December Tearsheets

If you're flying in the skies over South East Asia this month, you'll have a hard time avoiding me.

My photo essay on the Yangon Railway in Burma appears in the Silk Air magazine whilst Thai Airways' magazine's feature article is a piece I wrote and photographed about His Majesty the late King Bhumibol Adulyadej's Royal Project legacy.

Black & White Portrait Presets for Lightroom

The subtle tones of grays, the strong emphasis of the Blacks, and the softness of the Whites makes one look much closer at the subject.
— Bob Snell
When you photograph people in colour, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!
— Ted Grant

I'm pleased to announce that my Black and White Portrait pack for Lightroom is now available to download.

My goal was to create a series of tools which would build a non-linear processing path. Rather than having to follow a series of steps in sequence, photographers can mix and match independent presets, jumping from one step to another, confident that adjustments at any point are not interfering with previous changes.

So, for example, nudging the exposure up or down won't affect the contrast or the relative values of the highlights and shadows. Changes to the contrast aren't linked to exposure settings. With independent presets and a non-linear workflow, photographers can jump back and forth, making discrete changes without having to go back to square one.

The Black and White Portrait Pack contains over 130 development presets and brushes, installation instructions and a 20 minute tutorial video. Here's a quick sample.

Includes presets for global control:  

  • Exposure Pack to control tonal balance, shadows and highlights
  • Coloured filters
  • ISO100 to ISO3200 grain simulation
  • Antique and shadow vignettes
  • Sepia and Selenium toning
  • Spring, Summer, Autumn and Winter toning
  • Infrared Portrait simulation

Local Adjustment Brushes and Filters

  • Exposure Pack
  • Skin smoothing
  • Reduce Wrinkles
  • Eye whites, teeth whitening and "Iris Bump"

Kodachrome Emulation Presets & Profiles

Now with support for Lightroom AND Adobe Camera Raw for Photoshop

You can’t make a digital replication of Kodachrome slide film*.

I’m putting that sentence right up front in the hope of deterring any photography-forum-dwelling purists from sticking pins into effigies of my DSLR cameras.

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 ceased to be.

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

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?”


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

Kodachrome might have been consigned to history but you can still find plenty of enthusiasts willing to talk in glowing terms about its properties. (which reminds me to ask whether you agree that telling stories in old age should be called “anecdotage”?).

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 golden.

'Afghan Girl' by Steve McCurry

'Afghan Girl' by Steve McCurry

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.

I’ll leave you to discuss the pros and cons of that. If you ask ten photographers their views on pretty much anything, you’re likely to hear twenty different opinions so we won’t be embarking upon a discussion about the merits of this, that, who, why or whatever.

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

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, 'Kodachrome'

My own opinion is that 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 arrived back 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 “Our Recent Holiday” slideshows to be projected onto one of those precariously balanced screens. Our audience of long-suffering friends 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.

A history of Kodachrome Slide Mounts

A history of Kodachrome Slide Mounts

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 reasonable 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.

Front page of a Kodachrome Technical Data Sheet, included with all boxed film

Front page of a Kodachrome Technical Data Sheet, included with all boxed film

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 or something 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!

Presets are camera specific

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 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 and Kodachrome 64 Presets for Lightroom and Adobe Camera Raw

At the time of writing, I’ve built a dozen Kodachrome profiles for cameras including the Canon 5D III, Leica M, Sony a7RII, Nikon D5 and Fujifilm X-Pro 1. The presets will work with Lightroom 4, 5, 6 and CC.

“Kodachrome “Kodachrome


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 “Kodachrome

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

Though I say so myself, I quite 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.

Download Kodachrome Profiles

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 below), then do the clicky thing on the button below to go to the store.



'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

Finally, here's a recent story from the New York Times about a bag of Kodachrome slides that were mysteriously abandoned in the street. No doubt Kodachrome will continue to be a part of intriguing stories.

