Capture One Kodachrome

Posted : admin On 1/29/2022
  1. Capture One Kodachrome
  2. Capture One Kodachrome Style
  3. Capture One Kodachrome 64

EDIT 6/5/17: “Film Styles for Capture One” has rebranded to I have changed the links but otherwise the review is as originally presented.

I’m loving how capture one renders my fujifilm raw files. I love the workflow too. One thing I can’t seem to get quite right would be simulations that are sufficiently accurate to the film stocks I used to shoot before moving to digital. Does anyone have any suggestions on an accurate Kodak Tri-X/Ilford HP5+ style?

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  1. Kodachrome 2000s - clean / grainy / process variations Technicolor 2 (approximate simulation) - clean / grainy — NOTE ON CAPTURE ONE LAYERS SUPPORT ‍ This product implements the best possible support for Capture One layers, allowing you to adjust film intensity and even mix different film looks together.
  2. From the iconic colours of the 1940s A.S.A 10 emulsion to the clean, bright Kodachrome 25 and 64 looks that defined the 1960s onwards, I’ve tried to capture the spirit of one of the world’s most beloved – and dearly missed – colour films.

The gallery above shows three variants of the same image edited in Capture One 8 using the Film Styles for Capture One set of film presets available at the link. I was approached by the creator Alexander Svet after I posted a review of my first impressions of Capture One Pro 7 back in the summer.

To start with some background, Capture One is a Raw processor, image editing and catalog management program published by Phase One, which is most known for its high quality and expensive medium format camera systems. Capture One serves the same general purpose as Lightroom and Aperture. Lightroom from Adobe is the market share leader. Aperture, which has been my choice for the past 5 years, is made by Apple and is being discontinued. When Apple made that announcement about the demise of Aperture, Capture One offered an attractive price to lure people over and I took the bait. I still do not know what I will use to replace Aperture, which still works fine and should be good for most of the next year or so.

It took me a while to install and review the Capture One Film Styles set of presets because I spent most of the summer shooting and posting images taken with real film. Since then, Capture One released version 8, and fortunately the styles work equally well with both versions 7 and 8 of the Capture One Pro program. According to the product web page, they also work with Capture One Pro 6 but not Capture One Express 6 or 7, although I have not tested any of the last 3 mentioned.

The set of images in the slideshow above are the same image treated with 3 different presets from the package:
SL Kodak Ektachrome mid-1970s (red)
SL Fuji Fortia SP v1
Fuji Superia 800

As you can deduce from the names, some of the film styles have variants based on the ISO rating; other have variants simply labeled v1, v2, etc., and the Ektachrome has 3 variants based on a specific color cast. Some of these varieties do seem to reflect specific possibilities from the original film, while others seem to have been created (this is just my guess) in order to reach the total of 100 presets, but even if that is the case the variety is welcome. There are 58 color and 42 black and white presets in the pack.

One thing missing, even in the ISO variants, is any simulated grain. This is largely because Capture One was not capable of simulating grain until version 8 was very recently released. Mr. Svet informed me that he plans to release an Extended Set of the Film Styles next which might add a film grain feature. In any event, it is now very easy to add grain from within Capture One should you desire.

The styles are very easy to install, and Capture One also makes it easy to organize your added styles, as long as you take a bit of care during installation. I also like how Capture One allows you the option of stacking styles when working on an image, or having a new style overwrite any previous style you applied. I am not aware that either Aperture or Lightroom has this option.

For the images I am showing here, I pretty much limited my edits to the Styles alone, except for minor basic adjustments such as exposure and sharpening, because I wanted to really feature their capabilities. As with any presets, however, your best practice would be to apply one of the styles as a starting point and then tweak the image to your personal preferences.

Overall I think this is a very tempting product for anyone looking for a preset pack for Capture One. The Lightroom market for Presets is well populated, but they have always been lacking somewhat in the Aperture and Capture One universes. I am glad that this new company has seen an opening and made these available to the Capture One community of photographers. Many people who consider switching to Capture One explain that it is a considerable obstacle to give up their Nik plugins or VSCO One film presets. This package can help overcome that limitation.

