The filter library

A restrained colour negative: a slight toe in the shadows, warm highlights, nothing exaggerated.

Skin: Leaves skin almost where it started, half a step warmer.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Built around faces: warmth in the midtones, highlights rolled off early so bright cheeks keep their shape.

Skin: Pushes skin toward peach and holds the brightest parts back from white.

warmed · magenta tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cyan in the shadows, restrained yellows, the grey of an overcast afternoon.

Skin: Cools skin noticeably — flattering on a pale subject, sallow on a warm one.

cooled · S-curve · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Slide behaviour: deep blacks, saturated colour, and highlights that clip rather than roll.

Skin: Unforgiving on skin — every warm patch gets warmer. Best on landscape and architecture.

S-curve · more saturation · per-channel curves · colour pushed into tonal bands

The warm, slightly heavy-handed colour of film developed over a shop counter.

Skin: Strong golden cast on skin, which is either the whole point or entirely wrong.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cold highlights over a warm floor — the split you get twenty minutes after the sun has gone.

Skin: Drains warmth from skin. Works on a figure in a landscape, less so on a portrait.

cooled · S-curve · less saturation · split toning · lifted blacks

A touch of green through the midtones and cool shadows; foliage separates instead of going to mush.

Skin: Pulls a little colour out of skin. Fine in a wide shot, thin in a close one.

green tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

The quietest look here. A gentle curve, honest colour, and nothing pushed anywhere.

Skin: Closest to leaving skin alone. Use it when a look would be a distraction.

S-curve · less saturation · per-channel curves

Cyan in the shadows, restrained yellows, the grey of an overcast afternoon.

Skin: Cools skin noticeably — flattering on a pale subject, sallow on a warm one.

cooled · S-curve · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cold highlights over a warm floor — the split you get twenty minutes after the sun has gone.

Skin: Drains warmth from skin. Works on a figure in a landscape, less so on a portrait.

cooled · S-curve · less saturation · split toning · lifted blacks

Cyan crawling into the shadows, warm paper in the highlights, and not much room between them.

flattened contrast · less saturation · per-channel curves · split toning · lifted blacks

Most of the colour gone and the contrast hard — the look of silver left in the print.

S-curve · less saturation · per-channel curves · colour pushed into tonal bands

Blue weighted up and the toe pulled down, which puts most of the shadow detail away.

grey from 20/44/36 red/green/blue · S-curve · per-channel curves

A restrained colour negative: a slight toe in the shadows, warm highlights, nothing exaggerated.

Skin: Leaves skin almost where it started, half a step warmer.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Built around faces: warmth in the midtones, highlights rolled off early so bright cheeks keep their shape.

Skin: Pushes skin toward peach and holds the brightest parts back from white.

warmed · magenta tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

The quietest look here. A gentle curve, honest colour, and nothing pushed anywhere.

Skin: Closest to leaving skin alone. Use it when a look would be a distraction.

S-curve · less saturation · per-channel curves

A pink cast in the light and a cool floor beneath it, with the saturation kept low.

flattened contrast · less saturation · split toning · lifted blacks

The landscape weighting — sky darkened, but less brutally than red, and skin kept light.

grey from 60/36/4 red/green/blue · S-curve

Green weighted up: foliage lightens, lips and warm marks on skin darken and read clearly.

grey from 16/74/10 red/green/blue · S-curve

Low contrast with the black point lifted, so the darkest area is grey rather than empty.

grey from 25/62/13 red/green/blue · flattened contrast · lifted blacks

Built around faces: warmth in the midtones, highlights rolled off early so bright cheeks keep their shape.

Skin: Pushes skin toward peach and holds the brightest parts back from white.

warmed · magenta tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Slide behaviour: deep blacks, saturated colour, and highlights that clip rather than roll.

Skin: Unforgiving on skin — every warm patch gets warmer. Best on landscape and architecture.

S-curve · more saturation · per-channel curves · colour pushed into tonal bands

The warm, slightly heavy-handed colour of film developed over a shop counter.

Skin: Strong golden cast on skin, which is either the whole point or entirely wrong.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Orange through the whole frame, greens pushed toward olive, a low ceiling on contrast.

warmed · magenta tint · flattened contrast · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

A restrained colour negative: a slight toe in the shadows, warm highlights, nothing exaggerated.

Skin: Leaves skin almost where it started, half a step warmer.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Slide behaviour: deep blacks, saturated colour, and highlights that clip rather than roll.

Skin: Unforgiving on skin — every warm patch gets warmer. Best on landscape and architecture.

S-curve · more saturation · per-channel curves · colour pushed into tonal bands

Cold highlights over a warm floor — the split you get twenty minutes after the sun has gone.

