Gavin Gough
Editorial, Humanitarian & Travel Photographer

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Kodachrome Presets

Kodachrome Presets

25.00

Custom-built Kodachrome presets and profiles, based on original Kodachrome slides, ready to use in Lightroom and Adobe Camera Raw.
(100+ 5-star reviews)

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Kodachrome

I've written at some length about Kodachrome in the past and particularly the challenges faced when trying to build a reasonable digital emulation of the film.

Firstly, to be clear, you can't replicate Kodachrome slide film. I’m putting that sentence right up front in the hope of deterring any photo-forum-dwelling purists from sticking pins into my effigy.

The only way you can truly create a Kodachrome image is by shooting Kodachrome film.  There, I’ve said it and hope that's clear.

Sadly, Kodachrome is no more and even if you were to find a dozen rolls inside a dusty trunk in your grandfather’s loft, you won’t find a processing lab with the technology to process it. Kodachrome is not merely pining for the fjords, it has truly ceased to be.

However, in what started out as a purely personal project, I've been able to reverse engineer some digital values based upon some old, colour-calibrated Kodachrome slides. It took considerable time but I was able to build profiles for specific cameras, providing emulations for Kodachrome 25 and Kodachrome 64.

These profiles are quite unique. They're not simply a series of presets designed to give a rough approximation of Kodachrome's tones and hues, they're custom profiles based on precise calibrated values of original Kodachrome transparencies.

What was Kodachrome?

For the benefit of my millennial readers, Kodachrome was a slide or transparency film introduced by Kodak before the Second World War and discontinued in 2009. The film was enormously popular with amateur and professional photographers alike and many of the iconic images associated with magazines like National Geographic were shot on Kodachrome. Steve McCurry’s ‘Afghan Girl’ portrait was shot on Kodachrome, for example (and later digitised but we’re not opening that can of worms right now).

Iconic Kodachrome

'Afghan Girl' National Geographic Cover

It’s fair to say that Kodachrome was the unseen superstar behind many iconic images for nearly 75 years before digital technology came along and pushed it into the wilderness. Sales dried up and Kodachrome eventually withered and died. Such was Kodachrome’s iconic status that when Kodak presented the very last roll of Kodachrome to Steve McCurry, National Geographic made a documentary about it. Imagine the pressure of having to create something really memorable with the last 36 frames of Kodachrome ever to exist.

“Err, sorry, I think I overexposed this roll. Can I have another?”

“Nope!”

As a reminder of what shooting with Kodachrome was like, this 30-minute documentary is well worth watching.

National Geographic: The Last Roll of Kodachrome

Kodachrome might have been consigned to history but you can still find plenty of enthusiasts willing to talk in glowing terms about its properties.

If you want to impress in one of the Interweb's Kodachrome forums, chip in with phrases such as “I loved how Kodachrome’s lack of dye couplers in the emulsion resulted in reduced light scattering” and “I found that push-processing resulted in a magenta-red colour shift”. You’ll be welcomed with open arms.

Kodachrome Characteristics

Such adoration isn’t unwarranted. Kodachrome really did set the Gold Standard. As Kodak’s own Technical Data Sheet explains, Kodachrome’s characteristics included:

  • Exceptional results in outdoor, travel, nature, advertising, medical and museum/art applications.
  • Extremely sharp
  • Extremely fine grain
  • Reproduces subtle colour naturally
  • Archival (Kodachrome films are the most archival transparency films)

I’m told that yellow is the least stable colour in a Kodachrome slide but even yellow tones will only show some noticeable fading after 185 years. I wonder how many computer hard drives will last that long.

Kodachrome's subtle tones, biting contrast and dynamic range have been a significant stylistic contributor to our visual heritage so perhaps it’s understandable that we might be tempted to try and capture some of the magic of Kodachrome in our digital work.

As another example of the iconic status Kodachrome reached, you might like to read the rest of this article whilst listening to Paul Simon's song, Kodachrome, in the background.

Paul Simon - "Kodachrome"

Kodachrome
They give us those nice bright colors
They give us the greens of summers
Makes you think all the world’s a sunny day
I got a Nikon camera
I love to take a photograph
So mama don’t take my Kodachrome away
— Paul Simon

I miss shooting Kodachrome. There are worse things, of course, and I don’t lose sleep over it but if Kodachrome came back, I’d use it. One of the most exciting moments for many film photographers, other than actually taking photographs, was when a box of slides was returned from the processing lab and we’d hold them up to a window, one by one, examining them through a magnifying loupe. The tangible delight of holding a physical slide up to the light and peering into the frame to see the vibrant colours of the scene we’d captured seemed nothing short of magical. We were Light Wizards, capturing moments and shrinking them into our enchanted slide frames for eternity. Well, for 185 years, anyway.

