Summary
The undefined website content discusses The Classic Film Presets (TCP) by German photographer André Duhme, offering Lightroom film presets that emulate the look of Fujifilm and Kodak negatives processed through Frontier and Noritsu scanners, with a focus on their application in digital photography and the personal experiences of the author, Sam Lee, who advocates for the value of written photography content and offers ways for readers to support his work.
Abstract
The Classic Film Presets (TCP) by André Duhme are a set of Lightroom film presets designed to mimic the aesthetic of classic film stocks from Fujifilm and Kodak when scanned with Frontier SP-3000 and Noritsu HS-1800 scanners. These presets are characterized by their lower contrast and ample post-production adjustment potential. The author, Sam Lee, shares his preference for the warm, red tones typical of Noritsu scanners, which are commonly used in Hong Kong, and provides examples of how these presets can be applied to digital photography to achieve a film-like appearance. Lee emphasizes the skill involved in selecting the appropriate preset for a photograph and the enjoyment found in experimenting with different film styles. He also highlights the distinctive qualities of various film stocks, such as the vivid colors of Fujifilm Pro 160C, the blue-green tones of Fujifilm 400H, and the clean, clear images produced by Kodak Portra. The article concludes with Lee's reflection on the subjective nature of choosing film styles and the importance of anticipating the final look. He encourages readers to purchase the presets, offers a discount code, and provides links to his social media and Patreon for those interested in supporting his continued writing and photography through subscriptions or one-time contributions.
Opinions
- André Duhme is praised for his work in creating film-style presets that offer a nostalgic film look in digital photography.
- The author, Sam Lee, prefers the warm, red tones of Noritsu film scanners, reflecting a personal affinity for the color rendition typical of wedding photography in Hong Kong.
- Lee suggests that choosing the right film style is a skill and an art, requiring knowledge of the negative and an understanding of the desired outcome.
- He finds joy in experimenting with different film style files and revisiting old work with new presets.
- The author believes that there is no one-size-fits-all "best" film style, advocating for the use of various styles according to the environment and mood.
- Lee values the role of written content in photography, emphasizing that words and photos both hold specific value in the age of video-centric platforms like YouTube.
- He seeks support from his readers to sustain his blogging and photography endeavors, offering exclusive content through Patreon and accepting contributions via Payme.