I feel a little silly gushing over presets, but the fact is that Kirk has put crazy amounts of time that I don't even want to think about, into making these as realistic and accurate as possible, and it shows.įrom the subtle adjustments to contrast and saturation to the included 35mm and medium format grain tweaks, each one of these film stocks shines in digital form. Editing is not a process with individual parts everything you do is connected to some degree, so finding a way to balance all of those tools to get you to a single unified look without compromising in some areas is quite an achievement. But the point is the images are damn close. The new Portra Pushed presets continue that legacy of subtlety and accuracy, doing an excellent job of giving you that slightly over-processed effect, without ending up look like you set all of your Lightroom sliders to Glad you brought that up!Ĭheck out some comparisons below between actual film scans and digital files edited with the Mastin presets and guess which is which.
What that means is they tend to be extremely close to the film stocks they're emulating, and they don't go overboard with crazy fade effects or wild levels of saturation and contrast. I love Mastin Labs presets because they're originally designed for hybrid shooters who work with both film and digital, to get as close a match between their film shots and their digital files as possible. It's a technique that film shooters have been using for decades, and it's a look that a lot of popular film presets are using as a starting point before going way over the deep end. This typically results in a more contrasty image with more, and sometimes some funky, oversaturating of colors among other things. Push processing film is the practice of "overdeveloping" less sensitive film to increase the exposure. Check it out my review of the pack after the jump.
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