Snapseed is free in Apple App store this week

Snapseed by NIK software is free this week in the Apple app store. If you have an iPhone or an iPad, you'd be crazy not to get it. I mean, I thought it was a good deal when it was $5.

Film nostalgia

9 times Lucas

top row (left to right): 1. as shot 2. Agfa Optima 400 3. Kodak Ektachrome 64 pro middle row 4. Fujichrome Velvia 100 5. Kodak Ultra Color 400UC 6. Fuji Superia 800 bottom row: 7. Kodak Portra 160 NC 8. Polaroid Transfer 9. xpro C41 to E6 (LB04)

Earlier this month, I talked about digital versions of cross processing, and introduced the post with the question "When is the wrong color the right choice?" This led to some interesting comments about darkroom processing vs. digital processing and about the manipulation of color in either case. As a sort of experiment, before I left work today, I took a photo of my son, Lucas, silhouetted against a colorful art installation, and digitally altered it according to various film types and/or processes. I "processed" the original photo with NIK Color Efex Pro because the program faithfully emulates the contrast, grain, and color properties of a few dozen beloved film stocks—a digital approximation based on careful study (actual grain sampling, for example) of the analog originals. Strange, how I find myself learning more about the variation of film types now that I no longer use them. I had my favorite films, but I never took the same photo with a dozen different types for the sake of comparison. To do so now is really an exercise in nostalgia—especially as more and more films are discontinued.

A closer look at Velvia (#4 on grid)

Homage or Death Knell? Is that really the question?
Last August, I did a post about the disappearance of local orchards and the things that have replaced them: "Orchard" Elementary, "The Orchards" Shopping plaza, and so on. I begin to wonder if the digital reproduction of film isn't the same type of dual-edged homage—respect + replacement.

The faux polaroid version

But I have seen enough media hype to be wary of "the death of...." narratives. The number of hyperbolic photo magazine articles about digital replacing or not replacing film rivals the frequency of "get great abs" covers on men's magazines. The digital vs. film debate evokes strong opinions, but like the ab routines, it gets monotonous and tiresome pretty fast.

The grainy and gritty Superia 800

So what is the question?
In the context of this month's theme, the digital replication of different films made me appreciate the number of "right" answers possible to the question of color. The variations in color film emulation made me think about other color/contrast/grain (or any other selection of variables) recipes for digital color. The Color Efex software is largely based on darkroom techniques, but it also includes purely invented digital effects with names like "Duplex" and "Monday Morning." Similarly, Photoshop actions with names such as "Lord of the Rings" and "Daily Multi Vitamin" might be the digital equivalent of film stocks. I am quite surprised, in fact, that Fuji, Kodak, and the like have not got into the business of marketing digital "film" in the form of actions. Some have viewed memory cards as digital film, but the comparison ignores the identity of film types. Some memory cards may be faster than others, but the card won't change the look of the photo. Digital cameras offer "effects" and digital processing allows for infinite variations, but memory cards have no real identity. If film nostalgia stays strong among those shooting digital, maybe film companies will manufacture memory cards with unique in-card processing characteristics. Maybe one day people will have strong feelings about the saturation and contrast they get with a certain brand of memory card...

The unretouched original

Conclusions
I don't have many (other than I really should start going to be before 3 a.m.), but thinking about film nostalgia has led me to some ideas:

• As a big fan of "The Five Obstructions," I like the idea of creating sets of actions as a self-imposed creative constraint.
• I love the devotion to film emulation that I see in ColorEfex, but I also like the idea of creating fixed digital variations that have nothing to do with the darkroom.
• Current digital effects tend toward the dramatic or trendy, but I wonder if subtle effects will become equally important as digital matures.
• I don't know what "the question" is, but I am pretty sure that it is not "film or digital?"
  

A current software favorite: Nik

I rarely do any kind of review. In fact, I have done one since last August when I gave some Photoshop reading suggestions. But one of the advantages of not accepting advertising is that I can express my opinions without worry.

Right now I am such a fan of Nik Software that I wish I could ignore all of my computer woes and just experiment with it. Although I heard of it a while ago and even downloaded a trial version of Viveza, I don't think I really understood how amazing it is until I sat through several demonstrations at the PMA in Las Vegas. I immediately bought the entire suite as an Aperture plug-in (but it is also available as a Photoshop plug-in and soon as a Lightroom plug-in). I don't have the time and expertise to go through every program right now, but let me give you a sample of one of them.

Silver Efex Pro
Silver Efex Pro is the best black and white conversion program I have ever seen. Here is a snapshot of how it works:
In the main window you see the picture that I want to convert to black and white. On the left are presets that correspond to various darkroom techniques (push process, various filters, sepia, etc.). The panel on the right allows you to fine tune the preset in pretty extraordinary ways. The most innovative feature is the "control point."
You can add control points (as many as you like), adjust the diameter of the area to be affected, and then use very intuitive little sliding dots to make precise changes without any tedious masking (as you would normally do in Photoshop). I won't pretend to understand how they created an algorithm that eliminates the need for masking, but they did it. From what I understand, it senses the tone, the edges, and other information and applies your adjustments only to parts of the image that are similar to where you have placed a control point and that fall within the area you have defined.

The right side panel (click on the image to enlarge) includes not only the control points but also various filters typically used in film photography and a selection of film types that faithfully replicate the look of classic films. Never again will I add grain in photoshop. Instead, I can select, say, Kodak Tri-X 400TX Pro (I used to love to shoot with that), and get the same tone, grain, and sensitivity that I would have seen in film.

Finally, if you look at the bottom of the panel at right you will see the numbers 0-10, indicating the zone system I talked about in January. As I said in that post, I don't really use the zone system because it can be an arduous process. In this program, however, you can just click on the number that corresponds to the zone you want to affect and the computer does all of the work. Very cool.

If I weren't dying to go eat lunch, I would show you the others, but for now you can check them out at their web site.

If you want more posts in the future about products that I use and like, let me know in the comments section.