Photographers know more than anyone that beauty lies in the tiniest of details and Exposure is built with this philosophy in mind. Within a single Exposure preset, many small effects work together to achieve a coherent look. For instance, realistic grain clumps together and is stronger in the midtones. To discover all these subtle details, our research included test shoots with films that were still available. For discontinued films we relied on photo archives and the professionals who created them. We also took time to analyze film grain under a microscope to get the characteristic look just right. As a result, Exposure renders grain accurately across the full dynamic range rather than just indiscriminately peppering the image with electronic noise like other programs do.
The technical aspects only tell one side of the story though. In building Exposure, the anthropology of learning from leading photographers such as Sue Bryce, Jeff Ascough and Parker J Pfister, who made their name shooting film, was as important to us as the chemistry and math. Their thoughts on the look and feel of each film stock were woven into the presets along with the technical characteristics. The end result is that with Exposure the results feel authentic, even when the effect is not intense. Some Exposure looks are so subtle that people won’t consciously realize you altered your photo.