Cameras currently supported (Version 2.61)

(Kodachrome presets will not work accurately with models not listed)

  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-Pro1
  45. Fujifilm X-Pro2
  46. Fujifilm X-T1
  47. Fujifilm X-T10
  48. Fujifilm X-T2
  49. Fujifilm X-T20
  50. Fujifilm X100F
  51. Fujifilm X100S
  52. Fujifilm X100T
  53. Fujifilm X70
  54. Hasselblad X1D-50c
  55. Huawei P9
  56. Leica C (Typ 112)
  57. Leica M (Typ 240)
  58. Leica M (Typ 262)
  59. Leica M-D (Typ 262)
  60. Leica M10
  61. Leica M8
  62. Leica M9
  63. Leica Q (Typ 116)
  64. Leica S (Typ 006)
  65. Leica S (Typ 007)
  66. Leica SL (Typ 601)
  67. Leica X-E (Typ 102)
  68. Leica X-U (Typ 113)
  69. Leica X2
  70. Nikon D200
  71. Nikon D3
  72. Nikon D300
  73. Nikon D3000
  74. Nikon D300S
  75. Nikon D3100
  76. Nikon D3200
  77. Nikon D3300
  78. Nikon D3400
  79. Nikon D3S
  80. Nikon D3X
  81. Nikon D4
  82. Nikon D4S
  83. Nikon D5
  84. Nikon D500
  85. Nikon D5000
  86. Nikon D5100
  87. Nikon D5200
  88. Nikon D5300
  89. Nikon D5500
  90. Nikon D600
  91. Nikon D610
  92. Nikon D70
  93. Nikon D700
  94. Nikon D7000
  95. Nikon D70S
  96. Nikon D7100
  97. Nikon D7200
  98. Nikon D750
  99. Nikon D80
  100. Nikon D800
  101. Nikon D800E
  102. Nikon D810
  103. Nikon D850
  104. Nikon D90
  105. Nikon Df
  106. Olympus OM-D E-M1
  107. Olympus OM-D E-M1 Mark II
  108. Olympus OM-D E-M10
  109. Olympus OM-D E-M10 II
  110. Olympus OM-D E-M5
  111. Olympus OM-D E-M5 II
  112. Olympus PEN E-PL6
  113. Olympus PEN E-PL8
  114. Olympus PEN-F
  115. Panasonic Lumix DC-GH5
  116. Panasonic Lumix DMC-FZ1000
  117. Panasonic Lumix DMC-G8/G80/G81/G85
  118. Panasonic Lumix DMC-GF7
  119. Panasonic Lumix DMC-GH2
  120. Panasonic Lumix DMC-GH4
  121. Panasonic Lumix DMC-GX7
  122. Panasonic Lumix DMC-GX7 II/GX85
  123. Panasonic Lumix DMC-GX8
  124. Panasonic Lumix DMC-GX80
  125. Panasonic Lumix DMC-LX100
  126. Pentax K-1
  127. Pentax K-3
  128. Pentax K-3 II
  129. Pentax K-5
  130. Ricoh GR
  131. Ricoh GR II
  132. Sony Alpha a5100
  133. Sony Alpha a6000
  134. Sony Alpha a6300
  135. Sony Alpha a7
  136. Sony Alpha a7 II
  137. Sony Alpha a77 II
  138. Sony Alpha a7R
  139. Sony Alpha a7R II
  140. Sony Alpha a7S
  141. Sony Alpha a7S II
  142. Sony Alpha a9
  143. Sony Alpha a99
  144. Sony Alpha a99 II
  145. Sony Alpha DSLR-A390
  146. Sony Alpha NEX-5N
  147. Sony Alpha NEX-6
  148. Sony Alpha NEX-7
  149. Sony Cybershot DSC-RX10
  150. Sony Cybershot DSC-RX10 II
  151. Sony Cybershot DSC-RX10 III
  152. Sony Cybershot DSC-RX100
  153. Sony Cybershot DSC-RX100 II
  154. Sony Cybershot DSC-RX100 III
  155. Sony Cybershot DSC-RX100 IV
  156. Sony Cybershot DSC-RX100 V
  157. Sony Cybershot DSC-RX1R II

Request support for your camera

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If you would like to request support for a specific camera, please let me know by completing the form and I'll drop a note in your Inbox when an update is available.






The Station Master's Office, Kandy to Badulla Railway, Sri Lanka
Sony a7RII + 35mm f/2.8. 1/60 @ f/2.8 ISO500


Resources and Further Reading