A term used to describe a film’s tolerance to overexposure and underexposure and its ability to capture tones in the brightest and darkest parts of a scene, even in high-contrast lighting. The modern-day equivalent with digital sensors is dynamic range, though sensors rarely approach the dynamic range (exposure latitude) of film.
Film photography has never quite gone away. In fact, it's enjoying something of a resurgence amongst photographers who miss the imperfections, unpredictability and individual characters of film, chemicals and darkroom processes.
You can go the whole hog and adopt an analog workflow right from the film and developing through to analog darkroom prints, but many photographers adopt a hybrid analog/digital workflow, shooting with film cameras and then scanning/digitising the images to share them online and via social media, and use the flexibility of digital image editing and digital printing to get the best of both worlds.
A filter in Color Efex Pro which offers a varity of vintage photo effects, from sepia-tinted black and white to faded colour. In some ways it’s been superseded by newer and more elaborate ‘analog’ film effects, but it still produces a range of attractive vintage photo effects.
Old and cheap film cameras have poor seals and badly-fitting backs that may let light through on to the film inside. This produces pale streaks across the image or at the edges and has become associated with an ‘old camera’ look. Some programs now replicate light leaks digitally in a variety of colours, patterns and […]
Film grain is caused by the random clumping of silver halide grains (black and white) or dye clouds (colour film) – the individual grains or colour spots are too small to see. Film grain looks very different to digital noise – many photographers use film grain simulation filters and tools.
‘Analog’ film comes in three main types: colour transparency (slide) film, colour negative and black and white negative. It also comes in many sizes, from 35mm through medium format roll film to large format sheet film. Smaller formats than 35mm are still available, such as 110 and 126, but are less popular now.
Image settings on some cameras which attempt to recreate the colours and tonal quality of classic films. Fuji offers Velvia, Provia and Astia film simulations to replicate its films of the same name. You can choose these in-camera if you shoot JPEGs, or apply them later to RAW files.
Software that replicates the look of old films and darkroom processes together with ageing effects like scratches and light leaks. It can work as a standalone application and as a plug-in (Elite edition). It also integrates with DxO Optics Pro, DxO’s RAW conversion/correction tool.
A terms used by some software companies, for example Serif in its Affinity Photo software, to describe the RAW conversion process, where a RAW file is processed into an editable image.
Room set aside for film development and printing, typically equipped with a ‘wet’ area with running water, an enlarger for making prints and blackout materials to produce complete darkness.
A term now used to design old-fashioned chemical processes to capture images rather than digital – so you can get ‘analog’ cameras, ‘analog’ films and ‘analog’ image effects which replicate the look of these old processes.