Skin: Drains warmth from skin. Works on a figure in a landscape, less so on a portrait.

cooled · S-curve · less saturation · split toning · lifted blacks

A touch of green through the midtones and cool shadows; foliage separates instead of going to mush.

Skin: Pulls a little colour out of skin. Fine in a wide shot, thin in a close one.

green tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Highlights blown out toward paper, colour drained from the top end, the shadows still holding.

flattened contrast · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Weighted heavily to red: blue sky goes nearly black and cloud stands off it.

grey from 78/22/0 red/green/blue · S-curve

The landscape weighting — sky darkened, but less brutally than red, and skin kept light.

grey from 60/36/4 red/green/blue · S-curve

All colour removed, then a single brown laid back over the whole tonal range.

grey from 30/59/11 red/green/blue · S-curve · split toning · lifted blacks

Luminance weights, unmodified. The reference every other entry in this pack departs from.

grey from 21/72/7 red/green/blue · S-curve

The same weights with the contrast driven up until the midtones separate sharply.

grey from 21/72/7 red/green/blue · S-curve · per-channel curves

Weighted heavily to red: blue sky goes nearly black and cloud stands off it.

grey from 78/22/0 red/green/blue · S-curve

The landscape weighting — sky darkened, but less brutally than red, and skin kept light.

grey from 60/36/4 red/green/blue · S-curve

A gentle darkening of blue. The one to reach for when the others look theatrical.

grey from 42/50/8 red/green/blue · S-curve

Green weighted up: foliage lightens, lips and warm marks on skin darken and read clearly.

grey from 16/74/10 red/green/blue · S-curve

Low contrast with the black point lifted, so the darkest area is grey rather than empty.

grey from 25/62/13 red/green/blue · flattened contrast · lifted blacks

Blue weighted up and the toe pulled down, which puts most of the shadow detail away.

grey from 20/44/36 red/green/blue · S-curve · per-channel curves

Blacks lifted to a soft grey, contrast gone slack, colour drifting warm the way a print in a frame does.

warmed · flattened contrast · less saturation · colour pushed into tonal bands · lifted blacks

Highlights blown out toward paper, colour drained from the top end, the shadows still holding.

flattened contrast · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Orange through the whole frame, greens pushed toward olive, a low ceiling on contrast.

warmed · magenta tint · flattened contrast · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cyan crawling into the shadows, warm paper in the highlights, and not much room between them.

flattened contrast · less saturation · per-channel curves · split toning · lifted blacks

All colour removed, then a single brown laid back over the whole tonal range.

grey from 30/59/11 red/green/blue · S-curve · split toning · lifted blacks

A pink cast in the light and a cool floor beneath it, with the saturation kept low.

flattened contrast · less saturation · split toning · lifted blacks

Most of the colour gone and the contrast hard — the look of silver left in the print.

S-curve · less saturation · per-channel curves · colour pushed into tonal bands

Yellowed stock: blue pulled out of the highlights, everything sitting on a cream floor.

warmed · flattened contrast · less saturation · per-channel curves · lifted blacks

Low contrast with the black point lifted, so the darkest area is grey rather than empty.

grey from 25/62/13 red/green/blue · flattened contrast · lifted blacks

Slide behaviour: deep blacks, saturated colour, and highlights that clip rather than roll.

Skin: Unforgiving on skin — every warm patch gets warmer. Best on landscape and architecture.

S-curve · more saturation · per-channel curves · colour pushed into tonal bands

The warm, slightly heavy-handed colour of film developed over a shop counter.

Skin: Strong golden cast on skin, which is either the whole point or entirely wrong.

warmed · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

A touch of green through the midtones and cool shadows; foliage separates instead of going to mush.

Skin: Pulls a little colour out of skin. Fine in a wide shot, thin in a close one.

green tint · S-curve · more saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cyan in the shadows, restrained yellows, the grey of an overcast afternoon.

Skin: Cools skin noticeably — flattering on a pale subject, sallow on a warm one.

cooled · S-curve · less saturation · per-channel curves · colour pushed into tonal bands · lifted blacks

Cold highlights over a warm floor — the split you get twenty minutes after the sun has gone.

Skin: Drains warmth from skin. Works on a figure in a landscape, less so on a portrait.

cooled · S-curve · less saturation · split toning · lifted blacks

Most of the colour gone and the contrast hard — the look of silver left in the print.

S-curve · less saturation · per-channel curves · colour pushed into tonal bands

The same weights with the contrast driven up until the midtones separate sharply.

grey from 21/72/7 red/green/blue · S-curve · per-channel curves

Blue weighted up and the toe pulled down, which puts most of the shadow detail away.

grey from 20/44/36 red/green/blue · S-curve · per-channel curves