Lightroom film preset from the to get that Holgaroid feel.

The FP-100C was a go-to choice for users of medium-format and large-format cameras with compatible instant backs, as well as for those using Polaroid Land Cameras after Polaroid ceased production of their own packfilm. Fujifilm FP-100C was notably used for proofing shots before digital became predominant in this area. However, despite its popularity among analog photography enthusiasts and professionals alike, Fujifilm discontinued FP-100C in 2016, citing declining demand and difficulty procuring the necessary raw materials for production. The discontinuation left a void in the market for peel-apart instant films and sparked various efforts among enthusiasts to either save or recreate the beloved film.

Fuji Fujicolor Press 800

One of the first film stocks to utilize Fuji’s 4th color layer, designed to get more accurate colors at higher speeds. The film is primarily designed for photojournalists, with it’s grainy look, it is more than suitable for newspapers, however questionable for more traditional uses such as portraiture. The film produces sharp, clear images at very high speeds in low light conditions. A word of warning, due to how we emulate films, the emulation is directly effected by the quality of the roll that we shot. For some unknown reason this roll seemed to be really harsh on blue tones, making them way too light in our opinion. We will acquire another roll of this film and shoot it at a later date, but for now, this emulation pushes the blues more than we think a normal, fresh roll of this film would do. This emulation was designed from a single roll of Fuji Fujicolor Press 800 film, processed via minilab at our local Wal-Mart (local Photo Shop is closed for remodeling due to nearby fire at the time). Process in typical C-41 method using a Fuji Frontier Developer/Processor.

Tips for use:

  • Utilize white balance dropped to adjust photo to best appearance.
  • This particular roll really pushed the blues, we don’t know if it was exposed to extreme temperatures, but no other color seems to be really effected. If your blues seem too washed out, slowly decrease the Luminance and increase the Saturation until you reach your desired effect.
  • Use with High ISO images with a good amount of noise. Increase the Color Noise Reduction slider to about 25 to eliminate random colors while retaining a good grain look. The image will look natural with the washed out color and grain, as if it was shot on the film.
  • Increase clarity if softly textured, increase black levels to bring out more texture.

Fuji Fujicolor Press 800, an ISO 800 color negative film, was known for its utility in various lighting conditions, providing fine grain quality and sharpness. It was particularly appreciated by photographers for its versatility, applicable for various photography genres such as portraits, events, and more, where diverse lighting conditions could be expected. While the search results don’t provide detailed historical data, it is known from general knowledge that films like Fujicolor Press 800 were often utilized by professionals for their reliability in varied settings. In 2009, despite plans to discontinue, Fujifilm decided to continue producing Fujicolor Pro 800Z due to customer demand. It’s imperative to note that available details about this film are limited in the provided search results. For more comprehensive historical information, additional sources would be needed.

Fuji Neopan Acros 100 – Expired 2005

I love the look and feel of Acros. It is our favorite “slow” black and white film. We buy it whenever we see it, even if its expired. This particular roll had an expiration date in 2005 on it. We shot it as a test roll anyways. There was some definite shifting in the film’s tones as compared to fresh Acros, but nothing drastic, a bit lighter in appearance. The film still looked great even after being out of date and at room temp for a few years. Emulation generated from one roll of expired Acros. Shot at box speed, no compensation for age. Developed in D76 1:1 for 10.5 minutes at 68 F per DigitalTruth.com’s massive dev chart for fresh Acros.

Tips for use:

  • Adjust white balance to find to tone you are looking for. White balance subtlety shifts the tone without overly changing the image.
  • Increase/decrease black clipping to reinforce texture. Increasing black clipping will also bring the expired more in line with the fresh emulation.
  • Use fill and recovery to push highlights toward white without blowing out detail.
  • Alter the tone curve from medium contrast to high contrast if image needs more pop.

Fuji Neopan Acros 100 was a medium-speed black and white film renowned for its ultra-high-image quality and showcased the world’s highest standard in grain quality among ISO 100 films. It provided outstanding sharpness, rich gradation, and wide exposure latitude, along with excellent reciprocity characteristics. The film was popular among photographers for various applications, including portraits, landscape, and architectural subjects due to its fine grain and high sharpness. Moreover, it was suitable for a plethora of other photographic conditions, thanks to its silky-smooth gradients with high-contrast shadows and a wide overexposure latitude.

Fuji Neopan Acros 100 was eventually discontinued but was succeeded by Neopan 100 Acros II, which retained similar reciprocity characteristics to the original and was slightly different in aspects, yet continued to embody the highly esteemed qualities of its predecessor, such as medium speed, super fine grain, and black-and-white film qualities.

Fuji Sensia 100

Fuji’s “consumer” slide film, much like Provia in its look, although with less color range. Delivers good, colorful and crisp slides, however seems to lack the punch of either Velvia or Provia. A good film nonetheless. Shot at box speed and developed in regular E-6 chemisty at local lab.

Tips for use:

  • Work with the overall saturation slider to globally adjust color saturation to desired level.
  • To save skin tones from the loss of reds in image, drag the orange saturation down and the red luminance down.
  • If your camera has a lot of resolution, bring up the clarity.
  • Recover and Black clipping most likely will need to be adjusted. This curve blows highlights easily and blacks out shadows. Adjusting recovery and black clipping will not overly effect the color tone.

Fuji Sensia 100 was a notable 35mm color slide film characterized by its smooth and fine grain, brilliant and natural colors, which made it a suitable option for various outdoor shooting situations, including snapshots, landscapes, and portraits. The film was admired for yielding delightful results regardless of the processing method, and when cross-processed, it was known to produce images with substantial contrast and a noticeable color shift, adding a unique aesthetic to the photographs. Not as smooth as Provia, it was somewhat grainier but still provided satisfactory image quality, sufficient enough to impress photographers. Sensia 100 was part of Fuji’s Sensia line, which was appreciated for its excellent contrast that facilitated color separation and rich tonal variations, contributing to its excellent image quality. Unfortunately, Fuji Sensia 100 was discontinued in 2010, yet it has remained in use among photographers, even those utilizing expired film, due to its distinctive visual characteristics.

Fuji Superia 100

This is an emulation of the consumer print film Superia, not the enthusiast/professional Superia Reala. Superia is in many ways Fuji’s analog to Kodak’s Gold, a basic all-round mildly saturated film primarily designed for use in point and shoot cameras. Superia is hard to find nowadays, as it has been renamed by Fuji to simply Fujicolor when they eliminated the 4th color layer from the emulsion. Developed from an expired roll of Superia 100, developed at the local lab as a regular C-41 film.

Tips for use:

  • Adjust vibrance and individual color channel luminance to fine tune colors.
  • Make sure white balance is properly set.
  • Preset will tend to overexpose highlights, use recover to pull them back.
  • Adjust noise reduction to clear up any unwanted noise/grain.
  • Increase clarity if softly textured, increase black levels to bring out more tonal depth.

Fuji Superia 100, under the Fujicolor Superia brand, has been recognized for its daylight balanced colour negative film qualities, introduced around 1998, and was primarily targeted at the consumer market. It was crafted with a focus on delivering notable color accuracy and a wide exposure latitude, becoming popular among both amateur and professional photographers. Superia 100 was lauded for its refined sharpness, enhanced color realism, and particularly its ability to reproduce natural skin tones. Fujifilm even introduced digital film simulation modes in their cameras, such as the Classic Negative simulation, designed to mimic the characteristic look of the Superia film. Available in various ISOs and formats over the years, Superia films, including ISO 100, were manufactured in response to the diverse needs of photographers.

Fuji Velvia – Crossprocessed

As simple as can be, a roll of Velvia 100 shot at box speed and developed in C-41 chemicals. Cross-processing is an unpredictable process, and in this particular roll created a magenta cast , some severe color shifting and a boost to overall saturation. Single roll of fresh Velvia crossprocessed in C-41 chemistry at the local lab.

Tips for use:

  • Color cast created with split-tone. Adjust saturation of the Highlight and Shadow colors to alter the effect.
  • Some severe work done to color mix in the HSL mixer. Adjust as needed.
  • White balance can be used to push the color cast in different directions.
  • Remember cross-processing is used to create unnatural unexpected results. If the image does not look right, lower the saturation of split-tone. If that does not help, you may not be looking for an X-Pro effect.

Fujifilm Fujichrome Velvia, commonly known as Fuji Velvia, is a highly regarded reversal (slide) film introduced in 1990, acclaimed for its high contrast and vibrant saturation. Over the years, different versions of Velvia have been produced, including Velvia 50 and 100, each version pertaining to its ISO speed. Velvia 50 is particularly praised for its fine, sharp grain, and accurate colors, establishing itself as a premium choice among 35mm films, albeit being one of the most expensive options. It provides professional, high-quality images with remarkable granularity and unparalleled levels of color saturation and vibrancy. While it initially utilized a film base from the 1980s, all of Fuji’s films have transitioned to a newer and superior base since 1990[2]. Velvia rapidly gained popularity among professional photographers upon its release over three decades ago due to its distinctive, high-saturation look.

Fuji Velvia 100 @ 80

This Lightroom film preset was developed from a roll of Fuji Velvia 100, shot under exposed at relatively ISO 80. This created, in this particular roll, more pleasing skin tones, while retaining Velvia’s trademark saturation. While not really suitable for portraiture, people look more natural than typical Velvia. Roll was developed in E-6 Chemistry, scanned and analyzed for emulation.

Tips for use:

  • This is Velvia, so it is saturated, but not as much as usual. If you need more punch crank up the global saturation a bit.
  • This Vevlia emulation is much more friendly to skin tones, however can still be a bit overboard, so back off Orange Saturation to save the skin if needed.
  • When an image has heavy bokeh, be warned that strong, in focus colors can cause a halation around the subject. There is not much that can be done about this short of cutting clarity or using a different preset.

Ilford Delta 3200 Pro

DELTA 3200 PROFESSIONAL technology relies on a complex, four-part emulsion package that optimizes ILFORD’s proprietary core-shell crystal technology. This emulsion assembly gives the film great tonal rendition coupled with exposure flexibility and versatile processing performance. The film is not truly a 3200 speed film, but actually ISO 1250 and has to be pushed to reach its box speed. Test roll was exposed at ISO 3200, as per box speed. Was developed in D-76 at stock strength for 10.5 minutes at 68F as directed by the Massive Dev Chart. This dev formula created the needed push.

Tips for use:

  • Pretty standard Black and White emulation. Play with the White Balance to seek the tonality you are looking for.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, increase black levels to bring out more detail.
  • When subject has blotchy skin, and you have already reduce Orange to no avail, lightly reduce the Reds in the B&W mixer.

Ilford Delta 3200 Pro is known for being a high-speed black and white film, popular amongst photographers who need to shoot in low light conditions. It’s renowned for its ability to produce excellent photographs under these conditions due to its high ISO rating, while maintaining good image quality and reasonable grain for such a fast film. It’s often used in event, indoor, and night-time photography.

Kodak BW400CN – Expired 2007

Kodak BW400CN is Kodak’c current C-41 process B&W film. It offers film photographers the look of black and white with the ease of color print film. This particular roll was discovered at a local dent and bang grocer, 2 years out of date at the time, expiring September of 2007. So since it was unique, we shot it as an emulation test roll. Exposed at ISO 400 and developed at the local lab in regular C-41 chemistry.

Tips for use:

  • Utilize white balance to adjust photo to best appearance.
  • Work with contrast and brightness to get proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, increase black levels to bring out more texture.

Kodak BW400CN is a unique black-and-white film that stands out due to its chromogenic properties. Unlike traditional black-and-white films, BW400CN is designed to be processed in C-41 chemistry, which is the standard for color negative films. This attribute made it a popular choice for those who appreciated the monochromatic aesthetics but required the convenience of standard color film processing. The film offers a speed of ISO 400, making it versatile for various lighting conditions. Despite its popularity and unique qualities, Kodak made the decision to discontinue the BW400CN film, marking the end of an era for this much-loved chromogenic film[, ]. Its discontinuation left many photographers reminiscing about the distinct grain structure and aesthetic that the film provided. It is remembered for its flexibility, the ability to capture detailed blacks and whites, and for bridging the gap between color and monochrome film processing.

