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.

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.

  • Renders tones in cream and blueprint blues
  • Extremely high contrast
  • Unsuitable for darker skin tones, blows out lighter skin tones

Photo credit: Candice Picard

Lumen

A simulation of a gum bichromate photographic printing process developed in the 19th century, this simulation renders in saturated ochre hues.

  • Low contrast, monochromatic and desaturated yellows and oranges
  • Reminiscent of the dawn of photography
  • Use to capture a historical feel

Photo credit: laze.life

Tyrian

A reproduction of a Cyanotype optical print on a purple-dyed substrate

  • Extremely high contrast
  • Great for architecture and signage

Photo credit: Maarten van den Heuvel

Fern

An interpretation of the subtle green color cast common on some deteriorated gelatin silver halide prints

  • Maintains detail while increasing contrast
  • Reds, yellows, and greens darken, while blues go lighter
  • Skin tones get denser
  • Good for timeless street scenes and landscapes

Photo credit: Jeff Sheldon