Alien skin exposure x software#
Alien skin exposure x iso#
Alien skin exposure x professional#

Alien skin exposure x professional#

Professional photographers would buy film in bulk and control processing to minimize variables.

Alien skin exposure x software#

The main reason I don’t believe in film emulation software is that film is variable: from batch to batch and with how the film was exposed, processed, and stored (before and after exposure), and if it was used beyond the expiration date. I could also use it as a Photoshop plug-in, but Lightroom is where I do all my RAW processing. I personally use the software as a Lightware plug-in. But if you're not working in Adobe Lightroom or using Adobe Photoshop to process your RAW images (or any other RAW processor), then this is a quick and easy RAW converter. But how practical is Exposure X as a RAW processor? Regrettably, it's missing a number of things, not least of which is a histogram. It’s now also a RAW converter, which means that you no longer have to first process your files before taking them to the next level. Exposure has something “X”tra – new life and a new vitality. And that’s what I found so remarkable about Alien Skin’s Exposure X.Įxposure X is not simply the Exposure app updated. I know I won’t recapture it in a film emulator, but at least this software can imbue my images with a quality they did not have before. Still, I wonder if I’ll ever recapture the feeling of looking at a cardboard-mounted frame of Kodachrome on a lightbox, seeing those rich colors, that fine grain. Good thing back then that airline travel was a simpler thing. What I don’t miss about film is changing cassettes amid a storm of midges, the time wasted to change film cassettes, the need to change film cassettes whether because you’ve run out of exposures or to suit the lighting or the subject – and the need to carry around all those canisters of film.

Alien skin exposure x iso#

One of my favorite black-and-white films was known as chromogenic-a favorite not because it was processed in color chemistry and yielded a black-and-white negative, but because it could be exposed over a wide range of ISO settings – kind of like what we do today with our digital cameras – one film fits all, kinda.

On the other hand, for the more adventurous film shooter there is Lomography film, for a unique twist on analog photography. Some of these films are still available today, although I doubt they’re the same. There was also 3M and Konica – each a poor but economical substitute. Fuji black-and-white, too, was one I rarely used, although it did have its adherents. Agfa color film never quite did it for me ditto their black-and-white emulsions.

Ilford’s black-and-white emulsions also had a unique place, capturing a certain depth of tone. When it came to E-6 reversal (slide) films, Fuji fast became a favorite, with Velvia and Provia leading the pack. Well, almost indelible, as memory does fade over time, along with film.īut I do remember the rich colors of Kodak Kodachrome and the grainy texture of Kodak Tri-X, the increased contrast and grain when pushing film, and the look of some Polaroid instant slide films and how easily they were scratched. Besides, what I remember about film are scratches and fading, although a few films did leave an indelible mark in my memory. I was never a big fan of film emulators, so any time I used one, it wasn’t in an attempt to replicate the look and feel of a film as much as to lend a distinct character to an image.