Review - New Mastin Labs Pushed Portra Film Presets

It’s no secret that I’m a fan of Mastin Labs. In that previous blog post, I also mention I usually shoot film and push it in development to give a unique, more contrasty look to my images. However, because Mastin Labs presets were designed to look like film developed normally, whenever I would shoot film and digital side by side, I would have to tweak the presets to match my film better. I’d add contrast, tweak the curves, and sometimes add color casts, just to get a consistent look from image to image whether digital or film. I was able to get it pretty close, and it was still a much welcomed shortcut to doing it from scratch that was better than any other option out there. But it was always a work in progress for me.

But then recently I heard from Kirk Mastin that he was looking to create a “pushed film” preset. The idea being that these pushed film looks can give a completely different feel compared to his standard presets, one that is often described as “moody”, and is in line with my own particular style. The problem that both Kirk and I saw with the available options out there for photographers wanting a darker, moody look is that most presets created this look by simply making everything look murky and “muddy”. Lifted blacks, squashed whites, split toning – so many presets out there think a dark and moody look means flat, like constantly shooting on a foggy day and underexposing your film. If this is the kind of look you love, more power to you. But personally I feel it’s a very dated look started by a certain company years ago that has become overused to the point of being cliche. It’s the type of thing that photographers should be avoiding – people see the editing more than the actual image (the same could be said for a lot of film shooters I see out there, but that’s a topic for another day).

So when Kirk came to me asking help creating presets to match pushed film, I was definitely on board. Long story short, we shot a lot of film next to a lot of digital, with Kirk doing his trademark obsessing over every little detail to get the right contrast, tones, and colors of pushing film. The focus has been on Kodak Portra films, since they push so well because of the inherent dynamic range. Pushing film is essentially underexposing film, and Portra is renowned for producing usable images even 2 or 3 stops underexposed and developed normally. Pushing in development though can help bring midtones and highlights back up from being underexposed, making what would be a muddy film scan into a more dynamic photo.

One of the things Mastin Labs has always been about is the idea of the “3 click edit”. The idea is that for a digital image, getting it to match the look of a film image can be as easy as 3 clicks – 1. Apply the preset, 2. Adjust exposure, and 3. Adjust white balance/tint. As I said before, because I always liked the pushed film look, using the standard Mastin Labs presets was never a 3 click edit for me. Now having the finished Mastin Labs Pushed presets, I can safely say that a 3 click edit is a reality if you want the pushed film look. Here are some examples side by side of film I shot next to digital.

Mastin Labs on the left / Portra 160 +1 on the right

Mastin Labs on the left / Portra 160 +1 on the right

Mastin Labs on the left / Portra 400 +1 on the right

Mastin Labs on the left / Portra 160 +1 on the right

Mastin Labs on the left / Portra 400 +1 on the right

What really surprised me the most though was the +2 presets. Pushing 2 stops can be a very unpredictable and extreme look. It’s very unique, and I honestly wasn’t sure Kirk would be able to nail down the nuances of it. But when I tried it out for myself, I was blown away.

Mastin Labs on the left / Portra 160 +2 on the right

Mastin Labs on the left / Portra 160 +2 on the right

Now, as happy as I am with the results, this wouldn’t be a fair and honest review if I didn’t discuss the bad along with the good. The biggest downside of the whole concept of presets made to match a particular film stock and technique is that in an effort to make things as simple as possible (3 click edit), it ignores a lot of variables that comes with shooting film (and digital). A final jpeg file from a film scan went through numerous steps, techniques, equipment, and often different hands to get to the final image. From choice in camera and lens, to how you meter the image, to the particular lighting of the scene, then how the film is developed (professionally or DIY), and what type of scanner, how the scanner operator decides to scan, and then any final edits done to the scan in software – all these added variables can mean that what you get in a scan, especially a pushed film scan, can be quite different from what I get, and consequently quite different from what Kirk based his presets on. When it comes to matching between film and digital exactly, this will always be a factor, and unless Kirk decides to create a new preset for every variable, there’s a good chance your mileage could vary. I often run into this problem myself simple from the variable that crop up in my own work. The simple fact is, some matches take 3 clicks, others take a lot more tweaking. This is less important when you’re not matching to film, but if you’re like me and are often hybrid shooting, here are some tips.

