A lot of us still shoot film for love and for fun. I’m often dragging around my Polaroid 600, my Hassie 500cm, some Lomo stuff (or这些其他胶片相机)… but it’s next to impossible to have clients get fired up to shoot film in a professionals setting. They wanna see their picture NOW. Well, if you’ve ever been in a pickle over how to get the speed of digital with the look of film, join the crowd. In my studio we use a lot of digital tools to get this look and it seems there ar always new software toys emerging for this very job… But since I’m out on assignment now, I can’t think of a better guy to walk you through a handful of the very best options than my pal Sohail. And no doubt you all will have some other tricks not covered here to add…
谢谢追逐。As the man said, the “look” of film isn’t something we are willing to part with….(and we’re not talking the vintage filters on your iphone or droid..) Some of this comes from an old-school love of grain; some of it has to do with the fact that we just love the way film renders tonality and color. We can all love digital photography just as much, however, so finding a happy medium is the task of this post. I’ll run you through the faves and you can decide for yourself what might suit you well…
我决定我希望像Ilford HP5或Kodak Portra这样的“真实”乳液的外观和感觉。Although I’ve liked the look and feel of “vintage” filters that mimic (but not truly reproduce or emulate) old films, I made the conscious decision to seek apps and add-ons that seek to reproduce the look of black-and-white, color negative, slide, and instant film emulsions produced currently and in the past. There are a number of apps today that can apply that vintage look, but that, to me, is not the same as truly emulating film.
With that simple ground rule in place, I settled on four apps to look over. These aren’t by ANY MEANS all the apps out there that allow you to emulate film, but they are the four that do offer both color and B&W film emulation. They are:
直到最近，来自NIK软件，Color EFEX PRO 4和Silver Efex Pro 2的两个插件均可作为个别下载，每个下载约99美元。在谷歌购买本公司之后，整个套房现在可以使用149美元，这使得这一系列成为“爆炸”类别中最好的一个。FWIW，这是一个追逐在他的工作室初步使用。
彩色EFEX PRO 4具有许多薄膜效果，从上述“复古”效果不似乎不符合任何特定的电影库存，以基于非常好的现代彩色胶片列表来效果。
From slide films like Velvia to modern negative stock like Portra, Color Efex Pro 4 is a first-rate one-stop-shop for the most popular emulsions out there.
Silver Efex brings a similar range of choices for B&W images. Some of my favorite films are represented here; Ilford Delta 100 and 400, Fuji Acros 100, and Kodak Tri-X. The interface is somewhat similar to that of Color Efex Pro, and is pretty simple to use.
Silver和Color EFEX还包括NIK的独特控制点技术，这使您可以在不必处理Photoshop中处理掩码和选择的情况下进行一些非常复杂的选择性调整。此外，Silver Efex Pro还为您提供了一系列彩色过滤器，可用于调整B＆W图像中的音调。例如，红色过滤器可以使蓝天变暗，而绿色过滤器将淡化绿色，帮助将花从灌木丛中分开。
NIK系列（包括银色和彩色EFEX）is available now for $149。
Alien Skin’s Exposure plugin for Lightroom isn’t just a film effects plugin; it also places a number of powerful exposure controls at your disposal. It gives you very specific control over elements like film grain, aging, and vignetting, in addition to letting you adjust the tone curve of your images.
这是一件好事。该应用程序合理快速，应用效果和保存文件非常快。最后一项可能看起来像一件小事，但是当你节省100MB + .tiff文件时，额外的几秒钟很好。
外星皮肤曝光is available now for $199。
DXO的Filmpack可以作为DXO Optics Pro的独立插件或作为DXO Optics Pro的一部分提供，这是各种图像工具的集合，从锐化和去噪到透视和去噪。
There’a decent number of films represented here, from slide films like Velvia to black-and-white emulsions like Ilford Pan F 50. They also pack in refinement tools to adjust elements like HSL (Hue, Saturation, Luminance), noise, and film grain.
Filmpack itself also has two tiers, “Essential” and “Expert.” They’re priced at $49 and $99, respectively, and the “Expert” version, in addition to having certain emulsions that the “Essential” version doesn’t, also has a few features like batch processing and noise reduction.
DXO Filmpack.isavailable for $49 (“Essential”) and $99 (“Expert”)。
VSCO is perhaps the most unique of the plugins I worked with. Available for Lightroom, Camera RAW or Aperture (I tested the Lightroom version), the plugin is implemented in Lightroom as a collection of presets and camera profiles, all of which can be accessed without ever leaving Lightroom.
There are currently three collections available; 01, 02, and 03. Each adds a number of specific films to the roster of available emulsions, building on the previous version. Every film is made available in four presets. There is a normal version that is, according to VSCO, the most faithful representation of what that particular film would look like for the image you’re working on, a “-“ version that tones the effect down somewhat, a “+” version that ratchets the effect up, and a “++” version that pushes it even further.
