Part of being one of the last remaining long-time journalists in the photography-space to report on both the tech and arts side is seeing how both have changed. In the early 2010s, I remember how photographers everywhere were saying goodbye to Kodachrome. An article we published in 2013 states that the film was introduced in 1935. So that means that the film is nearly 100 years old — or what remains of it is at least. But most of it has been long gone. And when Scott Tucker came out with his own film simulation for Nikon’s latest cameras, I had to try it.
Scott’s Leiter film recipe is inspired by the work of Saul Leiter, who used expired Kodachrome very famously. Scott has done the work to try to replicate that look for Nikon. However, he recommends only making images in very specific settings to achieve the look that he’s advertising. And he’s right — Kodachrome only really looks good in specific lighting situations.
It took some researching into articles we’ve done here at the Phoblographer over the years to understand how to use Kodachrome to better effect even more.
Something that I think everyone will find fascinating is how the CIA used Kodachrome.
In 2020, we covered the story of photographer Stephen Dalton making something truly unique using Kodachrome. His process used exact lighting (stroboscopic flash to be precise) and Kodachrome to make the image happen. But truthfully, it’s all about the photographer and their skill as well as their creative vision.
In 2013, we covered Luiggi Ghirri’s book about Kodachrome. To be frank, there’s nothing extraordinary about these images. But that’s a big contrast to the work of Steve McCurry, who made wonderful photographs that Kodachrome simply accentuated the beauty of.
One of the best examples of Kodachrome in use is in Sealskin by Jeff Dworsky. Jeff’s work combines real human moments, beautiful colors, lighting, good lenses, and creative eyes to make the images that we see.
Some wizards, such as Kelly-Shane Fuller, even tried doing things to continue developing the film.
Many photographers such as Freddie Child-Villiers have tried to get this look across with really stunning results — and equally fine subject matter and lighting.
So after working with Scott’s preset, I’ve got to be real here: this isn’t as good as his previous preset for vintage film.
When the lighting is right, it really shines. And if you’re going for the authentic look and experience of Kodachrome, then perhaps that’s where this will be incredible.
Does it look good? Yeah, in the right situations.
But so too does everything else in 2026. And to that end, I’d say that you should only use this during moments outdoors, with lots of lighting, a low ISO, and nothing else. That’s typically how I like to use film presets but I know lots of photographers who would try to make images with this film at ISO 6400. But Kodachrome wasn’t meant for that in the first place, and neither is this preset.
Save this preset for your literal and emotional sunny days. What made Kodachrome special was when it was in an environment where it thrived. Take it out of that environment, and it’s as fickle as a precious house plant.