  • Use a nice, clean lens on your film camera. Fogged lenses or, like my Pentax 105mm or Canon 35mm, old yellowing lenses can affect your final image more than you realize.
  • Meter for midtones at either your end ISO or a 1/3 of a stop over. So for Portra 160 +1, pushing a stop brings it to ISO 320, so I meter for midtones at ISO 250.
  • Clearly label and inform your photo lab how many stops to push the film.
  • And finally, have the film scanned on a Fuji Frontier scanner. Mastin Labs presets are based on how the Frontier produces colors and tones. Noritsu or other scanners might look close, but it likely won’t be an exact match.

Mastin Labs actually has their own blog post on how to push film that’s worth reading as well for more tips.

The other downside of these presets would have to be the grain settings. This is partially the fault of ACR/Lightroom and it’s poor excuse for film grain. It’s really impossible to get a truly accurate looking film grain within ACR/Lightroom. Having said that, I feel like Kirk’s preset grain is often a little on the conservative side. In my experience, a lot of my film scans, especially 35mm, can get quite grainy. The preset grain profiles for medium format and 35mm film in the Mastin Labs presets are pretty good, but pretty subtle. In their defense, any more might expose Adobe’s poor implementation, but it is an honest downside worth noting. Personally, I much prefer the film grain in Capture One or using a plugin like Alien Skin.

Lastly, it’s certainly worth discussing the whole premise of using presets at all. Personally, I spend a lot of time retouching, so cutting down on time spent on the base RAW conversion and color toning is so helpful to my workflow. I don’t rely 100% on presets, but any shortcut that doesn’t compromise quality is a welcome one in my book.

Bottom line, the new pushed film presets by Mastin Labs are absolutely worth getting if you’re like me and are going for darker, moodier looks or more contrast than what the standard Mastin Labs presets give. It’s especially worthwhile if you shoot pushed film alongside digital and need them to be consistent.

You can purchase the new Mastin Labs Pushed Portra presets here.

Disclaimer: Although my opinions stated here are 100% honest and genuine, I am officially a Mastin Labs ambassador, and any purchase made using my affiliate links in this blog post, I receive a small percentage of. Would I still recommend the presets even if I wasn’t getting paid? Absolutely. Although let’s be honest, my blog post would not have been as thorough (or I wouldn’t have even bothered writing it at all). But it’s important (not just for my own integrity but for legal reasons) that I state this fact up front.

Seafaring Wanderer - Morph Knitwear 2016 Collection II

A new editorial shot along the Oregon coastline for Morph Knitwear’s second 2016 collection entitled “Seafaring Wanderer”.


“Seafaring Wanderer” is a collection of garments inspired by the sea and those who work upon its waves and shore. It is my answer to the call of the sea, my interpretation of the places where land, sea, and sky collide in a vast violent caress. Many of the shapes used in this collection are influenced by traditional clothing worn by the fisherfolk of the northern British Isles and other rugged coastal areas, and are meant to be worn for both work and leisure.”

I loved this new collection and the ideas behind it. We set out to tell a story of a woman wandering along the shoreline - at home among the waves, yet lost and longing for what once was.

All clothing designed by Morph Knitwear
modeled by Ana Aida

The Siren’s Dream

Blogs don’t have to be chronological, yes? I’ve been bad at keeping up with this. I’ve shot some stuff between my last entry and this shoot, and lots of stuff shot between this shoot and right now, but who cares? My blog, my rules.

This set was shot with Pallas down in the Columbia River. I had this idea in mind for a while, just needed to make it happen. I used an interesting light streaking filter over the lens on most of these. It didn’t quite do exactly what I had in mind because we lost direct light right after getting to the river beach, but it still accomplished the hazy, dreamy look I was going for.

Shot with digital, Kodak Portra 160 medium format film, and Kodak Gold 200 35mm film.

Using Format