Panoramic landscapes, sunrises and sunsets, family portraits, street scenes… we’d hand write captions in tiny lettering on small labels and stick them to the slide mounts. Some of us were fortunate enough to be able to forward slides to our editors and stock libraries. Most of us would compile slides into extensive slideshows to be projected onto one of those precariously balanced screens. Our audience of long-suffering friends and neighbours would try their best to stay awake but the darkened room and rhythmic hum of a slide carousel often combined to create a somnolent effect.

Kodachrome Challenges

However, back to the present. Given that we can manipulate our digital files in an almost infinite number of ways, surely there’s a way that we can recreate something of the essence of Kodachrome? It turns out that’s much easier said than done.

Firstly, Kodachrome slides were designed for projection. Most projectors gave a yellow tint from their tungsten bulbs. To counter this, Kodachrome had a slight but noticeable blue cast. Similarly, shadows tended to be intense to compensate for the human eyes’ perceptions of a projected image. If you wanted to build a digital emulation of Kodachrome (I think you can see where I’m going with this), should you build one based upon the contrasty, blue-cast slides or the more natural projected image? There are scanned versions of Kodachrome available but the variety of scanners and scanning processes introduce a tremendously unpredictable number of variations. Shadow density was really hard to unpack in a scan and scanners that hadn’t been accurately profiled would yield… well, you might as well have asked your kids to draw their interpretation of the scene onto their bedroom wall with crayons.

So how to proceed when there are so many variables and potential inconsistencies? I must admit that I’d pretty much given up any hope of building a reasonable Kodachrome emulation and put the idea on the back burner. However, some projects have a habit of niggling away until they’re given full attention. I like to think that’s an indication that they have some inherent value. I’ll let you be the judge of whether that’s proved to be the case.

It’s taken several weeks but I’ve finally arrived at what I think is a workable attempt at recreating some of the properties of Kodachrome. “How did you do that, Mr. Gough?”, I hear you enquire with customary politeness.

Well, dear reader, I shall offer you a very brief summary of the process.

A history of Kodachrome Slide Mount Designs

Reverse Engineering

There are plenty of film simulation presets available online. Some are better than others. Many offer a pretty simple range of colour and tone adjustment shortcuts, which is fine. They’re a broad brush and if you’re looking for a one-click way of creating an old polaroid look then that’s OK. I’d describe it as the Instagram approach. One click. Faux film effect employed. Done. I was looking for something a little more specific.

I knew that I had some old Kodachrome film scans, which had been copied in a lab with a scanner profiled with an IT8 target. If you don’t know what that is, don’t worry, just be impressed that I do. Or, at least, that I claim to.

Assuming those scans were pretty accurate renderings of Kodachrome 25 and Kodachrome 64 slides (I don’t have any Kodachrome 200 scans, unfortunately), I did a kind of reverse engineering project on them. Using Adobe’s DNG Profile Editor, I was able to import the scans, employ a calibrated colour correction, then invert the values, which would, in theory, provide a way of turning the hues and tones of a standard digital file into the hues and tones found in a Kodachrome image. Voila!

Camera Specific Profiles

One of the problems with most of the Lightroom presets you’ll find online is that they’re not camera specific. You can throw a bunch of colour and tone adjustments at an image and it’ll change accordingly but it's difficult to work with any degree of consistency, especially if you're using more than one model of camera. The only way to create a profile that’s reasonably consistent is by building a unique profile for each specific camera model. And that, my friends, is not the work of a moment, let me assure you.

Once the initial recipes were created, I applied them to individual camera profiles, one by one. You know how there are profiles like “Landscape”, “Portrait” and “Vivid” in your camera settings and also in Lightroom's Develop module? Well, those profiles are shortcuts to different ways of translating colours and tones from the raw data. I based all of my Kodachrome profiles on each camera’s “Faithful” or “Neutral” profiles (different manufacturers call them by different names).

Would you be surprised to learn that “Faithful” and “Neutral” profiles give the most faithful and neutral results? Perhaps that’s where they get their names? Who can say?

