Review: Capture One Pro Film Styles (Capture One Pro 10)

For a fairly long time now, I’ve ditched Lightroom for Capture One and I couldn’t be happier. But something I’ve missed is having film profiles for my images–if not because they didn’t necessarily look like film, because I just genuinely liked the look of the photos. Then I discovered the Capture One Styles, that makes the Capture One Film styles which emulate the look of lots of very popular film emulsions.

Considering just how good Capture One is, I was very delighted to test these out. But for this film shooter, I found some disappointment.

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Film Review: Kodak Tri-X 400 (35mm and 120; Various Formats)

Opening photo by Håkan Dahlström. Used with a Creative Commons License.

Arguably the most famous black and white film of our time has to be Kodak Tri-x 400; it’s been with photojournalists for years and years. These days though, most folks can’t tell the difference between Kodak Tri-x 400 and so many other emulsions on the market. Despite this, it’s still the most popular black and white film currently available with the highest possibility of never going discontinued.

So, let’s start this review, shall we?

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Street Photography and Kodak Tri-X Film: 62 Years of Going With The Grain

This is a syndicated blog post from our premium publication La Noir Image. For more stories like this, sign up for a subscription at a fantastic price. All images and text by writer Mason Resnick.

In recent years, thanks in part to social media and the ease with which participants can share images, street photography has enjoyed unprecedented popularity. A generation of digital cameras, inspired in part by the classic tools of street shooters, has combined with the power of social networks and easy image sharing to empower a new generation of photographers to embrace street photography. The results: A glut of photos: many of them mediocre, some good, and some of them really good.

But even the best of digital street photos have a problem. Digital street photos are too smooth. They’re too clean. They seem clinical. They have very little noise, and certainly no grain. That grittiness, dirtiness that reflects the chaos of the street is missing. And so, software tricks are employed to emulate the graininess of classic films. Click a button, and your grainless digital image suddenly looks like it was shot with the film of choice for many street photographers throughout the years: Kodak Tri-X.

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Why The Analog Photography World is a Far Nicer Place Than Digital

Years and years ago, there were film photographers who loved taking their lenses and cameras into labs and testing the results with charts and such. For the most part, that still happens with digital. But modern analog and film photography has evolved. Lots of people are turned off by it, but also lots of people are incredibly attracted to it for its freedom of expression and the amount of raw talent that goes into creating a photo in-camera without Photoshopping or Lightroom work. Sure, lots of the same things done in Lightroom can be done in the darkroom, but that’s just when you’re printing. Instead, modern analog is more about the art: and a million times better than modern digital.

Before I go on, this isn’t a battle of digital vs film, digital vs analog, etc.

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Review: JCH StreetPan 400 Film (35mm Film)

It’s rare when a new film hits the market–but it would make a whole lot of sense that someone like Bellamy Hunt decides to create one. Japan Camera Hunter Street Pan 400 film is an emulsion available in 35mm and was developed to really be shot in low light situations. In fact, he states that it works best in red lighting. For the casual street photographer, that means sundown as you head out on your commute to go back home at the end of the workday. Beyond this, ensure that the film lab working to develop the film knows what they’re doing.

Born out of a discontinued surveillance film made from Agfa, StreetPan 400 isn’t a respooled film, but one that’s reborn according to Bellamy.

Editor’s Note: My review goes far more in depth in its continued form over at our premium publication La Noir Image. Click here to see it. Please subscribe for as little as $15/year to gain access.

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Daniel Zvereff: On Black and White Documentary Photography

This is a syndicated blog post from La Noir Image. It’s a preview of the type of content you’ll be able to get if we receive our Kickstarter funding.

All images by Daniel Zvereff. Used with permission.

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You’re a photographer that often shoots in color; and very vivid colors! So what creative choices typically make you shoot in black and white instead?

I’m not quite sure if there is a straightforward decision in my mind when working on a project that steers me towards color or black and white. I think its more of a feeling, something I can’t quite explain.

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Creating a Black and White Image That Doesn’t Feel Lazy

Creating a black and white image that isn’t lazy requires you to do a lot more to it than just hit the “convert to black and white” option when editing an image and it even requires more than just applying a filter. Conversions are one of the more looked down on ways to edit because photographers believe it to be cheap and easy–yet clients love it!

So how do you create one that doesn’t feel cheap, lazy, and that genuinely looks good? One way includes creating an image that looks good in color and black and white.

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