Film(ish)
Digital cameras are too sharp, too detailed, too clean. Film(ish) is made to edit out all that “perfection” with a no-compromise toolset for film-like colors, natural grain and realistic effects.
Stochastic, chromatic, exposure-aware grain.
In photo editing apps grain sits on top of the image. In film photography the grain is the image.
The structure, texture and resolution of the photo are all tied to the shape and distribution of silver halide particles.
Overexposed areas have no visible grain, neither do deep shadows. Grains are random, organic shapes of different sizes, overlaid in semitransparent layers.
While most apps offer simplistic grain optimized for quick rendering, the Film(ish) grain simulation makes no compromises in quality and realism.
Unmatched realistic and rich simulation.
Halation comes from scattering inside the emulsion as light goes through the film, reflects off the back of the camera and comes back through.
Because the red-sensitive layer is closer to the back of the camera any light that escapes will expose this layer first, giving halation its red color.
This is where most simulations stop: with a soft, reddish outline. In Film(ish) the simulation is a lot more detailed.
Multiple scattering passes form rich, detailed halos that glow from yellow at the core to bright red at the edge.
Same color science, same film stocks — now in motion, and ready for HDR displays.
Take the over-processed edge off your digital photos with Film(ish)'s analog-inspired toolset.
If you shoot Apple ProRAW you can remove local tone mapping in a single tap.
Congrats: your photos can finally have real shadows and natural saturation.
The convenience of the system camera app,
the flexibility of RAW, the look of film.
On color negative film, double the light does not mean double the signal. The more light hits the film, the less the negative is able to react — making it really hard to overexpose. Highlights roll off smoothly rather than clip.
On digital you "expose to the left" to preserve highlights, leaving you with RAW files that look pretty dark. How do you bring back detail in the shadows while maintaining natural, film-like tonality?
Redevelop RAW is a logarithmic exposure adjustment that makes it easy to customize this response. Compression affects midtones most; the lift rolls off smoothly, leaving the darkest and lightest pixels in place.
Expired is not a look but a broad, unpredictable spectrum.
Cosmic radiation needs a shout-out as one of the things ruining your film — unless you have a lead-lined refrigerator, film will degrade.
In Film(ish), rather than picking an "expired look" you can dial in as little or as much as you want. It rewards experimentation by affecting different films in different ways.
To really sell the effect, be generous with grain and diffusion.
The reason your photos "look digital" is almost always in the way saturated colors are rendered. In digital photos, more saturation means more lightness — and colors turn neon.
When you print from film, more saturation means more pigment. Colors are deeper and richer, not brighter. It's surprisingly difficult to achieve this effect in most photo editing tools.
In Film(ish) you can do this with a single direct adjustment: color density. You'll find it in the HSL panel both as a global adjustment and per hue.
Download now — Film(ish) is free in the App Store.
Download on the App Store