Kodak Ektachrome 100VS

Ektachrome 100VS is Kodak’s Vivid saturation slide film in the Ektachrome E-6 slide film family. Kodak claims it accomplished the high levels of saturation via their “Color Amplifying Technology” whilst maintaining and even gray balance. It is a T-grained film, for enhanced sharpness. It appears that Kodak designed this film for studio and product photography, especially when using a soft box. They also state “It’s an appropriate choice for nature, scenics, wildlife, food, jewelry, and any subjects that call for brilliant, dramatic hues.” (Kodak,Doc E-163) we will say the film is great for set shots and landscapes, we don’t feel it can handle skin tones well at all. In our opinion, even the surreal Fuji Velvia does a better job with skin, and that is not a Velvia strong suit. Pay attention to the Orange Channel’s Hue and Saturation when you have people in your landscapes. This emulation was designed from a two rolls of Kodak Ektachrome 100VS developed at one of our local photo labs. Processed in straight E-6, no push or pull.

Tips for use:

  • This particular simulation is very red, if people are in frame and skin tones look bad, first move the Orange Hue back toward 0, away from red. This will alter the simulation, but allow you to have good skin tones that are not badly altered by the orange channel.
  • If Orange Hue does not make skin tone look acceptable, then SLOWLY bring down Orange Saturation until you get reasonable results.
  • This preset also uses a relatively high Clarity, as we see it’s primary use to be landscapes and still life. The Clarity can be altered as needed to enhance the image.
  • This preset will run a bit dark in high contrast images. Adjust the global Contrast slider as needed to get proper appearance. Ektachrome 100VS is a very saturated and contrasty film by it’s nature, so keep that in mind whilst adjusting.
  • This preset does not really pop blue skies very much when image is overexposed. If you are wanting to enhance the blues in the sky or water, first adjust the Blue Luminance slider to 0 or lower. This will enhance skies and water without having too strong of an effect on the rest of the image.
  • Green should be adjusted via Luminance whenever the greens seem too dark, yet overall contrast looks good. Simply push the Green Luminance from +7 towards +20 or +25.

Kodak Ektachrome 100VS was a popular slide film known for its vibrant and saturated colors, especially in the blue and green channels. “VS” in its name stands for “Vivid Saturation,” and the film was popular among photographers who wanted to capture striking, vibrant images. It was often utilized for landscape and nature photography, where the enhanced saturation could make images pop. Ektachrome films have a historical significance in the realm of photography and have been utilized for numerous important events and by many significant photographers over the years. Kodak Ektachrome 100VS was discontinued in the early 2010s, much to the disappointment of its admirers. However, in 2018, Kodak Alaris revived the Ektachrome line, initially with Ektachrome E100, pleasing many film photographers around the world.

Kodak Elite Chrome 100

Although the box says Kodak Professional, Kodak produces this film for and markets to the consumer market. Elite Chrome is a well balanced slide film, showing the tendencies of the big brother Ektachrome, but at a slightly more subdued approach. Test roll shot at ISO 100 and developed at local lab in normal E-6 chemistry.

Tips for use:

  • Work with the overall saturation slider to globally adjust color saturation to desired level.
  • To save skin tones from the loss of reds in image, drag the orange saturation down and the red luminance down.
  • If your camera has a lot of resolution, bring up the clarity.
  • Recover and Black clipping most likely will need to be adjusted. This curve blows highlights easily and blacks out shadows. Adjusting recovery and black clipping will not overly effect the color tone.

Kodak Elite Chrome 100 was a color reversal film esteemed among photographers for its fine grain and vibrant, yet natural, color reproduction. With an ISO sensitivity of 100, this film was adept at providing crisp and detailed images under daylight conditions. Launched as part of the Kodak Professional Ektachrome film lineup, it was also famed for its fine grain, making it a preferred choice for professional and amateur photographers who demanded high image fidelity and rich, vibrant colors. Unfortunately, like many other beloved films, Kodak Elite Chrome 100 experienced its end when Kodak ceased production of many of its color reversal films, presumably including this, although they continued to produce some quantities and related chemicals for a time. This film, and others in the Ektachrome line, became celebrated and nostalgic symbols of the era when film photography was paramount, appreciated for their unique aesthetic and color rendering.

Kodak Elite Chrome 200

Just like the 100 speed version; the box says Kodak Professional, Kodak produces this film for and markets to the consumer market. Elite Chrome is a well balanced slide film, showing the tendencies of the big brother Ektachrome, but at a slightly more subdued approach. A bit brighter in appearance than Elite Chrome 100, slightly larger grain. Test roll shot at ISO 200 and developed at local lab in normal E-6 chemistry.

Tips for use:

  • Work with the overall saturation slider to globally adjust color saturation to desired level.
  • To save skin tones from the loss of reds in image, drag the orange saturation down and the red luminance down.
  • If your camera has a lot of resolution, bring up the clarity.
  • Recover and Black clipping most likely will need to be adjusted. This curve blows highlights easily and blacks out shadows. Adjusting recovery and black clipping will not overly effect the color tone.

Kodak High Definition 400

This Lightroom film preset was developed from a roll of Kodak High Definition 400, Short Dated. Kodak High Definition is a discontinued consumer grade 400 speed film, with T-grain for higher resolution when other 400 speed film were traditional grained at the time. Roll was developed in C-41 Chemistry, scanned and analyzed for emulation.

Tips for use:

  • Colors are fairly subdued in this Lightroom film preset. Amp up saturation if desired.
  • The tone curve is not too aggressive and allows a lot of adjustment latitude to work with highlights and shadow without breaking the emulation.
  • A very good general use preset. It will work well with most any image and is very flexible when it comes to additional adjustments in Lightroom or ACR.

Kodak High Definition 400 film, renowned for its exceptionally fine grain at a 400-speed, stood out in the market for its sharpness and color quality. Although detailed historical information is somewhat limited, it was distinct in its ability to offer photographers a unique balance between grain, sharpness, and color. Suitable for various photographic conditions due to its ISO 400 rating, it provided flexibility for shooting in various lighting situations and was particularly appreciated for its fine grain quality, which is not typical for a high-speed film. It seemed to have been available and utilized by photographers even after its expiration date, indicating its popularity and valued characteristics among analog photography enthusiasts. Though production details are scarce, the film stands out in memories and old photographs, symbolizing a particular aesthetic of its time.

Kodak Kodachrome 10

A special Lightroom film preset, this time targeted to emulating a film that we would never be able to shoot in real life. Even if we could find unexposed film, it would be severely out of date and there would be no way to process the roll anyways as Kodak has not processed Kodachrome 10 since the late 1960’s. An old school photographer, who recently came back to photography and into the digital realm, Maxim Muir asked us to attempt an emulation of Kodachrome ASA 10. This particular Kodachrome had a unique look, and is the way most of us envision World War II in color. The subdued, yet strong colors of Kodachrome 10 differentiated it from other films of the era, and modern films for that matter. Maxim was familiar with the film, and knew what to expect. He pointed us to a few accurately scanned samples on Flickr, upon which this emulation is based. After quite a few attempts, this was our closest attempt.

Tips for use:

  • Classic Kodachrome had excellent sharpness, so sharpen and apply Clarity to your tastes.
  • In general, Kodachrome 10 did not have a high degree of saturation, you may desire to kick up the global saturation 10-15 steps to bring more pop to landscapes.
  • Remember, this preset was designed blind.

Kodachrome film, first introduced by Kodak in 1935, was initially launched as a 16mm movie film and only became available in other formats like 8mm movie film in the following years. This film was known for its three very thin emulsion layers coated on the film base, sensitized with non-diffusing color couplers that contributed to its vibrant and lasting colors. Kodachrome captured historical moments like the Hindenburg’s fireball explosion in 1936 and Edmund Hillary’s historic climb to the top of Mount Everest in 1953.

Kodak Kodachrome 200

The classic . In Cold Storage Volume 1 we released the 25 and 64 speed of this particular film, and now we present an emulation of Kodachrome 200 KL. A much different color rendition than its stablemates, but pleasing nonetheless. Shot at box speed. Developed by Dwaynes as they are the only ones performing the K-14 process.

Tips for use:

  • Work with contrast and brightness to get the proper look. VERY important for this Lightroom film preset. Will usually need one or the other sliders adjusted. · Utilize fill and recovery to bring out details.
  • Increase black levels to bring out more texture, and lower contrast if taking black much past 15.
  • To give a pre-1970 look, split tone highlights to hue=56 sat=40, shadows hue=56 sat=14, bal=0. For 70’s era look split tone highlights to hue=236 sat=18. shadows hue=536 sat=32, balance zero. Play around with those values +/- 10 to find the best look.

Kodak Kodachrome ASA 10

This particular emulation was one of the last beta presets in the development of the Kodachrome 10 emulation. While not accurate enough to pass for the proper emulation, we felt this Lightroom film preset had a unique appearance that fits the Kodachrome feel quite well. A tad more saturated than real Kodachrome 10, it makes for an excellent landscape treatment.

Tips for use:

  • Classic Kodachrome had excellent sharpness, so sharpen and apply Clarity to your tastes.
  • In general, Kodachrome 10 did not have a high degree of saturation, you may desire to kick up the global saturation 10-15 steps to bring more pop to landscapes.

Kodak Max 400

Kodak’s old primary 400-speed consumer film. Kodak Max 400 has been followed up by Kodak UltraMax 400, offering many improvements, but changing the overall look and feel. Max 400 makes rich colors, much like a Gold, but provides higher shutter speeds without excessive grain. Shot an expired roll at ISO 400 and developed in standard C-41 at the local lab.

Tips for use:

  • Adjust vibrance and individual color channel luminance to fine-tune colors.
  • Make sure the white balance is properly set.
  • Preset will tend to overexpose highlights, use recover to pull them back.
  • Adjust noise reduction to clear up any unwanted noise/grain.
  • Increase clarity if softly textured, and increase black levels to bring out more tonal depth.

Kodak Max 400 is a color print film known for its versatility in various lighting conditions, although the specific historical details are not available in the provided search results. Its general characteristics involve optimized color precision and notable sharpness, even when the photographs are enlarged[2]. This film is intended for 35mm cameras and has been marketed in 36-exposure rolls.

Often commended for its capacity to produce clear pictures with fine grain, was developed considering both amateur and professional photographers who require a film capable of performing well in varied lighting situations[2]. It has been sold in various venues and is appreciated in the photography community for its accessibility and consistent quality.

Kodak T-Max 100 – Baked

We all make mistakes. This is one of ours. We loaded up some T-Max 100 onto our spools after a full night of development. Was planning on processing the next day, but we never got the chance to. Long story short, we forgot what we had on the spool and convinced ourselves that it was some Seattle Film Works color print film. The type that is movie film stock and cannot be developed in C-41 machines. So, we processed our T-Max 100 as if it was C-41 film being processed as B&W in D-76 chemistry. Instead of D-76 1:1 for 12 minutes or stock strength for 9 minutes we ended up processing this poor T-Max in D-76 stock for 18 minutes. Twice what is called for with way too much agitation for T-Max. We got some extremely thin negatives. However, upon scanning, we found the normal T-Max tone shot to hell with insane contrast. We kind of liked it, so we emulated it for Lightroom.

Tips for use:

  • The Tone Curve may be a bit dark for your needs, adjust accordingly.
  • Adjust white balance to find to tone you are looking for. White balance subtlety shifts the tone without overly changing the image.
  • Increase/decrease black clipping to reinforce texture. Increasing black clipping will also bring the expired more in line with the fresh emulation.
  • Use fill and recovery to push highlights toward white without blowing out detail.
  • Alter the tone curve from medium contrast to high contrast if the image needs more pop.

Kodak T-Max P3200

Kodak’s supposed 3200-speed B&W film. Of course, it’s nowhere even close. Much Like Ilford’s 3200-speed affair, T-Max P3200 is an ISO 1250 film. But Kodak is upfront with the situation, hence P3200 as the box speed. The “P” insinuates “Push” which is what has to be done to develop this film when shot at box speed. Shot at 3200 and developed in D-76 1:1 for 18 minutes at 68F.

Tips for use:

  • Pretty standard black and white emulation. Play with the White Balance to seek the tonality you are looking for.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase Clarity if softly textured, and increase black levels to bring out more detail.
  • When the subject has blotchy skin, and you have already reduced Orange to no avail, lightly reduce the Reds in the B&W mixer.

Kodak T-Max is a renowned series of black-and-white negative films, celebrated for its advanced grain structure attributed to Kodak’s proprietary T-GRAIN emulsion technology. Introduced in the late 1980s, T-Max films set a new benchmark in the black-and-white film industry, offering photographers an unprecedented combination of ultra-fine grain, sharpness, and resolving power. This groundbreaking film owes its qualities to the unique tabular grain structure which facilitates greater film speed and heightened image sharpness[3][2]. One of the most notable variants, the T-Max P3200, was launched in 1988, gaining immense popularity among photojournalists for its capability to impeccably capture details in dim light conditions[1]. However, its production was halted in 2012, only to be resumed in 2018 in response to popular demand. The T-Max lineup includes other variants like the T-Max 100 and T-Max 400.

