![]() They can contain multiple settings for lots of different tools in Capture One, and you can use them for a variety of purposes, from quickly changing settings across multiple adjustments, to full blown film simulations and looks. “Styles” on the other hand, are more like what you are probably thinking of when you think of Lightroom’s presets. This is useful as it allows you to quickly recall settings for any tool, without having to go to a different part of the interface. “Presets” in Capture One allow you to store settings for each individual tool in its own pop-up preset menu. The popularity of these as a way to quickly create all kinds of looks has solidified the term “preset” to mean this, but in Capture One, the term “preset” has a different meaning. If you have come from Lightroom, when you hear the term “preset” you are most likely thinking of Develop module presets. Understanding the difference between Styles and Presets Getting to know how to create, manage and work with styles and presets can be a significant workflow enhancement in Capture One, and so what follows is an extensive guide to one of the software’s key features. So, I finished a style with the look of the T-Max 400 in my mind.At its simplest, Styles and Presets in Capture One may just seem like a variation of what would be Develop Module presets in Lightroom, but they offer a number of distinct advantages. HP5 rendered lips and pinks very lightly and here is where T-Max seemed to look more natural and, better, giving more 3D to the light skins. There are differences in the blues for example (err, the greys presenting the blues), but most important difference I found was with the pink tones, like lips. What I found out is that, at least with my abilities to make the styles and see differences, they basically looked the same. When I finished my study for the HP5 I decided to compare it to the T-Max 400 and gave it a go also. TAP makes wonderful work with films to get them to digital era and I am sure I would not regret buying the black&white pack from them if I was sure I liked the look of HP5. HP5 seems very popular in digital form and having seen it available at quite high price from The Archetype Process (TAP), I decided I just try these looks before making a purchase. I studied different looks, like Ilford FP4 and and HP5 Plus before I started studying the T-Max 400. This time I decided to commit some time for the black&white look. Continue reading Kodak Vision3 500 – a Capture One -study Posted on JCategories Free Capture One -style Leave a comment on Kodak Vision3 500 – a Capture One -study Kodak T-Max 400 Capture One -style -study And I made and published couple of Capture One -styles of this film then. When I searched for images taken with this film using a daylight balance-filter I fell in love with the look. I wasn’t much after the blue colorscape, or the halos that are the side-effect of taking away the Remjet -layer of the film before exposure (like with Cinestill film). When I started using Capture One this particular film was one of my first goals to replicate, or get the aesthetics to my arsenal of possible looks to be used in digital photography. You could use a filter to daylight-balance the film but many live with the blue hues it gives in mixed lighting and even in daylight. ![]() The look it gives appeals a lot for reasons that aren’t probably logical but more about feelings. At least Cinestill has commercialized the use of the film for photography. It’s a movie film that has been taken into photography use widely. The topic for this study is Kodak Vision3 500 Tungsten balanced film. ![]()
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