Firstlight

Film Simulations

Firstlight filters are inspired by the amazing legacy of 19th and 20th-century photography. Each filter pack is based on the films and photographic processes that created over a century of legendary images.

Pioneers

Prism

Prism is reminiscent of 3-strip technicolor, which uses red, blue, and green channels. It is extremely saturated, imparting an aqua character to neutral gradients.

Classic Technicolor effect from the 1940s and 1950s
Increased contrast, with desaturated greens, aqua blues, and deeper reds shifting to magenta
Pure teals and blues dominate
Good skin tones
Saturated and punchy; playful

Photo credit: Leonardo Merlo

Maxwell

Inspired by the research of James Maxwell, this simulation seeks to reproduce color images via a front-projection 3-color process. Maxwell’s work would later be expanded upon by Sergey Prokudin-Gorsky.

Photo credit Maria Clara

Lumière

This simulation is based on the Autochrome mosaic screen plate process, an early film made with potato starch with red, green, and blue color crystals. While its color palette and innate saturation is extremely limited, it will reproduce red, green, and lavender with moderate accuracy.

Initially not suitable for Asiatic and African skin, this filter is modified to widen the skin tone range
Reds and greens become dark and primary
Desaturated, dream-like impressionist quality

Photo credit: Yogendra Singh

Judith

Judith is a replication of the 2-strip technicolor process using red-orange and blue-green channels. It interprets all colors as shades of teal and clay.

Otherworldly 1920s and 1930s motion picture effect
Sky and water renders in teal
Skin tones smooth out due to desaturation
Use for portraits and scenes with a structured, graphic approach

Photo credit: Tyler Nix

C41

Plus

Plus is an interpretation of the Kodak ColorPlus 200 pallette. Skintones are constrained to a pleasing but narrow tonal range. Blues are rendered a dreamy teal.

Reds, yellows, and greens desaturate, while blues veer into teal
Use in outdoor settings with sand, brick, or rock contrasted with blue sky, like a beach or desert

Photo credit: Sébastien Jermer

Gold

This simulation evokes Kodak Gold – it is both warm and saturated.

Nostalgic, with bright sunny tones
Emphasizes yellows and blues to create a warm feel
Retains warm tones, even with flash
Good for outdoor shooting, especially at sunrise and sunset

Photo credit: Eloise Ambursley

Lesko

A desaturated version of Portra 160, with a narrow color palette optimized for rendering pleasing skin tones

Smooth, natural color palette that is balanced with medium saturation and low contrast
Downplays redness in skin to create a smoothing effect
Lack of color accuracy with reds, magentas, and oranges
Use for portraits

Photo credit: Wilfred Sequeira

Gypsum

Gypsum exhibits the vibrancy of Kodak Portra UC. The entire color palette is optimized to produce luminant and pleasing skintones.

Bold, saturated colors while retaining pleasing skin tones
For portraits, but can also be used for general purpose
Try it with scenes that need a color pop

Photo credit: Jorge Saavedra

Chrome Filter Set

Koda

An interpretation of Kodachrome 40, faded after years of archiving

Does a fair job of skin tones
Oranges desaturate, greens avocado
Early to mid-century vibe
Classic National Geographic look; landscape/street photography

Photo credit: Paulé Wood

Leopold

The color palette of Kodachrome 64, hybridized with the brown-biased black point of an aged Kodachrome 25 transparency

Dramatically transform greens, with beautiful saturated clay-colored reds
Warm tones, including skin tones
Kodak 64 was optimized for white skin tones; the hybridization with Kodachrome 25 makes this filter work with all skin tones

Photo credit: Godisable Jacob

Veloura

A simulation of Fuji Velvia 100, underexposed by ½ stop
Deep shadows with a strong blue cast
Deep inky blacks, high contrast
Rainy days and twilight scenes; blue/golden hour compositions
Not intended for portraits

Photo credit: Gabriela Palai

Layton

Based on Kodak Ektachrome, this vibrant simulation exhibits striking cobalt blues.

