Nobel Negatives

39 Color-science based film simulation profiles for Lightroom, and lots of bonuses.

€197.00

Coming soon!

More than presets.

Profiles.

Each one of our 39 profiles simulates the entire analog photography pipeline: negative exposure, development, positive print and development.

The negative…

…is only half of the equation. We have 13 negative film stock to choose from.

The positive…

…brings the negative to life. We offer 3 different options for each negative. You’ll be surprised the difference it makes.

Never overcooked

Use Lightroom’s built-in amount to dial in the precise amount. We do believe you’ll go full strength though.

Made with pure science

We used precisely measured sensitometric data from each film stock, to eliminate guesswork as much as possible.

What’s included

13 Negative Films

  • Fujicolor c200

    Punchy colors and slightly cool overall. Warm skin tones, moderate contrast, clean highlights, and a moody daylight look. Pair with Fuji Crystal paper to keep that Fuji vibe.

  • Fujicolor Pro 400H

    Soft, pastel palette and creamy skin tones. Minty greens, cool-leaning neutrals. Elegant, muted color separation. Lets the print medium be the dominant character creator.

  • Fuji X-Tra 400

    Vibrant and contrasty. Strong greens and cyans, bright reds, slightly cool shadows. Energetic, punchy look with crisp midtones. When using it, remember, more is more.

  • Kodak Gold 200

    Warm, sunny colors. Golden yellows and oranges, rich reds, slightly nostalgic palette. Pleasing, warm skin tones. Pair with Kodak Premiere print paper to emphasise the warm tones.

  • Kodak Ektar 100

    Saturated and clean color. Bold reds, deep blues, crisp greens. Very punchy, glossy “postcard” look. Pair with Fuji print paper to maintain color accuracy.

  • Kodak Portra 160

    Natural, restrained colors and soft contrast. Warm-but-neutral skin tones, with gentle saturation and a refined, airy pastel tendency. Pair with Fuji Crystal print paper to keep it subtle.

  • Portra 400

    True-to-life color. neutral warmth and smooth tonal roll-off. Restrained saturation that gives flattering, consistent skin tones. Pair with Fuji Crystal print paper to keep greens separate from yellows.

  • Kodak Portra 800

    Kodak Portra 800

    Warm, slightly saturated color. Strong skin-tone rendering. Lively but not harsh shadows. Pair with Kodak Premiere print paper for extra warmth.

  • Kodak Ultramax 400

    Kodak Ultramax 400

    Modern and surprisingly accurate colors with controlled saturation. Energetic daylight and flash vibe. The print medium is front and center here - experimentation is key.

  • Kodak Vision3 50D

    Kodak Vision3 50D

    Clean, modern color with tight grain. Color-accurate with controlled overall saturation. Pair with Kodak 2383 for a strong cinematic split tone and colors.

  • Kodak Vision3 250D

    Kodak Vision3 250D

    Balanced, filmic color and gentle contrast. Warm highlights, natural greens, and controlled saturation for pleasant skin tones. Pair with Kodak 2383 for an immediate cinematic look.

  • Kodak Vision3 200t

    Kodak Vision3 200t

    Neutral-cool tungsten palette with clean blues and cyans. Restrained overall saturation with unmistakable filmic bias. Pair with Kodak 2383 for cinematic night scenes.

  • Kodak Vision3 500t

    Kodak Vision3 500t

    Cinematic, slightly cool tungsten look. Rich shadows and moderate saturation. Pair with Kodak 2383 for added overall warmth, and its characteristic split tone.

3 Positive Media

  • Kodak Endura Premiere Print Paper

    Kodak Endura Premiere Print Paper

    Neutral-to-warm paper with rich. Golden greens and yellows render an unmistakable Kodak character - even from Fuji negative stock.

  • Fujicolor Crystal Archive type ii print paper

    Fujicolor Crystal Archive type ii - print paper

    Accurate colors, crisp blues and greens, and a punchy yet refined, modern look. Preserves the negative character while injecting a slight Fuji vibe.

  • Kodak 2383 print film

    Kodak 2383 print film

    Classic print-film look: warm highlights, cool shadows, slightly muted saturation, strong contrast, and a dense, cinematic palette. It bulldozes the negative character - see for yourself.

Bonuses

    • Cinematic pack: 6 unique profiles that emulate classic print stock. These are artistic rather than scientific interpretations.

    • Color Boost: Brings subtractive saturation to Adobe Standard. Perfect when the vibrance slider doesn’t take you there.

    • Kodak 2383: two interpretations of this incredibly characterful stock. Low contrast and Standard contrast.

  • Whereas profiles are the base and do the heavy-lifting, presets are the cherry on top. There are 4 preset gr groups included:

    • Film Emulation: presets that build onto each of the negative stocks and bring them their full potential relative to what we collectively imagine they should look like.

    • Film looks: going amok with the profiles to recreate famous looks.

    • Film components: Grain and bloom presets for convenience.

    • Film curves: Split tone and contrast curves representative of what we’ve come to believe a film stock should display.

  • This includes some raw files present in this web page. These files are for practice only. Quality results come from quality raw files.

Design choices

  • The profiles do not apply highlight rolloff or faded black point by themselves. We believe that is better accomplished using Lightroom curves to avoid imposing our guesses on you. The included film emulation presets and curves will support you on that aspect.

  • Clipping is good. We do not forbid it, so you can get help from Lightroom to visualize the blown out areas. Moreover, Lightroom’s built-in highlight handling algorithms is much better than can be accomplished with profiles alone.

  • We painstakingly calibrated each simulation to maintain middle grey as neutral as possible. For the most part we succeeded, so it is very easy to compare the effect of each profiles on the colors without annoying color casts.

  • Film saturation come from complex interactions between layers and dye couplers. We did simplify the models of these phenomena, which opened margin for interpretation. Therefore Kodak Gold 200, for example, was intentionally left with lots of saturation, whereas Kodak Portra was left more controlled.

  • Some profiles are similar to one another, notably Portra 800 and Ultramax 400. This was a bit surprising to us, but we follow the science wherever it takes us. Indeed, take a look at these stocks’ specsheets and compare the sensitometric data: it is surprisingly similar. Combining that with the removal of highlight rolloff and black fade, and our accurate middle grey calibration, we simply made it visually clear that these stocks have more similarities than differences.

Unsure? Ask us anything.