Kodak Tri-X 400 @ 1600

Nothing special here for anyone used to shooting Tri-X. A mild 2-stop push, making an effective shooting ISO of 1600 trading more grain for more speed. Pushing film not only increases grain but can incur a “color” shift visible in the overall tonality of the image. Exposed at 1600 ISO and developed in D-76 1:1 for 13 minutes and 15 seconds at 68F, making for the required 2-stop push.

Tips for use:

  • Adjust white balance to find to tone you are looking for. White balance subtlety shifts the tone without overly changing the image.
  • Increase/decrease black clipping to reinforce texture. Increasing black clipping will also bring the expired more in line with the fresh emulation.
  • Use fill and recovery to push highlights toward white without blowing out detail.
  • Alter the tone curve from medium contrast to high contrast if the image needs more pop.

Kodak Tri-X is a monumental black-and-white film with a storied history spanning over six decades, profoundly shaping the world of photography and photojournalism. Introduced by Eastman Kodak in 1940 in sheet film formats, Tri-X was initially recognized for its high-speed capabilities in the black-and-white film domain. In 1954, the film was adapted to 35mm and 120 formats, further propelling its popularity and solidifying its iconic status among photojournalists and photographers alike due to its notable high-speed qualities, reliability, and distinctive grain structure[3]. Tri-X became a tool of choice for capturing pivotal historical moments and was employed by renowned photographers, encapsulating myriad significant global events. The film is distinguished for its fine grain, wide exposure latitude, and rich tonality, which have endeared it to artists and photographers worldwide. Even today, Kodak Tri-X persists as a beloved film stock, reflecting a timeless appeal that has traversed generations of photographic technology and artistry.

Kodak Ultra Color 100

Kodak Ultra Color 100 was a professional-grade color print film from Kodak designed to create heavily saturated colors while retaining acceptable skin tones. As a 100-speed film, it was fine-grained and performed well at its task. It has since been discontinued and is another film that Ektar 100 was designed to replace. Shot at box speed and developed at a local lab in standard C-41 chemistry.

Tips for use:

  • Utilize white balance dropped to adjust the photo to the best appearance.
  • UC 100 is a saturated print film, you can drag down the global saturation to tone down the overall effect.
  • If you are using this preset for Portraiture, consider using a more neutral preset instead. If you need saturated colors but more subtle skin tones….
  • The Orange Saturation channel controls skin tones, by lowering the orange saturation you can improve skin tones whilst maintaining the overall saturation.
  • This emulation hits clarity hard, and if the image shows signs of too much clarity, back it down to a reasonable level.

This was a film stock under the broader umbrella of Kodak’s consumer film products. This film was known for its vibrant and ultra-color profile, catering to a broad spectrum of photographers from amateurs to professionals seeking intense color saturation in their work. Some critics perceived it as an inferior product, citing it as a high-contrast film with a distinct reddish cast during scans, which could be challenging to manage in post-processing. Despite some criticisms, Kodak Ultra Color 100 found its niche in the film market for certain applications where vibrant and dramatic color renderings were desired, and it was utilized in various photography contexts. As is common with film, user experiences and preferences varied widely, resulting in mixed reviews and diverse applications for the product in the field.

Maco Cube

An emulsion from Maco of Germany. This time the emulsion is not released under the Rollei name, but under their own moniker. Maco Cube is a nominally rated 400-speed film that can be exposed from ISO 100 to ISO 6400 depending on the processing used. They claim a fine grain across the ISO spectrum due to a three-layer emulsion with different silver crystals in each layer tuned to differing speeds, leading to greater versatility. It is a fairly fine-grained film and has good tonality. This emulation was designed from a single roll of Maco Cube shot at ISO 400 and developed ourselves by hand. Developed in D-76 for 10 minutes @ 20C (68F). While not the preferred developer, it is what we had, and the datasheet only gave data for D-76 for ISO 400 dev.

Tips for use:

  • Utilize white balance to adjust the photo to the best appearance.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, and increase black levels to bring out more texture.

Maco Cube 400c is a film produced by Maco, a manufacturer and distributor of film products based in Germany. The film is noted for its superb quality, and after realizing its potential, Maco began selling it in both 35mm and 120 formats. Maco Cube 400c films are known to be relatively robust concerning storage, and like other films, their bases, made of cellulose triacetate, can tend to shrink[3]. This film is black and white and was introduced into the market with availability in all sizes, indicating versatility in application and user options. Though there is not a vast amount of detailed history available in the provided sources, it is evident that the Maco Cube 400c has its place in the film market and is acknowledged for specific qualities that may appeal to both amateur and professional photographers.

Maco IR

Another emulsion from Maco of Germany. Maco IR is their IR film. We are not a big fan of IR photography in general, even less since we don’t have access to an IR-modified DSLR to design these presets with. So this is a close approximation of this IR film shot with no special filters, just straight-up pictures. We have 2 more rolls, so we will later shoot the film again using an R72, but we have to get one first. If anyone out there has an IR-mod DSLR who can snap a frame or two of an x-rite of Macbeth color card and send us the RAW file, we should be able to create a more accurate representation of this IR film. As is this is more of an approximation of the IR film’s tones, and it cannot properly render a standard RAW file as an IR image, IR light is just too different from visible light. This emulation was designed from a single roll of Maco IR shot at ISO 400 and developed ourselves by hand. Developed in stock D-76 for 8 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, the end all be all of B&W processing.

Tips for use:

  • Utilize white balance to adjust the photo to the best appearance.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, and increase black levels to bring out more texture.
  • Please keep in mind that this emulation was made because we shot the roll, not because it is accurate in any way. Treat it more or less like any other B&W preset.

Maco IR 820c, manufactured by HANS O. MAHN & CO. KG, and also referred to as Macophot IR820c, is a black-and-white infrared film notable for its panchromatic sensitization, with additional infrared sensitization extending up to 820 nm. This film demonstrates unique characteristics with its sensitivity bands; while other IR films typically have one wide band of sensitivity, Maco IR 820c exhibits three narrow bands at 420nm to 480nm (blue), 620nm to 640nm (red), and 760nm to 820nm (infrared). This film can be utilized for standard infrared photography, and without filtration, it behaves akin to a traditional panchromatic black-and-white film. Maco IR 820c has been applied in various formats of photography and has been acknowledged for its adaptability and particular infrared photographic capabilities.

Maco PO

Another emulsion from Maco of Germany. The emulsion is again not released under the Rollei name but under their own moniker. Maco PO is an ISO 100 Orthopanchromatic film that can be exposed from ISO 50 to ISO 200 depending on the processing used. As the film is considered orthopanchromatic, it is neither red-blind (as Ortho film) nor red-seeing (as Pan film). It sees a reduced red spectrum, barely seeing into the red spectrum. This emulation was designed from a single roll of Maco PO shot at ISO 100 and developed ourselves by hand. Developed in stock D-76 for 6 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, the end all be all of B&W processing.

Tips for use:

  • Utilize white balance to adjust the photo to the best appearance.
  • Although not true to the film, you can increase the Red Channel to improve skin tones if needed.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, and increase black levels to bring out more texture.

Polaroid 600

We developed this preset from a pack of Polaroid 600 Expired in 05/2008. Today we were out hitting yard sales, after we ran out of sales to hit, we ran by the local discount grocery store. There we proceeded to buy every roll of 35mm film that was available. Then we came across two packages of expired Polaroid 600. So we got home, loaded our old Sun 600, and got out our emulation targets. Shot the frames, and scanned them in on our Epson V500 into our color-calibrated system. we got to cracking in Lightroom as soon as it was scanned. Now this Lightroom film preset is nowhere near as accurate as others we have done. We are going to refine this preset further, but we wanted to get a good Polaroid 600 preset out as soon as possible.

Tips for use:

  • This particular preset is fairly high-contrast. Keep that in mind when using. The effect is likely due to the expiration of the film and the conditions it was shot.
  • The standard preset also really ups the blacks, if the image is too dark, lower black clipping.
  • Clarity is set rather high on this set. We didn’t have time to perfect the clarity simulation. If the image seems too sharp, lower the clarity.

This film was specifically designed for use with Polaroid’s 600 series of cameras, which are among the company’s popular models[4]. Notably, this film type is common for vintage Polaroid cameras and is cherished among instant photography enthusiasts. Available as color instant film, it is recognized for its ability to deliver vivid and richly saturated images. This film type is widely appreciated for its compatibility with vintage Polaroid cameras, promoting the nostalgic charm of instant photography by merging the classic with the modern. One of the notable attributes of Polaroid 600 film is its instantaneous development, producing physical photos shortly after being ejected from the camera. Photographers and hobbyists seek the Polaroid 600 film for its unique aesthetic, simple usability, and the immediate gratification of holding a physical photograph moments after capturing a scene. It remains a cherished medium in the photography world, embodying the timeless appeal of instant film photography.

Polaroid High Definition 200

Preset developed from a roll of Polaroid High Definition 200 Expired. Emulation made from a roll of old Polaroid 200 that expired at some point. The date is lost to us due to the fact the roll was found in our parents’ closet. We are assuming the film expired in the late 90’s early 2000’s. It was the WalMart branded Polaroid 200 which we are pretty sure was a 3M emulsion. This Lightroom film preset was developed from a color-corrected scan from the Polaroid negative. The images had a very blue cast to them which we removed for the sake of attempting to recreate an original look. We released a preset of the film as it was developed, uncorrected with a cold blue cast.

Tips for use:

  • Reds can be problematic in skin tones, drop the red saturation if the skin is blotchy.
  • There is a lot of color shift in this film. Look at the HSL settings to see what is tweaked. The impact on your image will depend on the colors altered and the colors present.
  • This Lightroom film preset is an attempt to recreate the look of fresh Polaroid High Definition 200, if it looks strange to you it is probably because we were color-correcting based on old prints made from rolls shot years ago.

Rollei IR

A Psuedo-IR film, from Maco/Rollei. In all reality, this film is a regular panchromatic film, slightly enhanced in red sensitivity to allow for a good IR effect when using an R72 filter. Shot without a filter, at ISO 400, the film responds very similar to Kodak Tri-X, just a higher sensitivity to red and enhanced greens. The film is so not IR, it can even be loaded in subdued light and used with cameras with textured pressure plates and film windows. More or less a gimmicky name, as you can use an R72 filter with most Panchromatics and get a similar effect. As a regular film, however, it is enjoyable, but Kodak Tri-X beats it day in and out. The test roll was shot as a regular roll without the R72. This Lightroom film preset emulation was designed from a single roll of Fortepan 100 shot at ISO 100 and developed ourselves by hand. Developed in stock D-76 for 6 minutes @ 20C (68F). This development recipe was acquired from DigitalTruth.com, the end all be all of B&W processing.

Tips for use:

  • If you want to simulate IR, be sure to bring down the blue saturation and increase the red saturation. As it is though, we wouldn’t bother.
  • Utilize white balance to adjust the photo to the best appearance.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, increase black levels to bring out more.

Rollei Infrared (IR) film is a unique photographic film known for its ability to capture infrared light, yielding surreal and dramatic black and white images, where green foliage appears ethereal white and skies can exhibit a stark, dark appearance. Rollei IR film is celebrated for enabling photographers to explore creative infrared photography, generating images with a distinct visual aesthetic unattainable with conventional films. Available in 35mm format, it has a nominal sensitivity of ISO 400 and is specifically engineered to capture infrared light, often utilized with an infrared filter to augment its otherworldly visual effects. Over time, Rollei IR has carved out a niche among analog photographers, valued for its capacity to render invisible infrared light and provide a tool for both experimental and expressive photographic ventures in a distinctly creative manner.

Rollei Ortho

Rollei Ortho is another classically designed, high silver content B&W film. Developed as a fine grain, high contrast film, it can be developed in a manner of different ways depending on the developer used and developing time. Rated at ISO 25, it is a slow film, with latitude for pushing, albeit not much. This emulation was designed from a roll of Rollei Ortho developed ourselves. Developed in Rollei RLS Low Speed diluted to 1+4 for 12 minutes @ 24C (75F). Dev times culled from DigitalTruth.com.