Kodachrome 25 &
Kodachrome 64

Though I say so myself, I like these profiles. I should point out that the profiles are not designed to alter a digital photograph in a sensational or radical way. They don’t give a Victorian sepia cast or apply some crazy cross-processing filter. That’s not what Kodachrome was about.

Kodachrome produced sharp images with reasonably accurate colour fidelity and, for the time, a pretty impressive dynamic range. But it also had other noticeable characteristics. It was pretty contrasty and had some slight colour balance shifts.

Kodachrome’s dynamic range reached about eight stops. The human eye sees a range of about 15 stops. That means that we can perceive much greater detail in shadows and highlights then the film could capture. Whilst digital camera manufacturers race to give us as much dynamic range as possible (the best digital camera currently available has a range of about 9.9 stops), I’m not convinced that I really want all that dynamic range. One of the attractions of photography for me is in knowing the limitations of the equipment and using it intentionally. When I photograph a Buddhist monk reading prayers in a darkened room, I don't want dynamic range, I'm looking for the contrast to contribute to the atmosphere. That’s hopefully what will help the image resonate.

Knowing that Kodachrome - or any other film - had a limited dynamic range prompted us to learn how to expose for the shadows or highlights, according to how we wanted to render the scene. That kind of intentional control is - or at least it used to be - a significant part of the creative process.

The Kodachrome profiles I’ve built won’t provide a one-click means of creating a groovy, faded Holga effect and they’re unlikely to appear in the Top Ten List of Hipster Photo Filters. They do, however, recreate something of Kodachrome’s contrast with denser shadows and blacks that never quite reach 100% black. They impart fine grain, virtually invisible in Kodachrome 25 and only apparent in the Kodachrome 64 version if you really squint into the shadows. The subtle colour shifts are based upon projected versions of Kodachrome so you won’t be seeing funky pink skies or curious colour shift malarkey. The profiles won’t suit every image but then Kodachrome didn’t suit every scene.

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Creating the profiles has been a labour of love but now I think they’re mature enough to make their way out into the world. If you’d like to try the presets for yourself, first check that your camera make and model is supported (the list is on the right), then do the clicky thing on the button above to purchase the pack.

You'll find a sample of customer feedback below and I'm pleased to report that every photographer who's reported back has given a five-star rating.

I hope you'll have as much fun using the profiles as I did making them.

 

Resources and Further Reading

 
 

Package Contents

  • Kodachrome Presets
  • Custom Camera Profiles
  • Adobe Camera Raw Settings
  • Product Licence
  • Installation Instructions
  • Kodachrome Technical Data Sheet

Compatible Software

  • Lightroom 4, 5, 6
  • Lightroom Classic CC
  • Adobe Camera Raw
  • (The cloud-based version of Lightroom CC does not currently support presets)

Original & Kodachrome Comparisons

KODACHROME 64 PROFILE + 1.66EV
Shibrampur, Kolkata, West Bengal, India.
Canon EOS 5D III + EF 70-200 f/2.8 IS USM. 1/200 @ f/2.8 ISO100

KODACHROME 25 PROFILE
Girl in the Temple Kitchen, Tamshing Goemba, Jakar, Bhutan
Canon EOS 5D II + EF 16-35 f/2.8 L USM. 1/30 @ f/2.8 ISO800

KODACHROME 25 PROFILE + 0.66 EV + WHITE BALANCE
'Graszi' playing a tanpura, Pushkar, India
Canon EOS 5D III + EF 85mm f/1.2 II USM. 1/2,000 @ f/1.2 ISO50

KODACHROME 25 PROFILE + 0.66 EV + WHITE BALANCE + STRAIGHTENING
Waiting for the train's departure, Colombo Fort Railway Station, Sri Lanka
Leica M + 28mm f/1.2. 1/125 @ f/4 ISO800

Supported Cameras (Version 3.0)

Please note that the Kodachrome Presets will ONLY work accurately with the camera models listed below.