Finally, no digital preset – and no amount of digital manipulation – can fully re-create the look of real film. Even the home page for these styles admits as such. But, as I mentioned earlier I have been using real film a lot lately and these do reasonably approximate the essence of film in a digital format. Before I fully make the images above “my own” I will undoubtedly tweak them some more, but these presets got me to a point where I was comfortable posting these shots without any regrets. And just so you don’t have to scroll back up, the styles are available here. You also have the option to try 5 of them for free, and the direct link to the purchase page is here.

DISCLAIMER AND DISCLOSURE: I was not paid for this review, nor am I an affiliate of Capture One Styles or Capture One, and I will not receive any compensation should you purchase a copy of the presets. I was given a free copy of the styles in order to test and generate this review.

Award-winning photographer Joe McNally takes you through the new and upcoming tools for Capture One 21 and how they’ve elevated his editing workflow.

Capture One just got faster, and better with its upcoming update in March. So happy that during this time at home, I’ve had a chance to learn (still lots to go and do there) and grow with the program. I generally am not shy about cranking lots of frames on location, as assistants and crew who have pulled and hauled with me in the field will tell you, so speed of edit, post-shoot, is paramount.

New stuff!

Capture One 21 (14.1) – the new update to Capture One 21 which will be released in March. In this new update, the viewer tab now lets you enlarge and inspect the image big, full size, prior to import. All the images present with check marks, so you can import all, as per usual, with one button push, but you can also uncheck all and flip on the viewer tab and fly through full size pictures, really judging critically for sharpness, stray stuff in backgrounds, and the like. No need to import all the thumbnails and then enlarge and pass judgement. Do it on the fly, from the card, and selectively import. Huge time saver, and conserves space on the hard drive.

Shortcut keys are now available for import. S for pick, A for unpick. Or just hit the space bar in turn.

More and more camera profiles have also been added, and a whole array of Style Brushes are also coming in this update. Style Brushes allow you to bypass creating a layer and selectively brush-in all manner of adjustments, from color and exposure, to specific enhancements such as deepening a sky, or whitening teeth. These new tools are simple, fast, and to the point.

Plus, I loved these great tools that came with Capture One 21 back in December…

Capture One Kodachrome

Speed Edit
Turbocharge your edit by hitting the A key and slide for highlights, and the 1 key to slide for Kelvin. Shortcut keys for these “always using them” adjustments again, shaves time off the edit process.

This is Super. I use it for the landscapes I shoot (not too many) but also, because I’m more of an urban, people photog, I use it for scenes. It just snaps the image to attention, and you can customize it to find the shadow tones of your preference. You can go negative, too, and increase haze.

Before and After tool
This has been around for a bit, but the Before and After tool rocks. I’ve been plumbing my archive, updating lots of years of shooting, looking at scans of wildly varying quality, and via Capture One before/after, I can tell very dramatically, and immediately, where the image has come from, and shed the staleness of an older scan. I’ve been pumping some life and vigor into images from long ago. It’s been super helpful as I prepare a new book for the fall.

Capture One Kodachrome Style


Simply put, the Capture One software now is a seamless highway from tether, to select, to edit, to final. I’m still over the moon about the Process Recipes tool. I created an embarrassment of different Recipes, for the book, for the blog, and for social postings. It takes at least some of the time commitment of social media posts out of the equation. The file is done and lives in a folder called “Blog,” ready to post. Those labeled subfolders of processed imagery can be designated to live in the same folder of raw originals, so the organization is done for you. RAW, finished, and sized files all live within one folder on your hard drives. One-stop shopping.

There are many, many photographers out there who do wondrous post-processing on an intricate and highly sophisticated level. The look of their pictures, from the shutter push to final, incorporates and anticipates layers and layers of image work. The images are astounding, but that’s not me. Most of the time, I shoot in a very straightforward way, solving problems on location, at the camera. I’ve always wanted a post processing program to dovetail intuitively with the way I photograph, and present itself with language, an interface, and educational support that’s understandable. Capture One is it.

Capture One Kodachrome 64

Joe McNally

An internationally acclaimed photographer, Joe McNally’s 30-year career has spanned assignments in over 70 countries and included cover stories for global publications including TIME, Newsweek and Sports Illustrated. A former staff photographer at LIFE, Joe was also a contributor to National Geographic for 25 years.

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