Tips for use:

  • Utilize white balance to adjust the photo to the best appearance.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, and increase black levels to bring out more texture.

Rollei Ortho 25 Plus is an orthochromatic black and white photographic film, known for its unique visual characteristics and application in various photographic contexts. Orthochromatic films, like Rollei Ortho, are sensitive to blue and green light, but not red, which allows for distinct contrasts and tonal reproductions that differentiate it from panchromatic films. Rollei Ortho 25 Plus, particularly, boasts a low ISO of 25, suggesting its requirement for ample light and potentially benefiting from stable camera setups like tripods or studio settings for optimal results[4]. Furthermore, it has found a place among photographers who appreciate its ability to create aesthetic imagery, evoking a somewhat historical and ethereal quality, with high contrast and impressive sharpness, making it a choice film for varied artistic and technical photographic endeavors.

Rollei R3

A versatile, “all-speed” film developed by MACO and distributed by Rollei. The film claims an ISO latitude from 25-3200 by utilizing different development chemistry and procedures. A classic silver halide film, has moderate resolution and excellent tonality. The film used for emulation was shot at ISO 200 and developed in D-76.

Tips for use:

  • Utilize white balance to adjust the photo to the best appearance.
  • Work with contrast and brightness to get the proper gray density you desire.
  • Utilize fill and recovery to bring out details.
  • Increase clarity if softly textured, and increase black levels to bring out more texture.

Rollei R3 is a black and white film notable for its versatility in speed and usage across varied lighting conditions. Introduced in the early 2000s, this film employed Maco’s classical cubic crystal technology and had the distinctive feature of being a low to high-speed film with high acutance, meaning it could provide sharp and detailed photographic results[1][4]. One of the remarkable characteristics of Rollei R3 was its variable sensitivity which spanned from ISO 25 to ISO 6400, dependent on development, offering photographers a broad spectrum of artistic and technical flexibility in their work.

However, Rollei R3 received mixed reviews from the photography community. While its wide ISO range was appreciated, some photographers encountered challenges, such as undesirable results when developing the film with certain developers. By around 2010, Rollei R3 was no longer in production, but it left an impact on the film photography field due to its unique features and attempted versatility.

Rollei Retro

Rollei Retro is a black and white film produced by MACO. The original batch of the film was the remaining stock of AGFA APX 100 and then rerated as 100/400. We cannot prove it, but the chatter on the internet seems to indicate that MACO is now producing this film and is no longer using the old AGFA stock. If this is the case then the stock has most assuredly changed by now. This Lightroom film preset emulation was designed from a single roll of Rollei Retro developed in some old Rodinal. Developed in 1+3 working solution for 15 minutes @ 24C (75 F). A bit warm, but it was the quickest, diluted procedure for AGFA APX 400 listed over at DigitalTruth.com.

Tips for use:

  • Work with the overall saturation slider to globally adjust color sat to the desired level.
  • To save skin tones from the loss of reds in the image, drag the orange saturation down and the red luminance down.
  • If your camera has a lot of resolution, bring up the clarity.
  • Recover and Black clipping most likely will need to be adjusted. This curve blows highlights easily and blacks out shadows. Adjusting recovery and black clipping will not overly affect the color tone.

Rollei Retro 400S is a black and white negative film recognized for its high sensitivity and unique photographic characteristics. With a nominal sensitivity of ISO 400/27°, it is noted for being highly sensitive and versatile in various light conditions. The film is manufactured by Agfa Gevaert in Belgium and is known for its fine grain and good exposure latitude. Rollei Retro 400S stands out due to its super-panchromatic properties, and it is characterized by high contrast and relatively fine grain. Moreover, despite its high sensitivity, the film can be easily utilized across a variety of applications and is even capable of being used as a black and white slide film thanks to its crystal clear PET carrier material. Photographers have found Rollei Retro 400S to be a reliable partner in changing light conditions, praising its applicability as both an all-round film and as a tool for creating distinctive, artistic images.

Konica Super XG 100

Konica Super XG 100 is a consumer film produced by Konica starting in 1993. A predecessor of the Centuria line, the Super XG line focused on the consumer market, attempting to provide good colors with reasonable grain. Unfortunately, all of the Super XG line expired in the mid-nineties, and being primarily a consumer film was rarely stored cold. The samples we were provided with to create these Lightroom film presets expired in January of 1996, a good 14 years old at the time of exposure and processing. As there were no “known good” images we could use to correct for aging, these Lightroom film presets maintain the color balance and grain of the expired film, with the color cast removed. This emulation was designed from two rolls of Konica Super XG 100 film shot at box speed and processed in typical C-41 chemistry and normal processing.

Tips for use:

  • Utilize white balance dropped to adjust the photo to the best appearance.
  • Skin tones will run a little red, but pale at the same time. Adjust Orange Saturation as needed to bring some pop back into the skin tones.
  • The Tone Curve is rather flat, dipping in the shadows to bring in some solid blacks. To recover shadow information, simply adjust the Tone Curve as needed.
  • Grain is not applied automatically in the Base, Mix or Tone presets. Grain must be applied separately.

The Konica Super XG 100 was a color print film provided by Konica, a renowned brand in the photographic film industry. Specific details about this film type are somewhat limited from the provided search results. This film came in a 120 format, and rolls of it are seen in the resale market, notably on platforms like eBay. One of the listings indicates that the film has expired, suggesting it is no longer in production [3]. Another listing shows a 36/135 format Konica Super XG 100 film that expired in January 1997, implying that the film was available at least until the late 1990s . Konica was known for trying to innovate and stay relevant in the photography market, even after being in the industry for over 120 years, as noted in 1993 [6].

Konica Super XG 200

This emulation was designed from two rolls of Konica Super XG 200 film shot at box speed and processed in typical C-41 chemistry and normal processing.

Tips for use:

  • Utilize white balance dropped to adjust the photo to the best appearance.
  • This emulation runs quite red/magenta. This will alter skin tones quite drastically. Adjust Orange Hue and Saturation as needed for best skin tone results.
  • The Tone Curve is rather flat, dipping in the shadows to bring in some solid blacks. To recover shadow information, simply adjust the Tone Curve as needed.
  • Grain is not applied automatically in the Base, Mix or Tone presets. Grain must be applied separately.

The Super XG 200 film, which was a part of the consumer-focused Super XG line, offered commendable color quality and manageable grain. It seems like this film expired around the mid-nineties and was not generally stored in cold conditions, which would preserve the film quality. Consequently, available samples may present deviations like altered color balance and grain from the original, non-expired film. Users utilizing this film for creating Lightroom film presets maintain these characteristics, sans the color cast, in their results. When using, adjustments may be needed to manage the somewhat red/magenta tint and a relatively flat tone curve to achieve desired visual outcomes, given the alteration in skin tones and shadow details.

Ambrotype

The ambrotype photographic process, renowned for its characteristic aesthetics in the mid-19th century, created images renowned for their unique grain, tone, and color.

Tips for use:

  • Work the contrast slider to get the over all tone you desire.
  • Lower Clarity to create a soft focus, also adds a nostalgic look to it..
  • Recover and Black clipping most likely will need to be adjusted. Adjusting recovery and black clipping will not overly effect the color tone.

The process involved utilizing an underexposed glass negative positioned against a dark backdrop, thereby transforming the negative image into a positive one when viewed . The resulting visuals commonly displayed warm, sepia-toned browns, blacks, or purples, contrasted by lighter, softly diffused highlights. The grain texture, contributed by the collodion process, added a fine, detailed structure to the image, delivering a soft yet minutely detailed effect that became synonymous with the rich, nostalgic ambiance of ambrotypes.

Cyanotype

Predominantly, cyanotypes are recognized for their vibrant cyan-blue tones, a hue that arises from their sensitivity to a specific near-ultraviolet and blue light spectrum. While the primary hue is blue, with expertise, one can create multi-colored cyanotypes.

Tips for use:

  • Work the contrast slider to get the over all tone you desire.
  • To save skin tones from the loss of reds in the image, drag the orange saturation down and the red luminance down.
  • Lower Clarity to create a soft focus, also adds a nostalgic look to it..
  • Recover and Black clipping most likely will need to be adjusted. Adjusting recovery and black clipping will not overly effect the color tone.

Additionally, toning a cyanotype introduces variations in grain and color, comprising two phases: a bleach and a toning phase, where tannins are used.

Tintype

Tintype photography, also known as the wet plate collodion process, has roots dating back to the 1850s.

Tips for use:

  • Work the contrast slider to get the over all tone you desire.
  • Lower Clarity to create a soft focus, also adds a nostalgic look to it..
  • Recover and Black clipping most likely will need to be adjusted. Adjusting recovery and black clipping will not overly effect the color tone.

The method involves creating photographs on a thin metal plate, resulting in distinctive grainy images characterized by high contrast. Notably, the lack of sharpness and a slightly blurred quality give tintypes a unique visual appeal. The process requires a large camera, a dark space, and knowledge of chemistry, as well as a plate for capturing the image. The resulting photos captivate viewers with a strong photographic allure that draws eyes instantly to the subject[3].

Adox Art CHS

Adox CHS 100 II, a variant of the Art line, brings photos to life with its inherent features, emphasizing the importance of the film’s characteristics in the overall look and feel of the images.

Tips for use:

  • Adox Art CHS’s fine grain might offer a more detailed rendering of facial features, making it suitable for intimate portraits.
  • To introduce a more faded look, reduce the contrast and tweak tone curves

Adox Art film, known in certain iterations as Adox CHS Art, showcases distinct characteristics in its imaging results. The film presents a particular visual style that has deep contrasts, making the pictures stand out with a snappy overall appearance, reminiscent of photographs from the sixties. However, it’s worth noting that not all Adox films share the same traits. For instance, the Adox CHS 25 Art film, when developed with xtol, produced negatives with pleasing tonality and sharpness, though some found a specific weakness in the film’s resilience.

Adox CMS 20

This preset boasts a unique grain structure that allows for virtually grain-free enlargements. Moreover, its detailed rendition in terms of resolution, sharpness, and grain fineness gives it a lot more image clarity just from the preset.

Tips for use:

  • Amazing results with detail. Microphotography or architectural details stand out because of the grain of this preset.
  • Intensify the clouds and sky contrasts using the dehaze and clarity sliders.

Additionally, the CMS II is orthopanchromatically sensitized, providing a distinct spectral response. One of its hallmark characteristics is the film’s remarkable ability to differentiate tones harmoniously, especially noticeable in scenarios like distinguishing between lips and face or clouds and sky, a feature attributed to its classic sensitization. This meticulous tonal separation is unlike most modern films. When utilized for pictorial photography, the film can achieve an ISO range between 12 and 20, especially when developed with the Adotech II developer.

Adox Ortho 25

Adox Ortho 25 is an orthochromatic film known for its sharpness and high resolving capabilities. Unlike the earliest films that were sensitive solely to violet and blue light, orthochromatic films like Adox Ortho 25 are also sensitive to green and yellow light, so we built our Lightroom film presets that way, but they remain blind to anything red.

Tips for use:

  • Ideal for controlled lighting scenarios.
  • Use the de-saturation slider to emphasize the film’s monochromatic attributes and make it more vintage.
  • Emphasize the unique grain of this Lightroom film preset by slightly increasing the clarity.
  • If you want a moodier tone, adjust the color balance to cooler blue tones to highlight the film’s inherent blue sensitivity.

This specific sensitivity spectrum contributes to its distinct tonal rendition in black and white photography. When developing Adox Ortho 25 with certain developers like Rodinal, it’s crucial to avoid over-development as it could lead to the loss of the compensating characteristics of the developer. The orthochromatic nature of the film allows for unique grayscale separation, differentiating it from other types of films. Such characteristics make it a popular choice for various photography genres, emphasizing the detailed separation of tones and the meticulous rendition of the subjects.

Agfa APX 100

Tips for use:

  • This preset has more of a matte finish.
  • Excellent for street photography.
  • Use the radial filter to emphasize light sources or reflections to get the most out of the contrast.

One of the distinctive features of Agfa APX 100 is its excellent rendition of Caucasian skin tones. It also has a very dark film base, drawing parallels to other films like Kentmere and Rollei RPX. In terms of its film base thickness, it’s slightly thinner compared to Ilford’s FP4 but retains a comparable robustness.

Agfa APX 400

Unlike other films like Tri-X and Delta, Lightroom film presets like this one showcase less contrast, giving it a unique visual aesthetic. Some enthusiasts even equate its visual appeal to the classic television look, reminiscent of vintage broadcasts.