Each of the three packs is sold separately, and is priced at $119, making VSCO’s collection the most expensive of the lot here. VSCO does offer a loyalty discount, so if you buy one of the packs, the others are available for a discount, bringing the price for all three packs under $300.
It should be noted that the real strength of VSCO is, in my opinion, their combination of both camera profiles and presets. They currently have Canon and Nikon camera profiles for all three packs, and in something of a first, they also have Fuji presets for 01 and 03. A Fuji preset for 02 is apparently in the works.
Aperture users, take note that the camera profiles feature in VSCO Film isn’t available to you. Aperture doesn’t support that feature, so that isn’t VSCO’s fault, and the plugin for Aperture is priced at $79 to reflect that loss in functionality.
VSCO Filmis available now for $119 per pack。
我曾在多个图像在过去几个月s, from portraits to landscapes, and came away with some pretty clear ideas and opinions on the strengths and weakness of each plugin. The thing to remember is that these are just that — ideas and opinions. I’m applying my subjective judgement to these images, and that should be taken into account when you make your own choices.
That said, let’s have a look at what I found.
Ease of use
NIK系列也许是唯一一个有一点学习曲线的人。这是直接由于其控制点技术，除非您想要调整图像的特定部分，否则您不必使用 - 如果您这样做，则学习曲线绝对值得。
VSCO was the other one that has a learning curve, but again, only for a specific reason. If you do things like retouching skin in Photoshop,您需要使用解决方法to avoid smearing the grain pattern and messing with the other settings for your images.
Hands-down, VSCO was the fastest of the lot. Since you never leave Lightroom, there’s no round-tripping of images through an external program. Even better is the fact that the presets render lightning fast, and you can reset them with just a click.
Alien Skin’s Exposure was the other app that did a pretty decent job of round-tripping images from and to Lightroom. While it’s not orders of magnitude faster than its competitors, as I mentioned, the few extra seconds you eke out while working with 100MB+ .tiff files is kind of nice.
Lest you think it’s the clear overall winner in this criteria, however, let me throw a twist at you. VSCO has what I believe to be two truly killer features: its edits are non-destructive, and it actually takes your specific camera model’s output into consideration when applying its edits (as long as you shoot Canon, Nikon, or Fuji).
Since you never leave Lightroom, and are working on the original RAW file, VSCO’s edits are easy to roll back the edits – just select the “RESET VSCO FILM” preset in Lightroom and you’re back to your starting point. You can also adjust the preset’s effects at any time simply by moving the sliders in Lightroom or Camera RAW around to get your final look.
So, to me, this criteria has a two-way tie between Nik and VSCO.
Let’s dive in a bit more.
Let’s start with B&W. I chose a film that all four apps had in common, Ilford HP5. The subject is the wetlands in the Alviso area of the Don Edwards Wildlife Refuge.
What struck me here was how similar Nik and VSCO’s output was. VSCO laid the grain down a bit more evenly, while Nik Silver Efex was more selective about it. Silver Efex, on the other hand, crushed a little of the detail in some midtones and highlights.
Alien Skin’s Exposure, on the other hand, tended to underexpose the sky, and lay down far less grain than either VSCO or Silver Efex for this film emulsion. It did, however, do a great job of holding detail throughout the frame.
真正的惊喜在这里是DxO Filmpack。的output is nothing like that of the other three apps; in fact, I re-ran the original file through Filmpack again just to be sure, and the results were replicated exactly. DxO’s output looks almost washed out in comparison, with far less contrast than I remember seeing in images taken with actual HP5 film. The grain pattern is weak as well, which is odd considering that HP5 usually has some pretty good contrast with decent grain.
The color images showed a similar disparity in final results as well. I chose a portrait for the this round of images, and picked an image I’d made of my friend Alexandria (anawesome photographer in her own right）。图像已经经历了一点在Lightroom修饰，但亚历克斯有非常完美的皮肤，所以我不需要通过Photoshop往返它。
我选择的电影是柯达Portra NC。Portra最初有两种口味，NC和VC，但两条线组合成一个单象Portra乳液一段时间。Portra NC也是所有四个应用程序的常见电影之一，所以我通过标准版本使用它。
Once again, clockwise from top left, we have the pre-film-effect Lightroom version, followed by VSCO, Nik Color Efex, Alien Skin Exposure, and DxO Filmpack.
So who’s the clear winner for the “Final Product” criteria? I’d say it’s a tie between VSCO and the Nik Collection.
如前所述,这个测试了两个way tie for first place between VSCO Film and the Nik Collection by Google. but thing is that there is no real way to quantify a choice when it comes to applications like these.
In an ideal world, I’d tell you all to go buy both, but that’d run you upwards of $450. Instead, I’d say this – you can’t truly go wrong with either. Look at the samples here and elsewhere on the interwebs, and decide for yourself.