1. Canon EOS 100D/Rebel SL1/Kiss X7
2. Canon EOS 10D
3. Canon EOS 1100D/Rebel T3/Kiss X50
4. Canon EOS 1200D/Rebel T5/Kiss X70
5. Canon EOS 1300D/Rebel T6/Kiss X80
6. Canon EOS 1D Mark III
7. Canon EOS 1D Mark IV
8. Canon EOS 1D X
9. Canon EOS 1D X Mark II
10. Canon EOS 1Ds Mark II
11. Canon EOS 20D
12. Canon EOS 400D/Digital Rebel XTi/Kiss Digital X
13. Canon EOS 40D
14. Canon EOS 50D
15. Canon EOS 550D/Digital Rebel T2i/Kiss X4
16. Canon EOS 5D
17. Canon EOS 5D Mark II
18. Canon EOS 5D Mark III
19. Canon EOS 5D Mark IV
20. Canon EOS 5DS
21. Canon EOS 5DS R
22. Canon EOS 600D/Rebel T3i/Kiss X5
23. Canon EOS 60D
24. Canon EOS 6D
25. Canon EOS 6D Mark II
26. Canon EOS 700D/Rebel T5i/Kiss X7i
27. Canon EOS 70D
28. Canon EOS 750D/Rebel T6i/Kiss X8i
29. Canon EOS 760D/Rebel T6s/8000D
30. Canon EOS 77D
31. Canon EOS 7D
32. Canon EOS 7D Mark II
33. Canon EOS 80D
34. Canon EOS M5
35. Canon EOS M6
36. Canon Powershot G5
37. Canon Powershot G7X Mark I
38. Canon Powershot G7X Mark II
39. Fujifilm FinePix S5 Pro
40. Fujifilm FinePix X100
41. Fujifilm GFX 50S
42. Fujifilm X-E1
43. Fujifilm X-E2
44. Fujifilm X-E2s
45. Fujifilm X-E3
46. Fujifilm X-Pro1
47. Fujifilm X-Pro2
48. Fujifilm X-T1
49. Fujifilm X-T10
50. Fujifilm X-T2
51. Fujifilm X-T20
52. Fujifilm X100F
53. Fujifilm X100S
54. Fujifilm X100T
55. Fujifilm X70
56. Hasselblad H3D-39
57. Hasselblad X1D-50c
58. Huawei P9
59. iPhone 7
60. iPhone X
61. Leica C (Typ 112)
62. Leica D-Lux (Typ 109)
62. Leica M (Typ 240)
63. Leica M (Typ 262)
64. Leica M-D (Typ 262)
65. Leica M10
66. Leica M8
67. Leica M9
68. Leica Q (Typ 116)
69. Leica S (Typ 006)
70. Leica S (Typ 007)
71. Leica SL (Typ 601)
72. Leica X-E (Typ 102)
73. Leica X-U (Typ 113)
74. Leica X1
75. Leica X2
76. Nikon D200
77. Nikon D3
78. Nikon D300
79. Nikon D3000
80. Nikon D300S
81. Nikon D3100
82. Nikon D3200
83. Nikon D3300
84. Nikon D3400
85. Nikon D3S
86. Nikon D3X
87. Nikon D4
88. Nikon D4S
89. Nikon D5
90. Nikon D500
91. Nikon D5000
92. Nikon D5100
93. Nikon D5200
94. Nikon D5300
95. Nikon D5500
96. Nikon D600
97. Nikon D610
98. Nikon D70
99. Nikon D700
100. Nikon D7000
101. Nikon D70S
102. Nikon D7100
103. Nikon D7200
104. Nikon D750
105. Nikon D80
106. Nikon D800
107. Nikon D800E
108. Nikon D810
109. Nikon D850
110. Nikon D90
111. Nikon Df
112. Olympus Camedia C8080-WZ
113. Olympus OM-D E-M1
114. Olympus OM-D E-M1 Mark II
115. Olympus OM-D E-M10
116. Olympus OM-D E-M10 II
117. Olympus OM-D E-M5
118. Olympus OM-D E-M5 II
119. Olympus PEN E-PL6
120. Olympus PEN E-PL8
121. Olympus PEN-F
122. Panasonic Lumix DC-GH5
123. Panasonic Lumix DMC-FZ1000
124. Panasonic Lumix DMC-G6
125. Panasonic Lumix DMC-G8/G80/G81/G85
126. Panasonic Lumix DMC-GF7
127. Panasonic Lumix DMC-GH2
128. Panasonic Lumix DMC-GH4
129. Panasonic Lumix DMC-GX7
130. Panasonic Lumix DMC-GX7 II/GX80/GX85
131. Panasonic Lumix DMC-GX8
132. Panasonic Lumix DMC-LX100
133. Panasonic Lumix DMC-LX5
134. Pentax 645z
135. Pentax K-1
136. Pentax K-3
137. Pentax K-3 II
138. Pentax K-5
139. Ricoh GR
140. Ricoh GR II
141. Sony Alpha a5100
142. Sony Alpha a6000
143. Sony Alpha a6300
144. Sony Alpha a6500
145. Sony Alpha a7
146. Sony Alpha a7 II
147. Sony Alpha a77 II
148. Sony Alpha a7R
149. Sony Alpha a7R II
150. Sony Alpha a7R III
151. Sony Alpha a7S
152. Sony Alpha a7S II
153. Sony Alpha a9
154. Sony Alpha a99
155. Sony Alpha a99 II
156. Sony Alpha DSLR-A230
157. Sony Alpha DSLR-A390
158. Sony Alpha NEX-5N
159. Sony Alpha NEX-6
160. Sony Alpha NEX-7
161. Sony Cybershot DSC-RX1
162. Sony Cybershot DSC-RX10
163. Sony Cybershot DSC-RX10 II
164. Sony Cybershot DSC-RX10 III
165. Sony Cybershot DSC-RX10 IV
166. Sony Cybershot DSC-RX100
167. Sony Cybershot DSC-RX100 II
168. Sony Cybershot DSC-RX100 III
169. Sony Cybershot DSC-RX100 IV
170. Sony Cybershot DSC-RX100 V
171. Sony Cybershot DSC-RX1R I
172. Sony Cybershot DSC-RX1R II