Tips for use:

  • Increase the contrast to accentuate APX 400’s unique balance of milky, faded zones with high contrast areas.
  • You can play around with the grain slider to give it a more artsy look
  • Slightly desaturate the colors to enhance the film’s inherent vintage and faded appeal

Photographers have experimented with this film by using it at various ISO settings, such as 200, 400, and 800. When developed at its box speed (400), the film displays smooth and charming results, handling various lighting conditions adeptly. Interestingly, some reviews suggest that Agfa APX 400 might not genuinely be an ISO 400 speed film, as it’s occasionally rated as ISO 200 or even ISO 100 by certain users.

Agfa RSX 200

It has been associated with micrography, a technique focused on producing photographs of minute objects, and was sold with special low-contrast attributes. The RSX 200 medium-format emulsion has experienced discontinuation and rebirth, highlighting its significance and demand in the film community.

Tips for use:

  • Enhance the saturation to highlight more of its color profile.
  • Adjust the shadows and highlights to bring out details and make full use of the dynamic range.

Photographers have ventured into experimenting with this film, even using expired Agfa RSX 200, to capture compelling shots, such as those taken in Transylvania with a Yashica Mat 124 TLR camera.

Agfa Scala 200

Launched around the 1990s, this film remained in production until approximately 2005. Scala 200 stood out as a general-purpose B&W reversal film with its base emulsion akin to the APX 100 film. The film boasted a wide exposure range and impressive tonal properties, which made it a favorite among photographers during its heyday.

Tips for use:

  • Lightroom film presets like this one are great for dramatic and contrasty landscapes and portraits.
  • Shadows, highlights, and clarity are all kind of tight on this one. If you adjust one, you’ll have to tweak the others.
  • Use Adobe Camera RAW monochrome profiles to finely adjust the tones and details

Despite its appeal, the film has faced processing challenges in recent times. By 2022, the dr5 service, which catered to Agfa Scala processing, announced its cessation after nearly 25 years due to factors like diminishing industry support and low volume. Yet, Scala’s legacy lives on, inspiring modern emulations like the Argenti Scale-X, which echoes the original Agfa Scala’s characteristics.

Ektachrome 100 VS Xpro

The resurgence of Ektachrome E100 in recent years inspired us to create our own. As with all of our Ektachrome Lightroom film presets, we tried to stay true to the color saturation and grain and we think we did a pretty good job.

Tips for use:

  • Because of the already saturated colors, if you want more, play with more of the tone profile.
  • Use this preset for landscapes and nature photography
  • Be careful with skin tones. It’s easy to let tan skin tones tilt too far to the orange.

Initially developed in the early 1940s, Ektachrome transformed photography by offering professionals and amateurs the capability to process their films, making color reversal films more accessible. The Ektachrome series underwent numerous iterations and versions since its first introduction to consumers in 1946. While specifics about the “VS” (Vivid Saturation) variant are not outlined in the provided results, it is known for delivering vibrant, saturated colors, making it popular among photographers seeking intensified chromatic results. The Ektachrome line, including Ektachrome 100 variants, was celebrated for its fine grain and exceptional color rendition.

Foma Fomapan 100

Over the years, this film has been popular among photographers for its affordability and the unique tonal qualities it imparts to images. Given its reputation, Fomapan 100 remains a choice for those seeking vintage aesthetics combined with consistent performance.

Tips for use:

  • Play around with the blue tint. Sometimes the more the better.
  • Of all the Lightroom film presets we have, this one probably has the crunchiest shadows. Great for high contrast.

Foma Fomapan 100 is a black-and-white film produced by Foma Bohemia, a Czech company with a long-standing heritage in the photography industry. The film is recognized for its classic rendition and is designed for amateur photographers, offering good sharpness and fine-grain characteristics. Foma Bohemia has its roots in Bohemia, showcasing its European origins and continuing its tradition in the film photography realm. Fomapan 100 is available in various formats, including 35mm and 120 medium format, catering to different photographic requirements.

Foma Fomapan 200

Fomapan 200, sometimes labeled as “Creative,” showcases a balance between contrast and tonal range, making it ideal for various lighting scenarios. This particular version of our Lightroom film presets is designed to provide both amateur and professional photographers with creative flexibility.

Tips for use:

  • Grain is a little bigger
  • Blacks aren’t as deep as the 100, so the contrast is a little more subtle

Fomapan 200 is suitable for a variety of photographic conditions, capturing details with sharpness and a moderate grain structure. Available in the popular 35mm format, the film is widely used by photographers who appreciate its characteristic look. With its European origins and commitment to maintaining traditional film aesthetics, Foma Bohemia continues to produce Fomapan 200, ensuring that the unique attributes of film photography are available to contemporary photographers and enthusiasts.

Fuji Neopan 1600

Neopan 1600 was particularly notable for its ability to capture intricate details even at high ISO settings, making it a preferred choice for nighttime photography, indoor settings, and fast-action scenes. Over the years, it became a staple for professionals and enthusiasts alike who cherished the unique aesthetic it imparted to photographs.

Tips for use:

  • Its grainy element complements urban scenes, emphasizing mood and candid moments.
  • Utilize white balance to adjust the photo to the best appearance, it simulates the effect of colored filters.
  • Use fill and recovery to bring out details.

Fuji Neopan 1600 is a high-speed black and white film produced by Fujifilm, a prominent Japanese multinational photography and imaging company. A part of the “Neopan” lineup, this film was favored by many photographers for its fine grain, sharpness, and ability to perform exceptionally well in low-light conditions. However, like many traditional films, Neopan 1600 faced challenges with the rise of digital photography, leading to shifts in its availability. Yet, the legacy of Neopan 1600 remains, with photographers fondly reminiscing about its qualities and the timeless images it helped create.

Fuji Neopan 400

Fuji Neopan 400 was a popular black and white film from Fujifilm, a leading Japanese photography and imaging company. Being a part of the “Neopan” series, this film was revered by many for its versatility and performance across a range of lighting conditions. Known for its fine grain and the ability to reproduce crisp details, the Neopan 400 became a go-to option for photographers seeking consistent results.

Tips for use:

  • The more you play with the tone curve, the more it will look like the 1600
  • Adjusting saturation can intensify the grayscale, creating richer blacks and whites.
  • Adjust mid-tone contrast in Lightroom for a more vivid look

Its characteristics made it particularly suitable for printing, adding to its appeal among those who engaged in traditional darkroom processes. However, as with many beloved film stocks, the era of digital photography posed challenges to its continued production. The Neopan 400 PRESTO in 35mm format, along with other variants, faced discontinuation, marking the end of its availability but not its cherished legacy in the photographic community.

Fuji Press 800 Expired

Fuji Press 800 was a color-negative film developed and produced by Fujifilm. As the name implies, this film had an ISO speed of 800, making it suitable for low-light conditions and situations demanding faster shutter speeds. Aimed at the press and journalistic community, its high speed allowed photographers to capture fast-moving events even under challenging lighting situations.

Tips for use:

  • Play with green and blue saturation and luminance sliders to find the best color pop. Move no more than +/- 10. Do not want to throw colors off.
  • White balance can be used to push the color in different directions.
  • Increase/decrease black clipping to reinforce texture. Increasing black clipping will also bring the expired more in line with the fresh emulation.

Over time, this film found appreciation not only among professionals but also among enthusiasts for its characteristic color rendition and grain structure. However, like many film stocks, Fuji Press 800 faced the challenges posed by the increasing prevalence of digital photography. By 2009, Fujifilm decided to discontinue this film. The company’s Product Manager for Professional Film, Russ Gunn, cited reasons for its removal from their lineup. Despite its discontinuation, the film remains a favorite for many who have had the opportunity to shoot with it, with some photographers even exploring its characteristics when expired[6].

Fuji Provia 400X

Fuji Provia 400X was a color slide film produced by Fujifilm, renowned for its high quality and versatility. As a part of the Provia line, this film boasted an ISO rating of 400, making it adaptable to varying lighting conditions. The film was especially appreciated for delivering rich colors, sharp details, and a fine-grain structure, attributes highly sought after by photographers.

Tips for use:

  • Use the tone curve to emphasize the neutral to slightly cool tones, creating depth in medium-low contrast shots.
  • Pay attention to any clipping. It’s easy to do with something this saturated.
  • This preset works best for RAW images. Of the Lightroom film presets we have, this one is probably in the most danger of messing up any colors of any JPEG images.

Provia 400X was suitable for a wide range of photographic applications, from landscape to portraiture. The film also gained recognition for its capability to be cross-processed, a technique that can yield unique and vibrant color shifts. However, like many other film stocks in the digital age, the Fuji Provia 400X was eventually discontinued, much to the disappointment of many analog enthusiasts. Despite its cessation, the film has left an indelible mark in the world of photography, remembered for its outstanding performance and versatility.

Fuji Reala 100 MF

This film was part of Fujifilm’s renowned Superia lineup and stood out for its exceptional color accuracy and fine-grain quality. The “Reala” in its name emphasized its ability to capture “real” and natural colors, making it a preferred choice for many photographers looking for lifelike color rendition. With an ISO rating of 100, it was optimized for daylight and provided sharp, vibrant results. Available in both 35mm and 120 medium format (MF), it catered to a broad range of photographers from professionals to enthusiasts.

Tips for use:

  • Accurate color representation makes it optimal for capturing natural skin tones without over-saturation.
  • Blue tones are especially vivid.
  • If you want to get vintage with it, dial back overall saturation while slightly boosting specific colors like red or orange.

Over the years, the film developed a loyal following due to its consistency and reliability. However, with the digital revolution and changing market demands, Fuji Reala 100, like many other film stocks, faced discontinuation. Still, it remains a memorable and cherished film in the analog photography community.

Ilford Delta 100 Pro

As part of Ilford’s Delta series, it’s designed using core-shell crystal technology, which helps in achieving finer grain and sharper images compared to traditional films. The “100” in its name indicates its ISO speed, making it ideal for daylight photography or controlled studio environments. This film excels in capturing high-contrast scenes, offering a wide tonal range.

Tips for use:

  • Works better on flatter negatives to preserve details in shadows and highlights.
  • Apply split toning for creative color toning, lending images an aged or artistic feel.

Ilford Delta 100 Professional’s ability to reproduce intricate details and its flexibility in various lighting conditions have made it a favorite among many photographers. Its smooth grain structure and consistent results have solidified its position as a reliable choice in the world of black and white photography.

Ilford Delta 400 Pro

While Delta 100 emphasizes a classic aesthetic and detail in controlled conditions, Delta 400 Pro is versatile, and suited for dynamic environments and spontaneous photography. Their different ISO ratings cater to photographers with varied shooting preferences and environments.

Tips for use:

  • The contrast is lower here, so lowering the tone curve is certainly helpful if you’re going for a moodier look.
  • A larger grain than the 100, so it has even more of a tactile look to it
  • The exposure slider is pretty sensitive to this one. Try adjusting the exposure with the color temperature slider to get it dialed in.

Ilford Delta 3200

While it is labeled 3200, its true film speed is closer to ISO 1000. Nevertheless, its design allows it to be pushed to 3200 or higher, providing photographers with versatility in challenging lighting environments.

Tips for use:

  • Accentuate its inherent contrast, emphasizing its gritty character and enhancing shadows and highlights.
  • Adjusting saturation will affect grayscale tonality, creating varied levels of depth and intensity.

Introduced as a successor to the high-speed ‘HPS’ film, Delta 3200 quickly established its niche among professionals and enthusiasts alike. Apart from its speed, Delta 3200 is appreciated for its fine grain and rich tonality, especially when compared to other films of its class. The film’s unique grain structure, resulting from Ilford’s proprietary technology, ensures sharpness while retaining a pleasing aesthetic. Over the years, Ilford Delta 3200 has become a preferred choice for indoor sports, stage photography, and other scenarios where flash photography might be prohibited or undesired.

Ilford FP4+

Introduced as part of Ilford’s FP (Fine grain Panchromatic) series, which originated in 1935, FP4+ has become a preferred choice among photographers for both indoor and outdoor photography.

Tips for use:

  • Adjust white balance to find to tone you are looking for. White balance subtlety shifts the tone without overly changing the image.
  • Use fill and recovery to highlight details.
  • Utilize this preset’s strength in capturing smooth transitions from deep blacks to bright whites, emphasizing nuanced details in monochrome compositions.

With an ISO rating of 125, the film showcases sharp grain, smooth gradient transitions, and is known for its versatility; it can be pushed up to 6400 ISO or pulled down to 50 ISO. Furthermore, its cubic grain structure ensures medium contrast and a classic aesthetic appeal. Given these attributes, FP4+ is lauded as a professional film that delivers high-quality prints, making it a favorite for various photographic applications, from portraits to landscapes.

Ilford HP5+

HP5+ is known for its versatility, catering to varied lighting situations and subjects. It exhibits a relatively high contrast, resulting in darker blacks and less shadow detail, which can be advantageous for emphasizing mood and drama in a photograph. FP4+, on the other hand, stands out for its “built-in contrast”, with a pronounced shorter toe and sharper rise, making it excellent for subjects that require more detailed rendition. This inherent contrast in FP4+ is often perceived as greater than that in HP5+.

Tips for use:

  • Ilford HP5+ captures higher contrast than FP4+, making it ideal for enhancing shadows and highlights in Lightroom for a dramatic effect.
  • HP5+ exhibits an “honest” grain comparatively.
  • HP5+ can reduce contrast in high-contrast scenes outdoors, making it excellent for manipulating mid-tones in Lightroom, a distinction from FP4+.

The choice between these two films largely hinges on the intended subject and desired aesthetic. HP5+ may be favored for moody landscapes or candid street photography, while FP4+ might be the go-to for intricate architectural shots or portraits that call for detailed nuance.

Ilford Ortho+ 80

Ilford Ortho+ 80 is a black and white film distinguished by its orthochromatic sensitivity, a trait that renders it sensitive to blue and green light but not to red. Historically, orthochromatic films were among the earliest types of photographic emulsions and were commonly used before the introduction of panchromatic films.

Tips for use:

  • Adjusting saturation can emphasize the unique absence of reds, creating distinct grayscale interpretations.
  • Boosting mid-tones can accentuate the preset’s contrast between blue/green and non-red subjects.
  • Ortho+ 80’s emphasis on blue and green light makes it ideal for landscapes.

Ilford, a pioneering company in the realm of black and white photography, introduced Ortho+ 80 as a contemporary reinterpretation of these classic films. The film’s unique sensitivity spectrum results in distinct tonal rendering, with red subjects appearing darker and blue/green subjects lighter. Originally designed for technical tasks like copywork, its captivating aesthetic qualities caught the eye of photographers. Ilford Ortho+ 80 gained popularity among enthusiasts for its fine grain and sharpness, as well as its vintage look that harkens back to early 20th century photographs.

Ilford Pan F 50+

Ilford Pan F 50+ is a premium black and white film, renowned for its super fine grain and exceptional sharpness. Manufactured by Ilford, it is characterized by its slow speed, with an ISO rating of just 50, making it the slowest film produced by the company. The film’s low ISO and fine-grain properties make it ideal for capturing high-detail photographs.

Tips for use:

  • The grain is very fine, so it’s going to bring out a lot of detail.
  • Enhance its broad tonal range in Lightroom by delicately lifting shadows and emphasizing mid-tones.
  • Add yellow/orange filters and adjust highlights for a vintage, ethereal look.

Pan F 50+ is panchromatic and particularly appreciated for its ability to produce images with significant detail and clarity. The film has been described as having a high contrast and being especially suited for studio photography due to its sharpness and fine-grain attributes. However, one notable aspect to consider is its poor latent image retention, which relates to the stability of the exposed but undeveloped film. Despite its nuances, Ilford Pan F 50+ remains a cherished choice among photographers seeking impeccable image quality.

Ilford SFX 200

Ilford SFX 200 is a medium-speed black and white camera film designed primarily for creative photography. The film is distinctive due to its extended sensitivity into the near-infrared spectrum, reaching up to 740 nm. This extended sensitivity provides a unique characteristic when capturing landscapes, as it can give foliage a bright, almost ethereal appearance.

Tips for use:

  • Try adding a red filter to achieve a striking infra-red style, highlighting atmospheric and dreamy landscapes.
  • Boost red and orange saturation if you need more warmth.

Despite its infrared capabilities, SFX 200 can also be utilized as a conventional panchromatic film. When developed correctly, the film offers sharp images with rich black tones and striking contrast. Additionally, the film is known for its versatility, as it’s not only suitable for standard black and white photography but also infrared photography. Its unique characteristics and adaptability make it a sought-after film for those looking to add a creative touch to their shots.

Ilford XP2 S 400

This film stands out due to its sharpness, delivering excellent grain that often appears almost unnoticeable in a variety of conditions, and its striking contrast adds depth to landscapes and cityscapes. A notable feature of the XP2 Super 400 is its remarkable performance in both indoor and outdoor settings.

Tips for use:

  • Enhance the contrast further and play with the grayscale tonal balance.
  • If you need more grain, you can always pick from any of the other film grains we have in the bundle.
  • Use fill and recovery to push highlights toward white without blowing out detail. Alter the tone curve from medium contrast to high contrast if the image needs more pop.

Adding to its appeal, this film is notably forgiving, with users reporting positive outcomes even when shot at ISO values such as 100 and 600. An added convenience is its development process; unlike many other monochrome films, XP2 Super 400 can be developed using the same process as color-negative films. This blend of versatility, ease of use, and top-notch results makes it a treasured choice among photographers.

Kodachrome Memorial

Kodachrome was developed by two musicians in the early 1930’s; Leopold Godowsky, Jr and Leopold Mannes. They were simply unsatisfied with the color in a movie they had recently seen and set out to improve color motion photography. In their efforts they created Kodachrome. For a more comprehensive history of the film, you can check out our post we did way back when, Kodachrome in Memoriam. While our Lightroom film presets will never reach the level of quality of the true Kodachrome film, it is our small effort to help preserve the warmth of Kodachrome.

Tips for use:

  • Warmer white balances enhance the golden hues while cooler ones accentuate blues. Experiment to either amplify or mute specific color ranges.
  • Desaturating certain hues selectively can create a nuanced vintage appearance, letting key colors pop even more.
  • Alter the tone curve from medium contrast to high contrast if the image needs more pop.

Kodak Kodachrome II 25

In our renditions; Kodachrome was described as slightly bolder, while Kodachrome II appeared slightly cleaner, making it tough to distinguish between the two when comparing slides.

Tips for use:

  • Color appears less saturated, but adjusting the saturation as a whole will negate the cleanliness of the color balance. Adjust at your own risk.
  • To save skin tones from the loss of reds in the image, drag the orange saturation down and the red luminance down.
  • Classic Kodachrome had excellent sharpness, so sharpen and apply Clarity to your tastes.

Kodak Kodachrome 64 & 25

Both films were staples in the 35mm format and were revered for their color rendition and archival stability. The choice between the two would typically depend on the lighting conditions and the photographer’s preference for grain and sharpness.

Tips for use:

  • K25 has a much finer grain, making it one of the sharpest Lightroom film presets we have. On the other hand, K64 has a slightly more pronounced grain structure.
  • Images overlaid with K25 generally appeared richer, sharper, and less grainy than those from K64.
  • K25 offers better color reproduction than K64.

Kodak Ektachrome 400X

Kodak Ektachrome 400X was a part of Kodak’s Ektachrome line of color transparency (slide) films. First introduced in the 1940s, the Ektachrome series quickly became a staple in the photography world due to its rapid processing time compared to other contemporary slide films like Kodachrome[3].

Tips for use:

  • This preset renders cooler tones, enhancing blues and greens. Adjust the white balance towards cooler temperatures to emphasize this effect while suppressing warm colors.
  • Experiment with color calibration to see if you can get a cool cross-processed look
  • XEQUALS Lightleaks also look good with this particular preset

Ektachrome 400X stood out in the series for its higher film speed, making it ideal for capturing action shots and for photography in lower light conditions. It was renowned for delivering images imbued with vibrant colors and a distinctive fine-grain quality[3]. However, with the surge of digital photography and waning demand for film, Kodak discontinued various versions of Ektachrome, including the 400X. Despite its discontinuation, Ektachrome’s legacy persisted, and Kodak even decided to reintroduce some variants in the following years due to sustained interest from photographers[2].

Kodak Ektar

Kodak Ektar, known for its exceptional saturation, vivid color, and nearly invisible grain, stands as one of the most impressive color-negative films ever produced. Launched as an extremely fine-grained, highly saturated color negative film, it became an ideal choice for landscape photographers and often outperformed many slide films in these aspects.

Tips for use:

  • Use the Ektar preset to emphasize warm skin tones. Adjust the white balance for a sun-kissed appearance, making portraits glow and stand out.
  • Adjust the white balance towards cooler or warmer tones. This amplifies the colors.
  • Boost shadows and highlights for punchier street and architectural photographs.

While renowned in the film photography community, interestingly, the name “Ektar” was not initially associated with film. It was borrowed from a line of high-end lenses Kodak manufactured between the 1930s and 1960s.

Kodak Ektar 100

Today’s Kodak Ektar 100 is a daylight-balanced color-negative film available in 35mm, 120, and sheet formats, optimized for ISO 100. Its enduring qualities make it a beloved choice for photographers aiming to capture vibrant and crisp images.

Tips for use:

  • Accentuates urban scenes, making them pop. Amplify saturation to highlight the vivid blues and reds in cityscapes.
  • If you’re going to use the tone curve, do so sparingly.
  • We made the grain super fine, so you will need to be pretty liberal when adjusting it.

Kodak Elite Extra Color 100

Kodak Elite Extra Color 100, often referred to as Kodak Elite Chrome EBX 100, is a slide film celebrated for its vivid and saturated colors. This film is a member of the Kodak Elite Chrome series and was specifically engineered to produce enhanced color reproduction.

Tips for use:

  • If you’re using this to enhance skin tones and background colors, just be sure your colors are calibrated and your white balance is a little on the cooler side.
  • You can play around with the preset’s vibrance and saturation. Counterbalance crazy colors with a neutral white balance for ethereal Milky Way shots.

As a result, photographers often opted for this emulsion when they sought to capture scenes with extra vibrancy and dynamic range. It became a favored choice for those aiming for an extra pop of color in their photos without the need for post-processing. Like other slide films, it was processed using the E-6 process, which contributed to its distinctive look.

Kodak Gold 100

This color-negative film was known for its well-balanced imaging characteristics, including its fine grain, sharpness, and accurate color reproduction. Introduced as a consumer-grade film, Gold 100 was favored by both amateurs and professionals for its versatility in various lighting conditions.

Tips for use:

  • Boosts saturation-enhancing golden hues, perfect for sunset and sunrise photos.
  • Vibrance is particularly partial to greens on this one.
  • Skin tones can be a bit tricky, but adjusting the orange and the red should give you a pretty accurate palate.

Gold films, including the 100 ISO variant, became popular choices for general photography, capturing moments with a natural and authentic look. The series’ acclaim can be understood from the sustained popularity of its successors, such as Gold 200. The Gold series has left an indelible mark on the film photography community, representing Kodak’s commitment to quality and innovation in film manufacturing.

Kodak Gold 200

We observed that of the Gold Lightroom film presets, Gold 200 exhibits more saturated colors than Gold 100, giving it a punchier look in certain scans. While both films belong to the same family and share several characteristics, the choice between them primarily boils down to personal preference, desired grain, and your original lighting conditions.

Tips for use:

  • Very balanced really, but still skin tones can run red, which can be compensated by adjusting the orange and red saturation in the HSL to even skin tones. Tread lightly as you can break the emulation if you push the saturation down too far.
  • If you find it to be a bit over the top, try lowering the global Saturation slider a bit. If an adjustment of about 5-10 to the left does not help, then add a lower level of global Contrast before you lower the Contrast any more.

When comparing Kodak Gold 200 to Kodak Gold 100, the primary difference lies in their ISO ratings, indicating the film’s sensitivity to light. Kodak Gold 100, with its lower ISO, is expected to deliver finer grain and could be ideal for brighter conditions, while Gold 200 might perform better in slightly dimmer environments.

Kodak HD 400 @1600

Launched in the late 20th century, the HD 400 was acclaimed for its fine grain and ability to produce sharp images with vivid colors. The “HD” in its name stood for “High Definition”, reflecting its promise of delivering enhanced clarity. Kodak marketed this film to both amateur and professional photographers, emphasizing its versatility in varying lighting conditions.

Tips for use:

  • Could underexpose your image a bit. However, since we’re simulating a push, beware of clipping and watch it closely.
  • Adjusting the white balance can add warmth or coldness to the scene.
  • The preset accentuates primary colors. Manipulating saturation and vibrance can bring forward rich blues, reds, and yellows.

