What if you could precisely match the look of film while shooting the majority of your images digitally?
Think of all the money, time, effort, and stress you'd save. Less scouring the internet for the cheapest rolls of film to buy in bulk, no more packing all your image babies up to ship across the globe, and no more waiting for weeks to see whether your images turned out okay.
I'm Kirk Mastin, and I've been a hybrid shooter -- that's someone who shoots both film and digital images together -- for years. If you're anything like me, you've purchased film presets and been quickly overwhelmed by the seemingly endless options. Worse, you've found it difficult to create a consistent look across images, galleries, and events.
I'm a bit of a control freak when it comes to making sure my images look exactly like film, so I bought my own Fuji Frontier film scanner and got to work.
I've spent over two years developing Lightroom and ACR presets that emulate the look of film. I've kept them to myself, perfecting them (again, a bit of a control freak), but I've finally deemed them ready for sharing with others.
Here's how the presets work.
Shoot film in one section of the day -- bring up the first film image you really love, lock that image in a Lightroom or ACR pop-up screen, and adjust your digital images to match.
Sound too easy to work? Let me show you...
A quick tweak, a click or two, and voila! A consistent look for your film and digital photography. No one will be able to tell the difference between the two (Even you.)
By comparing a digital image to a film "anchor image," you can match color, tones and crops in one fell swoop. You can get through a whole wedding with just 7 or 8 anchor images.
Sound too good to be true? Again, I'm happy to demonstrate how this works...
I've done my level best to create dead simple, efficient choices for your workflow.
Think about it: if you save 30 seconds per image and process 500 images for a wedding, you'll save over four hours per wedding you shoot using these presets. Shoot ten weddings a year, and you've saved an entire forty hour work week!
Not to mention the money you'll save. Shooting a roll of 220 film costs $15 for the film itself, as well as $44 for processing. That means you're dropping $59 to shoot a single roll of film! I know why you do it -- those film tones are to die for -- but shooting just three rolls of film at an event rings in at $177.
Now, you can endlessly emulate the look of film for way less than the cost of shooting three rolls of 220.
Beyond presets, the Mastin Labs Hybrid Pack shows you how to become a hybrid photographer in 30 minutes or less.
I've created training videos to walk you through using the Portra presets effectively, so you can balance digital and film images with ease. I've also created custom cropping tools and blogging templates (blogging templates available in Lightroom only) to make your experience with balancing film and digital photography as simple as possible.
Fuji Frontier scans are prized for their clarity and almost 3D look. Nice clean scans of Portra 400 are a thing to behold and prized by many photographers who love film.
For hybrid shooters, this means making your whole set of photos, digital AND film, look beautiful and consistent no matter the light.
It's the subtle things that matter to serious hybrid shooters. We've taken great care to make your digital look like your film scans. It's a delicate process and the best emulations are not over the top. They are just . . . accurate.
Included in this pack:
- Training videos:
- Customizing a single image
- When to use the sub-presets and why
- Event workflow and adjustments
- Blogging tools (Lightroom only)
- Cropping tools (Lightroom only)
- Portra 400 Presets
- The world's best Portra presets, hands-down
- Tools and customized presets for maximum efficiency
- Custom cropping tools in Lightroom
- 4 cropping tools to match the aspect ratio of film (66, 67, 645, etc...)
- 19 blogging templates in Lightroom
- Create diptych, image groups, and headshot galleries for each film size
- Make blog boards, quickly and easily, within Lightroom
These are really good. I like these presets on the digital files BETTER than some of my film scans in certain lighting situations. I'm really surprised because I've never liked digital files this much. Not even close.
Film still holds my heart. But there are a lot of situations where digital could be advantageous and now I feel like I can shoot digital with film and not hate the digital files.
I'm REALLY digging these a lot. I don't hate my digital work anymore.
Jeremiah Daniel Spray
I'm editing a wedding with the presets, and they are amazing. A lot of the light was mixed and low quality and the other professional presets I owned were unusable - as the colors and contrast just went wonky. Your preset does a better job of matching film in mixed light, hands down. So far I've tested them in tungsten, daylight, overcast, harsh light, its working better than any other preset I've used for getting me close to film.
Kirk's presets allow me to shoot film and digital side by side without worrying about mismatched looks. Simplification is a beautiful thing, and as a photographer it is something I put quite a lot of value in. This is definitely a better Portra 400 preset than the other ones I've tried. Definitely.
(All images edited with the Portra 400 Hybrid Preset Pack.)
Portra 400 Preset Pack
For Canon and Nikon | Lightroom 4 and Above | ACR FOR PS CS6 & CC
With the cost of shooting film ringing in at $1 per image or more, you'll have recovered your investment in no time flat -- without having sacrificed the look you love.$119