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Customer Reviews

Average Rating: 5.0

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You gotta love the colour and vibrancy of these Kodachrome presets. Brilliant!
— Howard Bulcock
Your Kodachrome Presets make me feel that I must be careful when inserting my CF cards into my camera to avoid exposed them. :)
— Oliver Ehmig
In fact I never used Kodachrome film in the past so it’s an impulse buy! I am very happy with. Everything is well designed. I will apply these presets on old pictures scanned from negative film and also on my very new one. Thank for the reactivity when a new camera setting is needed.
— Michel
As a huge fan of Kodachrome since.. ever.. i really like how does it work in Lightroom and i am 100% satisfied! Images looks very nice with those presets. i totally recommend.
— David
I bought this as an impulse buy, however now I’m using them as a starting point for almost every edit, they bring out tones and colours I didn’t even realise were there.
— Luke
Nicely-made set of presets. Great starting point for working with images. Helps realize the full potential of color captured by the sensor.
— Kevin Woodland
First of all, good Kodachrome presets are incredibly hard to find. By creating profiles that sync to specific camera models, Gavin has achieved a level of quality that far surpasses competitor products. I really appreciate this extra attention to detail. Much more work for him during product development, but the results are spectacular. I can’t be more pleased with this set. Thank you so much Gavin!
— Stephen
This is an outstanding piece of work. Very well done and documented. The lightroom preset works like a charm and I am using it 99% of the time. I am very satisfied of my investment: it’s definitely great value for money. Really highly recommended.
— Frrancesco
Back “in the day” I shot thousand upon thousands of Kodachromes. Gavin’s presets are like coming home again. Simply amazing and well worth any amount of $$$ you might choose to pay. Great job!! Gavin
— Jeff
It’s obvious a lot of time and effort was put into creating these presets. It makes me feel really good knowing that Gavin understands the chemistry and reasons behind what made Kodachrome great. Really excited to use these on my street work. Thanks Gavin!
— Jesse
I am a (very) amateur photographer, and this presets with my new Panasonic LX100 provide extraordinary quality photos. Thank you very much Gavin. Excellent work.
— Bernado
Great presets! Fantastic mimic of Kodachrome, very fun to use for us who used these back.
— Micke Pettersson
Great presets, gorgeous color and tones. Thanks for the great work on these Gavin
— Ian Meyers
“What a find. After discovering these presets I’m completely sold on them. Kodachrome 64 was my favorite film and now my favorite preset and it gets applied to almost every exposure I make. My hat’s off to you Gavin for providing such a useful tool to the photography community. Fantastic work you have done here!”
— Kurt Helge Røsand
I love these presets. I had great expectations before buying them and after trying them extensively I’m not disappointed in the least. You can tell it took a lot of work and skill to develop them. I could not have done it and I can finally give my photos the look that made me fall in love with photography in the first place. And at the same time drastically reduce the time I have to spend in front of a computer developing my shots. What I like best about these presets is that they really respect the tone of your images. The results are best when the light is best, which is how it should be, while everything I’ve tried so far provided inconsistent results and often ended up in a over processed photograph. If you are looking for Kodachrome on digital look no further and try this.
— Filippo Drudi
I am a professional wedding photographer from Slovakia, and I fell in love to your preset. I often use it, and my clients are excited about the wonderful color images. Well thank you!
— Marian Holub
I’ve spent the last year searching for a preset that gets close to the inimitable Kodachrome look. Having all but given up, I stumbled on these. Gavin’s brilliant work here has brought the look of this film stock to the digital world in a way that”s about as close as you can get.and certainly better than anything I’e seen yet.
— Fred