The HD 400 gained popularity for its adaptability, being suitable for outdoor, indoor, action shots, and portraits. However, as the photography world began its shift towards digital technology in the 21st century, many traditional films, including the HD 400, saw a decline in production and use. While no longer widely available, the HD 400 remains a nostalgic favorite among film enthusiasts who appreciate its distinct qualities.

Kodak HIE

Kodak HIE, also known as Kodak High-Speed Infrared (HSI), is a distinct black and white infrared-sensitive film. Lauded as the greatest infrared film ever by many film photographers, it was renowned for its unique ability to capture a spectrum of light not visible to the human eye, producing ethereal and otherworldly images.

Tips for use:

  • Mimicking infrared film, this preset makes foliage glow and skies darken, providing a dreamy effect. Adjusting saturation accentuates this surreal contrast for captivating scenes.
  • Using the preset on portraits results in unique, haunting skin tones. Manipulating tonality can enhance or soften this effect.
  • Structures gain pronounced shadows and highlights. Amplifying specific color saturations emphasizes these contrasts.
  • While Kodak HIE is black & white, tweaking white balance even subtly affects grayscales.
  • Tonal adjustments will reveal hidden textures, so be aware of this if you’re editing portraiture. You don’t want your subjects to look older than they are.

Contrary to a single film emulsion, the term “HIE” encompasses several versions of the film, each with its infrared sensitivity. The Kodak HIE gained immense popularity among both amateur and professional photographers for its striking results, which were unparalleled in the realm of infrared photography. Despite its popularity and distinctive output, Kodak discontinued the HIE film in 2007. Today, the film remains a coveted item among film enthusiasts, especially considering its dwindling supply since discontinuation.

Kodak Pan-X 32

Kodak Panatomic-X, often referred to as Kodak Pan-X, is a classic black and white film with a rich history. Initially introduced in 1933 as a sheet film, Panatomic-X underwent several iterations, adjusting its speed ratings over time, transitioning from 25 to 32. Recognized for its fine grain and distinctive old-school tonality, Panatomic-X boasted a slow speed rated at ASA 32, which enabled photographers to achieve exquisite detail in their shots. All of our “X” Lightroom film presets have that same edge to them.

Tips for use:

  • The grayscale emphasizes natural contrasts. Boost whites even more using the tone controls to highlight clouds and water reflections for a dynamic range.
  • Subtle grain enhances skin textures.
  • Saturation adjustments, while not affecting color, can intensify or soften contrasts.

It stands as a part of Kodak’s famed X-Series of films, which also included other renowned films like Plus-X, Tri-X, and Double-X. Designed to be sharp and fine-grained, Panatomic-X was especially suited for creating large prints due to its exceptional clarity. Although it’s no longer in production, its legacy persists, with film enthusiasts cherishing any remaining rolls for their nostalgic and unique photographic output.

Kodak Plus-X 125

Kodak Plus-X 125, commonly referred to as Plus-X, is a distinguished black and white film known for its timeless appeal. First introduced as a motion picture film in 1938, Plus-X expanded its reach to 35mm and medium format for still cameras in the 1940s.

Tips for use:

  • Keep a close watch on your greyscale, because Almost everything you do will alter it when using this preset.
  • Adjust white balance to find to tone you are looking for. White balance subtlety shifts the tone without overly changing the image.

Characterized by its classic grain structure and excellent tonal range, it has been a favorite among both amateur and professional photographers. The film has an exposure index (EI) of 80 for daylight and 64 for tungsten lighting, as noted in the history of Kodak films. Plus-X stands as a testament to Kodak’s commitment to producing top-tier monochromatic films, and while it’s no longer in production, its legacy continues to resonate within the photography community. Those fortunate enough to shoot with expired rolls of Plus-X often celebrate the unique and nostalgic results they can achieve.

Kodak Portra 160

Our simulation of Kodak’s skin-balanced portrait/wedding film. A very subdued film and produces very flattering shots of people. All of our Portra Lightroom film presets have a soft look while still offering high clarity.

Tips for use:

  • Creates very natural skin tones and subtle color saturations.
  • Instead of lowering contrast, try to bring up clarity. Although clarity darkens, sometimes it will increase detail in contrasty images.
  • There is a lot of latitude for post-processing with this preset. Feel free to adjust almost any setting, except for the Color HSL settings… which would ruin the emulation.

Kodak Portra 160 is part of the Portra family, a collection of daylight-balanced professional color-negative films. Originally introduced in 1998, Portra was primarily designed for portrait and wedding photography applications. Portra 160 stands out as a film known for producing sharp images with very low grain and a more subdued color palette, delivering an aesthetically pleasing and natural result. Another significant attribute of this film is its excellent exposure latitude, making it particularly forgiving with overexposure. This quality, combined with medium contrast and low saturation, presents it as an attractive alternative for various photography scenarios. Released as a successor to Kodak’s Ektacolor line, Portra 160 boasts an extremely fine grain, tailored for capturing details in daylight conditions.

Kodak Portra 400

One of the defining characteristics of Portra 400 is its exceptional latitude, granting photographers the flexibility to overexpose or underexpose the film without significant shifts in color or loss of detail. This attribute, coupled with its fine grain and natural skin tone rendition, has made it a favorite amongst portrait and wedding photographers. Moreover, its ability to reproduce vivid yet true-to-life colors has solidified its place as a preferred choice for both professionals and enthusiasts in the world of analog photography.

Tips for use:

  • Adjusting saturation can highlight or subdue facial features.
  • White balance tweaks can evoke warmth or coolness.
  • This preset benefits from saturation boosts in greens and blues.
  • For cityscapes, amplify reds and yellows to evoke a vintage city vibe.
  • For a distinct touch, manipulate Exposure and Dehaze tools.

Kodak Portra 400 NC & VC

Kodak Portra 400 NC and Kodak Portra 400 VC are both color-negative films. However, their characteristics differ, targeting varied aesthetics. Portra 400 NC is designed to deliver pleasing skin tones, natural colors, and moderate contrast. Its “NC” designation stands for “Natural Color,” and it aims to reproduce scenes with a more accurate representation of life, making it ideal for portraits and candid shots. On the other hand, Portra 400 VC, indicated by “Vivid Color,” is engineered for punchier results, delivering higher color saturation and contrast. This film is tailored for photographers seeking a more dynamic and vivid palette, especially in situations where color emphasis is vital.

Tips for use:

  • Increase saturation on reds and oranges to make these tones pop. The 400 VC contrast will provide more vibrant colors.
  • Adjust the white balance towards a warmer tone (but not too warm) with the 400 NC for an older city feel. The 400 VC, being vibrant, might result in more modern city vibes.
  • With 400 NC, play with tonal curves, emphasizing mid-tones. Contrastingly, the 400 VC preset might require tweaking in the brighter tonal ranges for a dramatic feel.

While both films cater to different preferences, they share the lineage and legacy of Kodak’s commitment to delivering quality emulsions for the photographic community[1].

Kodak Portra 800

The Portra 800 film is celebrated for its vibrant colors, pronounced contrast, and remarkable performance in low-light situations. However, we tried to stay true to the film itself so users should be prepared for a bit of grain, especially compared to the 160 and the 400.

Tips for use:

  • Boosting oranges and reds in Lightroom can further accentuate an even dreamier portrait look.
  • The high ISO film-like grain of Portra 800 is ideal for dusk or dawn photos. Intensify blue saturation to capture the subtle nuances of twilight skies.
  • Exploit Portra 800’s softness by playing with tonal curves. Emphasizing highlights and shadows creates a moody, cinematic look.

The grain can range from medium to chunky, yet it retains a natural contrast. Additionally, the film is highly receptive to color and exposure adjustments during the post-processing phase. Portra 800 stands out in natural light and boasts an exceptional capability to capture intricate details. It has a fairly fine grain structure, ensuring that the film produces detailed images with the right conditions.

Kodak Portra BW400

Kodak Portra BW400 is an intriguing film in Kodak’s lineup, distinct from the renowned Kodak Professional BW400CN, another black and white film by Kodak[1]. Unlike the BW400CN, the Portra 400BW employed a simpler emulsion stack, affording it a broader exposure latitude. Notably, it could be exposed from EI 50, highlighting its adaptability.

Tips for use:

  • Adjusting the mid-tones will get you more pop in the face.
  • Crunching the black or blowing out the whites will make the images more angelic or hellish, depending on your preferences. This works well with nature or architectural images.

The Kodak BW400CN is a C41 film, akin to color negative films, and it’s notable for being amenable to standard C41 chemistry development, making it more economical to develop in conventional high street stores. Portra BW400 stands out due to its unique emulsion characteristics and flexibility in exposure.

Kodak Pro Copy 12

Kodak Pro Copy 12, also known as KODAK 4125 Professional Copy Film, is orthochromatic. This means that it’s sensitive to blue and green light. The film’s distinct characteristics allow it to achieve particular visual effects based on exposure and development adjustments.

Tips for use:

  • Emphasizes natural colors. Adjusting saturation can enhance greens and blues.
  • We like to increase white balance warmth to give portraits a nostalgic sepia tint.
  • Try not to go too hard on the color corrections. Too far in one direction and you’ll break the emulation.

Its speed rating for Tungsten light is ISO 12/12, suggesting that it’s a relatively low-speed film requiring longer exposures or brighter light conditions compared to more common higher-speed films. Orthochromatic films like Kodak Pro Copy 12 are generally used for specialized applications where particular sensitivity to certain wavelengths of light is required, such as copy work and other technical photography applications.

Kodak T-Max 400

It is known for its fine grain, versatility, and sharpness. One of the distinct features of the T-MAX 400 is its T-grain technology, which offers a more uniform and tighter grain structure compared to traditional films. This provides clearer images with a higher level of detail.

Tips for use:

  • Adjust the white balance to introduce a warmer or cooler grayscale hue, giving portraits an old-time feel while maintaining the rich tonal nuances.
  • Experiment with saturation, specifically in color-toned black and white shots, to bring out or mute certain color traces

The film is highly regarded by photographers for its capability to capture a wide range of lighting conditions and its flexibility during the development process. T-MAX 400 can be used in both 35mm and 120 formats and is suitable for a variety of photographic applications including portraits, landscapes, and general use. Additionally, the T-MAX 400 has been compared to other films such as the Kodak Tri-X 400, with each having unique characteristics that appeal to different photographers.

Kodak Tech Pan Pict

Kodak Technical Pan Film, often referred to as “Tech Pan,” is a black-and-white panchromatic negative film with extended red sensitivity. It was designed primarily for technical, scientific, and military applications but has gained popularity among photographers due to its potential as a high-contrast pictorial film.

Tips for use:

  • Our emulation here is specifically for “pictorial” uses, so the contrast is lower.
  • Intensify saturation for specific hues to emphasize facial features and skin tones. It helps capture minute details.
  • Mimic the film’s extended red sensitivity by boosting red and orange saturation.

Notably, Technical Pan is praised for its incredible resolving power, enabling it to capture the most intricate details, making it particularly useful for applications requiring high-resolution images. The film was available in both 35mm and 4×5 formats. When shooting with Tech Pan, some photographers rated it at 32 ISO and developed it in specific developers like HC-110 for optimal results. As it was originally produced for specific technical purposes, using it for pictorial photography often involved experimenting with different development times and solutions to achieve the desired contrast and tonal range.

Kodak Tech Pan Tech

This preset inherently exhibits higher contrast, enabling clear differentiation between details. We liked them both so we decided to include both the “Pict” and the “Tech” in our Lightroom film presets collection.

Tips for use:

  • Higher contrast compared to the Pict version.
  • Alter tonal balance to emphasize the nuances in greenery and landscapes.
  • Adjust the white balance to play with shadow hues.

Kodak Tri-X 1600 Acufine

Kodak Tri-X is a renowned black and white film, introduced by Kodak and cherished by photographers for its grain structure and versatility. While the film itself is often rated at ISO 400, it can be pushed to higher ISOs, such as 1600, during development for situations demanding greater sensitivity to light. Our emulation pushes the grain a little bit here, but we like how it turned out.

Tips for use:

  • Enhance contrast and clarity, emphasizing the film’s natural grain and grittiness.
  • Boost clarity for edge enhancement.
  • Fine-tune white balance to emulate vintage lighting.