Cobalt pure blues
Use for skies and seascapes; a natural dehazer for landscapes
Not intended for portraits

Photo credit: Naomi August

B&W Filter Set

Bingham

Based on the daguerreotype flat-plate process, with wider spectral sensitivity and high mid-tone contrast to enhance fine textures

Far less sensitive to red, renders lots of skin texture
High contrast
Use for street photography

Photo credit: Yannes Kiefer

Electrum

A simulation based on the legendary Kodak Tri-X, this moderate contrast film is suitable for a wide range of compositional scenarios.

Used widely for photojournalism in the 1960s
Has a slightly aggressive contrast
Slightly less sensitive to red; darker skies
Imparts texture to the skin without appearing rough or cratered

Photo credit: Johann Walter Bantz

Salt

Based on a printing process used to enlarge and publish B&W film, with a subtle red/yellow color cast

An overall ochre/reddish tone, sensitive to blue
Reproduce a vintage look; nostalgic
Good for architecture, textured cityscapes, and ruins

Photo credit: Nojan Namdar

Noir

A high-contrast, neutrally panchromatic rendition of 1940’s B&W motion picture film, with dark, almost featureless shadows

Extreme contrast, with deep inky blacks
Use for shots evoking drama, mystery

Photo credit: SHAYAN rti

Instant Filter Set

Seventh

Based on Polaroid 669, with a cool color cast and low innate contrast

Daylight balanced
Use for portraits and scenes that evoke a retro feel

Photo credit: Sharon McCutcheon

May

Reminiscent of Impossible 600 Color instant film, rendered with a slightly wider color palette

Desaturated, with soft textures that make analog photography so distinctive
Chalky skin tones, darker midtones

Photo credit: Eva Grey

Ulster

Reminiscent of expired Polaroid 600 Color instant film, with a sepia color overlay

Low contrast
Great for portraits with a vintage feel

Photo credit: Tracey Hocking

Crescent

Based on underexposed Fujifilm Instax 400 Instant Film, this simulation is low contrast, with denim-blue shadows

Vintage northern-light feel
Good for moody portraits and street scenes

Photo credit: Kaylah Matthews

Infrared Filter Set

Roxa

Based on aesthetic cues from Lomochrome Purple, this simulation paints in cyanic and violet hues

Blue becomes green, green becomes purple, yellow becomes pink, red loses saturation
Create fantastical portraits and landscapes
Skin tones become less saturated
Works best with bright scenes

Photo credit: Joe Ciciarelli

Via

A simulation of a high-contrast monochromatic infrared film which will render blue skies an inky black

Create dramatic sky effects, emphasizing cloud contrast for landscapes
Simulate a moonlit scene at midday with slight underexposure
Extreme contrast with skies; turns foliage white and cuts through fog and haze

Photo credit: Elliott Engelmann

Callaïs

Inspired by Lomochrome Turquoise, this is a false-color film. Light tones and colors in the scene will take on varying bluish colors, ranging from aqua to cobalt, while greens will be intensified and blues will reverse to a yellowish golden glow.

Warm colors become blue, blue becomes golden and green becomes emerald
Works best with bright scenes containing blue and green, like sky and grass

Photo credit: Paulé Wood

Redscale

Kodak Aerochrome was a false-color reversal film designed for “vegetation surveys, camouflage detection and earth resources.” Chlorophyll from the vegetation reflects infrared light, and the healthier the vegetation, the more vibrant the red tones.

Use with scenes that contain a lot of green vegetation
Skin tones take on a pinkish hue

Photo credit: Wes Hicks

Print Filter Set

Cyanotype

A reproduction of Cyanotype, one of the most prolific optical printing processes of the 20th century. It pre-dated photocopies, used to reproduce technical drawings for engineering and architecture.