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.
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.
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.