The late 1960s and early 1970s saw prolific use of Tri-X, with photographers often pushing its capabilities for enhanced contrast and grain[4]. Acufine, a developer known for its ability to enhance film speed, plays a pivotal role in pushing Tri-X to ISO 1600. Using Acufine with Tri-X allows for effective capture in low-light conditions or when faster shutter speeds are needed. This combination has been a popular choice among street and documentary photographers who seek the characteristic grain and contrast that pushed Tri-X provides.

Kodak Tri-X 400

Introduced by Kodak, it quickly became a staple among photographers, especially in the realm of photojournalism and documentary photography. Tri-X 400 is known for its classic grain structure and broad tonal range, making it forgiving and yielding excellent results, especially with overexposure. Our other Tri-X Lightroom film presets will get the job done, but this is one of the most flexible.

Tips for use:

  • Increase saturation selectively, making specific colors pop against the grayscale backdrop.
  • Increase/decrease black clipping to reinforce texture. Increasing black clipping will also bring the expired more in line with the fresh emulation.
  • Alter the tone curve from medium contrast to high contrast if the image needs more pop.

The film has been praised for over five decades and continues to be popular among analog enthusiasts[2]. Its timeless aesthetic, combined with the ability to handle various lighting conditions, ensures that Tri-X remains a favorite in the world of monochrome film photography. Whether for its historical significance, versatility, or the distinctive look it imparts to photographs, Kodak Tri-X 400 has cemented its legacy as one of the most significant and beloved black and white films.

Kodak Ultra Color 400

Kodak UltraMax 400, occasionally referred to as “Ultra Color,” is a versatile and general-purpose color negative film. It has a sensitivity of ISO 400, making it suitable for a variety of lighting conditions including both daylight and low light. This film is daylight-balanced with a temperature of 5500k and is available in rolls of either 24 or 36 exposures.

Renowned for its fine-grain structure, the film also boasts deep and balanced color saturation along with impressive color accuracy. Moreover, its wide exposure latitude ensures flexibility in various shooting situations. In comparison to our other Lightroom film presets, such as Portra, UltraMax 400 provides more natural tones.

Tips for use:

  • The UltraMax 400 preset amplifies the vividness and luminance of images, making them pop. Enhance clarity and sharpness for a pronounced and refined effect.
  • With its ISO 400/27°, the preset offers a fine grain, so there is lots of room to play in the highlights and shadows.
  • We did our best to preserve the tones of the film, so you can bump the saturation pretty hard and the emulation will still feel like Kodak Ultra Color.

The film has been designed to amplify colors, producing images that seem as if the saturation levels on a digital camera have been elevated. This characteristic makes it especially suitable for capturing scenes where rich hues are essential, such as wardrobe, flora, and gastronomy. In addition to its vivid color reproduction, the 400UC achieves a balance by retaining “clean” neutral tones. This ensures that even with its high color saturation, the film produces images that have accurate and pleasing skin tones. Thus, photographers can expect vibrant, lifelike images without sacrificing the natural appearance of subjects.

Kodak Vision3 5207

A 250D color negative film, renowned for its remarkable capabilities in the world of motion picture filming. It belongs to Kodak’s Vision3 line, ensuring consistency in image quality across various lighting scenarios. Specifically designed for daylight conditions, this medium-speed film is balanced for a color temperature of 5500K. It boasts exceptional skin tones and color rendition, ensuring that subjects appear natural and vibrant in a variety of settings.

Tips for use:

  • Emphasize the film’s unique color by selectively boosting the saturation of yellows, magentas, or other natural hues to achieve a more dramatic effect reminiscent of classic cinema.
  • Be careful about crushing your blacks. You’ll want to lower them a bit with this preset, but too much will destroy the overall look of the preset.

A prominent feature of the Vision3 5207 is its increased highlight latitude, allowing filmmakers to extract more detail during post-production. This grants greater flexibility, particularly when it comes to managing scenes with challenging light conditions. Another benefit is its superior extreme exposure performance, ensuring consistency and top-notch results in different environments.

Kodak Vision3 5213

Kodak Vision3 5213 is an innovative 200T color negative film. This film uniquely combines the versatility of a 200-speed tungsten film with the refined image structure commonly associated with a 100-speed film. Our Vision3 Lightroom film presets offer the qualities of two distinct film speeds in a single preset to provide users with unparalleled flexibility.

Tips for use:

  • Boosting greens or reds will emphasize this film’s distinctive color palette, contrasting with 5207’s light and delicate colors.
  • Compared to 5207’s vibrant skin tones and color rendition, the 5213 preset might require more substantial saturation adjustments.
  • The 5213 preset will offer a different luminance and grain pattern than the 5207. Don’t adjust clarity and texture, it’s supposed to look that way.

Whether filming in controlled studio environments or tackling outdoor shoots that demand a wider exposure range, this film adapts seamlessly. As a member of Kodak’s esteemed Vision3 film family, the 5213 boasts features such as unrivaled highlight latitude and post-production flexibility. This ensures that filmmakers are equipped with a tool that can handle both the technical and artistic demands of contemporary motion picture production, all while delivering the signature Vision3 family look.

Konica IR 720

Konica IR 720 is an infrared film designed to capture wavelengths beyond the typical visual spectrum. The “IR” in its name stands for infrared, and “720” refers to the nanometer cutoff for the film, which means it’s sensitive to light wavelengths up to 720 nanometers. It’s tough to replicate that in Lightroom film presets, but the HSL Panel was our primary tool to get the desired look.

Tips for use:

  • Elevate the red saturation to accentuate the IR effect
  • Setting a custom white balance can transform IR images from predominantly red to dramatic black and white.

Skies often appear deep black, while foliage can glow with a luminous brightness. This film type has been used with various cameras, including the Mamiya 7, which produces images with deep black skies without being overly intense with the infrared effect. In the broader context, infrared films have been embraced by artistic photographers for their surreal representation of familiar scenes.

Lomo Redscale 100

Lomo Redscale 100 is a special effect film produced by Lomography, a company known for its experimental and unique film stocks. The “redscale” effect refers to a technique where the film is exposed from the wrong side, resulting in a distinct red-shifted color palette. As a result, Lightroom film presets like this one have a warm, reddish tint, reminiscent of vintage or sepia-toned images, but with a more pronounced and vibrant hue.

Tips for use:

  • Tweaking the white balance can either deepen the red tones or introduce cooler shifts, offering diverse atmospheric effects in images.
  • Reduce green and blue saturations to further accentuate the redscale effect.
  • Because the saturation tends to be so strong, you may want to adjust the clarity to preserve the details of the image so they don’t get lost in the color.

This film stock provides photographers with the opportunity to produce images with a unique and striking aesthetic without the need for post-processing. It has been utilized in various projects, as evidenced by a mention of the film being respooled and used to capture images of a History train from New Freedom, PA. It’s a film that encourages experimentation and embraces the unpredictable nature of analog photography.

Lomo X-Pro Slide 200

This film is known for its unique and vibrant color palette, especially when cross-processed. Cross processing, sometimes abbreviated as Xpro, is a technique where a film is deliberately processed in a chemical solution intended for a different type of film.

Tips for use:

  • If you want to mute the yellow effect, it’s best to make your white balance a little on the warmer side
  • There is lots of room to play with the contrast, but something we found helpful is to bring up the blues instead of just hitting the Tone Curve.

When the Lomo Slide 200 is cross-processed, the resulting images predominantly exhibit a yellow hue, especially evident in night photography. On sunny and cloudy days, the photos display a pale yellow color cast with a hint of greens. This film is specifically designed for such effects, even leaning towards looking very yellow and being tailored for cross-processing rather than standard E-6 processing. The X-Pro slide film is a staple in the Lomography collection, available in both 35mm and medium format, and is celebrated for the rich, saturated colors it produces, particularly when cross-processed.

Polaroid Polachrome

Polaroid Polachrome was a unique 35mm instant slide film produced by Polaroid Corporation. It was introduced in 1977 and was manufactured until 1983[6]. The film stood out because of its linear filter structure, which gave Polachrome its distinct characteristics. Polachrome is one of our most cherished Lightroom film presets.

Tips for use:

  • Honestly, we think the warmer, the better.
  • Add as much haze as you want.
  • We already baked in a little underexposure, but if you want to adjust it, just keep in mind that any haze will have to be adjusted as well.

The process behind Polachrome was innovative for its time, aiming to produce a visible image within minutes, similar to other Polaroid instant products but in a 35mm slide format. Polachrome was part of Polaroid’s endeavor to expand its product line and capture more of the film market during that era. Over its production years, it became a distinctive product in the world of film photography, known for its unique color reproduction and instant development process. The film was a testament to Polaroid’s commitment to pushing the boundaries of photographic technology and offering photographers novel ways to capture and view their images.

There was a comparison made between Polachrome and Kodachrome, where the former was considered an alternate 35mm color slide system with rapid processing capabilities compared to the 17 steps required to produce Kodachrome.

Polaroid TimeZero

The film’s unique chemistry allowed for manipulation of the emulsion during the development process. Artists could use tools or even their fingers to push and prod the emulsion, creating swirls, smears, and other distortions. This gave rise to a subgenre of Polaroid art known as “Time-Zero manipulations.” Notable artists like Lucas Samaras leveraged this property to create dreamlike, distorted portraits and scenes that were unique to each photograph.

Tips for use:

  • Play, play, play.
  • This preset has softer pastels and more blue than Polachrome, but don’t muck around too much with saturation. Even shifting the white balance around too much will negate the effect of the emulation.
  • Everything is going to look a little muted … that’s the idea.
  • The grain is a little fine, so play around with it to give the image a little more sharp feel.

Time-Zero film was renowned for its vibrant and sometimes unpredictable colors. The spontaneous color shifts and tones, combined with the possibility of manipulation, often resulted in images that possessed an otherworldly, dreamy quality. The ethereal characteristic of Time-Zero photographs can be likened to capturing a fleeting moment in time, a memory that is both vivid and distant.

A famous example of the ethereal quality of Time-Zero is the work of artist Stefanie Schneider. Her desert landscapes, shot with expired Time-Zero film, exude a haunting beauty with their shifted colors and dreamlike atmospheres.

Rollei Retro 100

Part of the Rollei brand, which has a longstanding history in the world of photography, Retro 100 is known for producing sharp images with fine grain and a broad tonal range. Notably, it provides a vintage aesthetic reminiscent of films from earlier eras, making it a popular choice for photographers aiming for a nostalgic look. Our Rollei Lightroom film presets keep the smoothness that Rollei was known for.

Tips for use:

  • The Retro 100 preset emphasizes rich contrasts with deep blacks and luminous highlights, differing from other Rollei films’ smoother tonal gradients.
  • Tweak the tonal curves so you can emphasize its distinct contrast levels while distinguishing it from other Rollei Retro variants’ more balanced tones.
  • Just like with the Retro preset, to save skin tones from the loss of reds in the image, drag the orange saturation down and the red luminance down.

Comparatively, “Rollei Retro” generally refers to a line of films that includes several variants, such as Rollei Retro 80S and Rollei Retro 400S. While Retro 100 has a sensitivity of ISO 100, Retro 400S, for instance, is a faster film with an ISO of 400, featuring near-infrared sensitivity and producing dramatic images. The choice between Retro 100 and other Rollei Retro variants often depends on the desired aesthetic, lighting conditions, and specific photographic needs.

Rollei Retro 400

Rollei Retro 400 is a black and white film renowned for its versatility and distinctive qualities. It’s described as a super-panchromatic film with near-infrared sensitivity, enabling photographers to produce dramatic images. This infrared sensitivity allows for unique image effects that are not achievable with standard black and white films.

Tips for use:

  • Crush the blacks if you want more drama. Just pay attention to your clipping.
  • Greys can be a little dull, so accentuate blue channels for richer grays.
  • Even in monochrome, white balance tweaks can infuse warmth or coldness.

Lightroom Film Presets: The Time Is Now

In the evolving world of digital photography, there remains a distinct appreciation for the timeless aesthetics of yesteryears. Vintage Lightroom film presets capture this sentiment by emulating the characteristics of classical film stocks. The XEQUALS Bundle, in particular, stands as a paramount collection in this category.

Curated meticulously, it offers photographers the most extensive compilation of vintage Lightroom film presets ever created. Professionals and beginners alike seeking to integrate a touch of historical authenticity into their modern captures will benefit immensely from this collection. Elevate your portfolio and invest in the best – the XEQUALS Platform awaits.

Nick Foreman

Nick Foreman has been the Content Architect & Curator for XEQUALS for over a decade. He's been thrilled to work with such great collaborators and authors over the years to bring some of the best photography content on the internet to the family at XEQUALS.

You May Also Like