The instructions provided with the presets and profiles are very simple and easy to follow making installation a breeze even for a beginner. I have run the profiles and presets on some sample images and am very pleased with the results.
— Trevor Powell
I’ve just downloaded these and tried them on a wide variety of Siny A7Rii shots. The results are great. With some shots the preset needs some extra adjustments with the contrast but overal it saves heaps of time and it’s a great starting point to edit your pics. It turns my Sony shots into Leica magic ;-)
— Barth
I am BLOWN AWAY by this preset. I liked my previous editing—really, no complaints—but the 64 (for my style, especially) is taking my edits to the next level. I felt giddy for days, looking at my photos.
— Amy
I have avoided using presets for years but I really like these, I like to process my work accordingly and the Kodachrome presets obviously won’t suit every type of work (I could be wrong). I just spent a month shooting in Nepal and I can’t think of a better collection to work with the Kodachrome, so far I have used it on many portraits during quick edits on the go and am very happy with the look, I rarely needed to add any personal touches to processing. Great work Gavin, keep it up! Heath.
— Heath Holden
This is not just a preset to create a weird look and label it Kodachrome, but this man has some knowledge and is able to translate it into this preset. I can (and will) recommend this to everybody who have been spending hours/days/years hoping to find this particular preset! Well worth the fair price!!
— Remi
I was looking for a decent Kodachrome Lightroom emulation. I just found the Gavin’s ones and I think they are the best available now. Colors are rich but workable. I mean, you can still improve your RAW file playing with saturation, clarity, contrast and exposure, trying to reach the perfect result. I know Kodachrome is difficult to emulate in a digital way but this guy has done a great job. I will definitely keep them in my Lightroom and I am sure, they will be part of my workflow soon. Thanks mate and keep sharing your works!
— Ivan Di Marco
With these Kodachrome presets, Gavin shares his obvious love of the famous film, his attention to detail and expert processing - and we’re lucky for it! The presets are easy to install and use to instantly transform RAW files into richly coloured, textured images. You can then make your own tweaks to white balance, tones, curves, hue, saturation and vibrance to achieve a perfect image. And given Gavin’s technical brilliance, he’s created presets for almost every DSLR profile. Amazing and highly recommended.
— Christine
Scrivo nella mia lingua, l’Italiano, per tessere le lodi e consigliare questi preset che ho trovato ottimi e soprattutto non eccessivamente invasivi, come altri che si possono trovare in giro (poi il tutto è soggettivo e i gusti sono gusti). Ottimo lavoro svolto da Gavin al quale vanno i miei complimenti e ringraziamenti; in particolare le tonalità del K25 danno alle fotografie quella “freschezza” tipica della mitica pellicola. il K64 è considerevolmente più contrastato ma comunque l’ho trovato piacevole, dipende poi dai casi e dai gusti personali. In ogni caso LR ci dà la possibilità di intervenire ulteriormente fino ad ottenere i risultati voluti. Scatto principalmente con una Canon G5x.
— paulo valvassori
Many cameras output special looks (such as Fuji’s film simulations) but, if you shoot RAW (and, if your camera can, you should) you don’t get this. In fact, Adobe Lightroom reverse engineers these effects, so that you can reapply them to your RAW images. Using his deep understanding of Photoshop and Lightroom, this is what Gavin has done to give you the Kodachrome look. Applied as a preset, you can easily see from the sliders what’s been changed and so, without losing all of the look that Gavin has created, you can tweak the images to get the best out of your image. I have tended to up the exposure a little to recover detail lost with the heavy contrast but still retaining the lovely, authentic Kodachrome colours. I’m hoping that Gavin has plenty of sales and is thus inspired to create some other film simulation presets.
— Stuart Anderson
Good presets. I recomend!
— Andrei
I love these presets. I’ve tried a few of the free ones that are available, and none of them to my mind really encompassed the essence of Kodachrome. The difference with these is the inclusion of camera profiles, so it’s not a ‘one size fits all’ effect. Well worth the money.
— Mark