I make videos of that for my Youtube channel, sharing what I learn. I'm here now exploring light and trying to master my weak areas. Wanting something calmer, I moved to Mexico in 2017. Once I even won the prestigious HotOne award for my "EXposed" light and tone workshop. I got to see my workshops and tools featured in publications across the industry. When Lightroom arrived, I started developing tools to make editing and workflow better.Ģ0 years of study and photography around the country earned me a Master of Photography (M.Photog) from PPA. I started promoting tone-focused editing. In 09 I founded the Pro Photo Show podcast. Sometimes I beat my head against the wall until I figured stuff out.Īs digital dawned I went all in and got to study with masters like Ken Whitmire. I learned fast but was not as easy to find training then. I started work as a pro (using that word loosely because I sucked) using film at age 16. I'm from WA State USA and started studying photography in 97. The Filmist 2 Velvia 100 preset on this street photo Fuji Pro 400h is no longer available but it’s a classic much like Portra and is a powerful preset So I’ll be doing darkroom prints to reference and refine the recipes. Every scanner and software converts things differently. I’m working now on doing darkroom prints to further refine recipes because even scans are not always the same. I watch countless videos old and new to try and refine films that are gone from shelves. My shelf is full of film right now that I’m doing more tests on. With a mission of vitality and accuracy, I have a lot of free updates planned for my FIlmist users. The new Ektar 1000 presets for Lightroom and Capture one is a great recipe alongside Natura 1600 The future of making these presets more True-Film. The result of these true-film ideas is film looks that are true to the film as much as we are possible but that also can be manualized to your needs and still have natural real-world feelings contrast and details. So you can push op the intensity or add a mod like the Push contrast mod that mimics how film contracts increase when you push in the darkroom. real photos are becoming more valuable than ever. In an AI world, professional photographers need to take away the disbelief people have started feeling. Vision 250 Cinema film preset is warm and versatile. They are over-edited to try and please a before-after sample and make it look intense. I think that’s why many film tools don’t look like the films. This is because we’ve been conditioned by digital to over edit and it makes photos that seem fake and unnatural. When people first try film presets sometimes they think it’s not enough of a change. From giant movie exposition to over-saturated photos. I’ve made videos about basing edits with film presets and how it stops you from pushing sliders too far. It’s not that these are not good products, it’s that getting the film right is that hard, and in FIlmist it’s the entire focus. Sometimes I doubt myself and then I compare it to other products and presets to create a film that looks digital and realizes it’s working. I spend hours adjusting curves by one point and then another. But getting a perfect film skin tone is super hard. You would think with the endless digital tools in Lightroom Capture etc that nailing out is easy. This is tough because this film is all about skin tones. For example the new Gen2 Porta 400 Film preset.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |