Hasselblad Masters 2026 finalist

Hasselblad Masters 2026 Finalist, Architecture category.

Published April 28, 2026

The email that changed everything

There are emails you open without thinking, and then there’s that one. The one that starts with “CONGRATULATIONS” in capital letters .

Today, I’m incredibly proud to announce that my photograph has been selected as a finalist in the Hasselblad Masters 2026 the most prestigious photography competition in the world.

Over 100,000 images. One selection.

To grasp what this really means, a few numbers:

Over 100,000 photographs submitted this year a record-breaking total
7 categories spanning every style of photography
Only a handful of finalists per category

Being chosen among these finalists, after a careful pre-selection by the Hasselblad team, means seeing your work recognized at the highest international level. And honestly, I still can’t quite believe it.

What are the Hasselblad Masters?

For more than 20 years, the Hasselblad Masters has celebrated the most talented photographers around the globe. Hasselblad the legendary Swedish brand that traveled to the Moon with the Apollo missions rewards artists who push the boundaries of the image every two years.

What’s next? I need you.

The final vote rests on two juries:

The Grand Jury, made up of leading figures in international photography
The Public Jury that’s YOU

The public vote counts as one full jury seat. Every single click can tip the scales.

👉 How to vote?

Head to the official site and support my entry:

https://www.hasselblad.com/inspiration/masters/2026/

Voting is open today through June 2026. Winners will be announced on June 30, 2026.

Thank you

To everyone who has followed my work for years, to those discovering my photos for the first time today, to my family, my friends, and everyone who pushed me to submit despite the doubt: thank you.

This nomination isn’t just a personal milestone. It’s the result of every encounter, every piece of advice, every honest critique that has shaped my vision over the years.

Now, let’s make this vote count. Share, vote, and live this adventure with me.

🔗 Vote for my photo: Hasselblad Masters 2026 — Finalists

📧 Press contact: hello@ludwigfavre.com

📸 Follow the journey: instagram : @ludwigfavre

#HasselbladMasters2026 #Photography #Finalist #PhotoContest

Why You Should Not Buy AI-Generated Prints | Ludwig Favre

Why You Should Not Buy AI-Generated Prints

What the NFT collapse taught us, and what a photograph still does.

In March 2021, Christie’s auctioned a JPEG called Everydays: The First 5000 Days by the artist Beeple for sixty-nine million dollars. The buyer received a string of characters on a blockchain. Within two years the broader NFT market had collapsed by more than ninety-five percent in average value. The same JPEG, today, is worth the price of a coffee. When it sells.

There is a lesson in that sentence, and it is not a technological one. It is the oldest lesson in art collecting: an object without a soul will not hold its value, no matter how loudly the market insists.

The same lesson is now arriving at our doorstep with AI-generated prints.

NOSTALGIA Project

What an AI image actually is

When you ask a model to generate an image of a swimming pool in Palm Springs at sunset, the machine does not go to Palm Springs. It does not stand in the heat. It does not wait for the right hour, the right cloud, the right shadow to fall across the diving board. It searches its training data, finds a statistical average of every image it has ever been shown that resembles “swimming pool, Palm Springs, sunset,” and produces something that looks like the consensus of those images.

There is no encounter. There is no decision. There is no time. There is no place. There is no body in the world doing the looking.

What you receive on paper is the visual equivalent of a sentence written by a calculator: technically correct, statistically plausible, and entirely unwitnessed.

What a photograph actually is

A photograph is the opposite. It is, by its nature, the trace of an encounter. Someone was there. Someone chose to stand at this corner, at this hour, on this morning, for reasons that may not be entirely clear even to them. Someone waited. Someone framed. Someone pressed.

That presence is the entire content of the medium. The French critic Roland Barthes called it the that-has-been: the photograph’s most fundamental claim is that this thing was here, in front of a person, at a moment that will never return.

An AI image cannot make that claim. It can imitate the look, the grain, the color cast. It cannot imitate the having-been-there.

This is not nostalgia. It is the structural difference between a record and a synthesis.

The NFT lesson, in plain language

The NFT bubble was instructive because it tested, with real money, the proposition that a digital image alone, divorced from any physical or experiential anchor, could function as a collectible asset. The market said yes, briefly, at the height of the speculative wave. Then it said no, decisively, when the speculation ended.

What collapsed was not the technology. The technology still works. What collapsed was the assumption that ownership of a generated or replicable image, with no soul behind it, constituted a valuable thing.

AI-generated prints are walking into the same trap, in physical form. The image is impressive on a phone screen. It looks reasonable on a wall. But the moment a collector asks the question that every collector eventually asks, who made this, and why, and was anyone there, the print has nothing to answer with.

The eye that cannot be replicated

There is something a model cannot copy, no matter how many billion images it ingests, and that is a single human eye returning to the same subject for years, deciding what it cares about, refusing to photograph what it doesn’t.

A photographer’s signature is not a graphic style. It is a long catalogue of choices: which corner to stand on, which hour to wait for, which light to refuse, which subject to come back to seven years later because the first photograph was wrong. That accumulated decision-making is what makes a body of work coherent, and what makes a single print belong to it.

When you buy a fine art print, you are buying the result of a specific morning, a specific afternoon, a specific moment when one person decided this frame was the right one. The print is a piece of that decision. The certificate of authenticity is a piece of paper. The decision itself is the actual asset.

A model has no decision. A model has a probability distribution.

The collector’s logic

The art market has always rewarded scarcity, intentionality, and provenance. AI prints fail all three.

Scarcity. The same prompt can generate ten thousand variations. There is no edition because there is no original.

Intentionality. The model has no preference. It does not love the morning light. It does not return to the same building.

Provenance. The chain of decisions behind the image is empty. There is nothing to attribute, nothing to authenticate, nothing to certify in any meaningful sense.

This is why secondary markets for AI prints do not exist, and why they will not exist in the way they exist for photography. The first wave of buyers may pay. The second wave will not.

What you are actually buying

When a print enters your home, you are not only buying an image. You are buying the fact that someone went to make it. You are buying the time, the distance traveled, the hour waited for, the choice that nobody asked for. You are buying, in a real sense, a fragment of someone else’s attention.

That fragment is what makes a print last on a wall and last in a market. It is the only thing that does.

The NFT collapse should have taught us that no amount of technological packaging can substitute for that fragment of attention. The AI print wave is repeating the same mistake, in higher resolution.

Buy the eye. Buy the morning. Buy the decision.

The image is the proof, not the asset.

Discover limited edition fine art photography prints by Ludwig Favre, signed and numbered, made on location across Palm Springs, New York, Paris, Miami, and the California coast.

Fine Art Prints-New-York-The-Day-After-Blizzard-Ludwig-Favre

Cinematic Urban Photography: Film Look in Lightroom | Ludwig Favre

What Is Cinematic Urban Photography And How to Achieve That Film Look in Lightroom

By Ludwig Favre

There is a quality to certain photographs that stops you mid-scroll. The colors feel slightly off in the best possible way. The shadows are deep but never harsh. The highlights glow with a warmth that no digital sensor quite produces on its own. The city looks like a movie set, suspended in a version of itself that is more beautiful than reality, yet somehow more honest.

This is cinematic urban photography. And it doesn’t happen by accident.

In this article, I want to break down exactly what creates that look from the film stocks that inspired it, to the specific way I process RAW files in Lightroom, to the presets I’ve developed over years of shooting cities across the US and Europe.

What “Cinematic” Actually Means in Photography

The word gets overused. Every other Instagram filter is called “cinematic.” But the real meaning is specific.

Cinema, particularly American cinema of the 1970s through the 1990s, was shot on color negative film stock under controlled, deliberate lighting conditions. The result had certain consistent characteristics: lifted blacks (shadows that never go fully dark), slightly desaturated midtones, warm highlights that push toward orange and yellow, and a distinct color cast that varied by stock and lab processing.

When we talk about cinematic photography, we’re chasing that specific color science. Not the look of a random film stock, but the particular palette of a carefully exposed, carefully processed negative, the kind you’d see in the work of cinematographers like Vilmos Zsigmond, Gordon Willis, or Roger Deakins.

In urban photography, this aesthetic resonates deeply because cities were built for it. Neon signs, streetlights, pools, diners, motels: these are all artificial light sources with strong color temperatures that film stock renders in ways digital sensors flatten or neutralize. A tungsten-balanced film stock like CineStill 800T, shot under sodium vapor streetlights at dusk, produces colors that digital cannot replicate without deliberate post-processing.

CineStill 800T: The Film Stock Behind the Look

If you’ve spent time in fine art or editorial photography circles over the past decade, you’ve encountered CineStill 800T. It is the most distinctive film stock available today for urban, low-light shooting, and it’s the primary reference point for the cinematic look I pursue in both my film and digital work.

CineStill 800T is derived from Kodak Vision3 500T motion picture film, modified for C-41 processing by removing the remjet antihalation backing. That removal is what gives CineStill its most recognizable characteristic: halation. Light sources in the frame bleed a red or orange halo into surrounding areas, an artifact that in motion picture film is controlled by the remjet layer, but in CineStill bleeds freely.

This halation is not a flaw. It is the signature. A streetlight surrounded by a soft red glow, a motel sign bleeding pink into the night sky, a swimming pool lamp casting a corona across the water surface: this is what makes a CineStill image instantly recognizable, and it’s what I try to approximate in digital post-processing.

Beyond halation, CineStill 800T has a specific color response when exposed under tungsten or mixed artificial light:

Warm highlights: sodium and incandescent sources push toward deep amber and burnt orange
Cool shadows: the shadows retain a blue-cyan cast that contrasts against the warm lights
Compressed dynamic range: highlights roll off softly rather than clipping abruptly
Lifted blacks: true black is almost never achieved; shadows sit at a dark gray that retains detail and atmosphere

These four characteristics are the foundation of the cinematic look in urban photography. Everything I do in Lightroom is oriented around reproducing them from a digital RAW file.

Processing the Cinematic Look in Lightroom: My Approach

Shooting RAW gives you the latitude to build this aesthetic from scratch. Here is how I approach it, step by step.

1. Tone Curve: Lift the Blacks First

Before touching anything else, I go to the Tone Curve and lift the black point. I drag the bottom-left anchor point of the curve upward, typically to somewhere between 15 and 25 on the output value. This single move eliminates true black from the image and gives the shadows that characteristic film-like softness. It is the most important step in achieving a cinematic feel, and it’s the one most beginners skip.

2. Color Grading: Warm Highlights, Cool Shadows

In the Color Grading panel (formerly Split Toning), I work in two directions simultaneously:

Highlights: push toward orange-amber (hue around 35–45°, saturation 15–25). This mimics the way tungsten-balanced film renders warm light sources.
Shadows: push toward cyan-blue (hue around 210–230°, saturation 10–20). This creates the cool shadow contrast that defines the CineStill look.

The balance between these two is everything. Too aggressive and the image looks like an Instagram filter. Subtle and controlled, and it reads as a photograph that simply has exceptional color.

3. HSL: Desaturate the Midtones

CineStill doesn’t produce hyper-saturated colors. The palette is rich but controlled. In the HSL panel, I typically reduce the saturation of greens and yellows (which can read as overly digital) and slightly boost the oranges and reds, which are the tones most affected by tungsten light sources.

The goal is a palette where no single color dominates, where the image feels balanced and analog rather than digitally processed.

4. Texture and Grain

Film grain is not noise. Digital noise is random and ugly. Film grain has structure and contributes to the tactile quality of the image. In Lightroom, I add grain via the Effects panel, typically Amount 20–35, Size 25–35, Roughness 50. The exact values depend on the image and the intended print size, but some grain is almost always present in my processing. It is what separates a digital photograph that looks like film from one that merely references it.

5. Lens Corrections and Vignetting

I apply a moderate vignette (around -15 to -25 in the Vignetting slider) to draw the eye toward the center of the frame and add depth. This is a cinematic technique: cinema lenses produce natural vignetting, and replicating it digitally adds to the analog feel.

From RAW Processing to Fine Art Prints

The color work done in Lightroom is only meaningful if it survives the printing process. Cinematic color, with its warm highlights and cool shadows, is particularly demanding to print accurately. The amber tones can shift toward yellow, and the shadow blues can flatten to neutral gray on papers that don’t handle color separation well.

This is why I print exclusively on museum-quality archival paper using pigment inks rated for over 100 years of color stability. The printing process is calibrated to the specific color profile of my images: the warm-cool split in the Color Grading panel has to be reproduced with precision for the print to carry the same atmosphere as the screen image.

Every limited edition print I produce goes through this calibration process. It’s the difference between a photograph that looks cinematic on screen and one that genuinely looks cinematic on a wall.

Take the Look Further with My Lightroom Presets

Everything I’ve described above, the lifted blacks, the warm-cool color grade, the controlled grain, the HSL adjustments, is built into the Lightroom presets I’ve developed and refined over years of shooting cities from New York to Palm Springs, Los Angeles to Paris.

These are not generic film simulation presets. They are the actual starting points I use for my own prints, designed specifically for urban photography under artificial and mixed light. They work on both RAW and JPEG files and are calibrated for the kinds of scenes you find in cities: neon, tungsten, dusk, street light.

If you shoot cities and you want your images to carry the weight and atmosphere of the look described in this article, these presets are the fastest way to get there.

Explore the Ludwig Favre Lightroom Presets →

Ludwig Favre is a Paris-based fine art photographer known for his cinematic urban imagery. His limited edition prints are collected worldwide and available exclusively at ludwigfavre.com.

15 Street Photography Tips for Beginners in 2026

Street Photography Tips for Beginners in 2026 (15 Ways to Make Your Photos Stand Out)

Street photography looks effortless when you scroll through Instagram or photo blogs, but street photography tips for beginners are often unrealistic, complicated, or just not helpful in real life.

Street photography looks effortless when you scroll through social media… but when you step outside with a camera, suddenly everything feels awkward, random, and a little intimidating.

If that’s you, you’re not alone.

This guide shares simple, practical street photography tips for beginners that focus on confidence, storytelling, and consistency so you’re not just “taking random photos in the street,” but actually building images people remember.

1. Street Photography Tips for Beginners: Start With the Camera You Already Have

You don’t need a Leica or a fancy film camera to get started.

Use your smartphone, your old DSLR, or that compact camera you already own. What matters most is how you see, not what you hold. Limiting your gear at the beginning keeps you focused on learning light, composition, and timing instead of endlessly tweaking settings.

If you’re using a phone, turn off all the “beauty” filters and shoot in the native camera app or a simple manual app. The more natural your image, the more it feels like real street photography.

2. One of the Best Street Photography Tips for Beginners: Pick One Neighborhood and Commit to It

Instead of wandering everywhere, choose one area and treat it like your personal outdoor studio.

Walk the same streets at different times of day. Notice how the light changes, how people move, where the reflections, shadows, and interesting backgrounds are. By returning often, you’ll start to anticipate moments instead of chasing them.

Great street photos often come from familiarity, not luck.

3. Use Simple Settings So You Can React Fast

You don’t want to be buried in menus when something interesting happens. One of the most underrated street photography tips for beginners is to simplify your settings.

A simple starting point:

Aperture: f/5.6–f/8 for enough depth of field.
Shutter speed: 1/250s or faster to freeze motion.
ISO: Auto ISO with a max you’re comfortable with (for example 3200 or 6400).

If your camera has it, try aperture priority with auto ISO. Set it once, then focus on seeing moments, not fighting settings.

4. Get Closer Than Feels Comfortable

Most beginners shoot from too far away. The result: flat, distant photos with no real emotion.

Try taking one or two steps closer than you normally would. Fill more of the frame with your subject or with a strong foreground. You’ll instantly feel more connected to the scene, and so will the viewer.

Yes, it’s scary at first. But that nervous feeling is usually where the best photos live.

5. Use Light as Your Main Subject

Street photography is not just about people it’s about light.

Look for:

Hard sunlight that creates strong shadows.
Backlight that silhouettes people.
Reflections in windows, puddles, or cars.
Patches of light in otherwise dark streets.

Sometimes the scene itself is ordinary, but the light makes it magical. If you train your eye to chase light first, your photos will instantly look more intentional.

Ludwig-Favre-Lightroom-Presets

6. Find a Great Background and Wait

You don’t always have to hunt for the perfect moment. Sometimes, you can let the moment come to you.

Find an interesting wall, sign, doorway, or patch of light.
Compose your frame and lock in your focus.
Wait for someone to walk through your scene.

This technique often called “fishing” is ideal for beginners because you’re only thinking about one thing at a time: timing.

7. Tell a Story, Not Just “Take a Picture”

Ask yourself: what am I trying to say with this image?

It can be small and simple:

Contrast between old and new.
Loneliness in a busy city.
Humor in everyday life.

If you have even a tiny story in mind, your choices (light, angle, timing) become clearer. That’s how you move from “random snapshots” to memorable street photos.

8. Respect People, But Don’t Overthink Permission

Ethics matter more than ever in 2026.

You don’t always need explicit permission for candid photography in public spaces (depending on local laws), but you do need empathy. Don’t shoot in a way that feels exploitative, cruel, or mocking.

If someone notices you and looks uncomfortable, a simple smile, a nod, or “Hey, I’m just practicing street photography, hope that’s okay” goes a long way. Most people are curious or flattered; a few will say no, and that’s fine just move on.

9. Use Burst Mode for Fleeting Moments

Street moments often happen in half a second: a glance, a gesture, a beam of light on someone’s face.

Use continuous shooting or burst mode for fast-moving scenes. Later, you can pick the one frame where the expression, posture, or timing is perfect. The difference between a “good” and “great” street photo is often just one frame.

10. Look for Layers, Not Just Subjects

Instead of photographing one person in the middle of the frame, try adding layers:

Foreground: a silhouette, a window frame, a person out of focus.
Middle ground: your main subject.
Background: signs, architecture, or another character.

Layers add depth and complexity and keep the viewer’s eye moving through the image. Street photography becomes more cinematic when you think in layers.

11. Shoot Both Wide and Tight

If you only shoot wide, your photos may feel messy. If you only shoot tight, you might lose context.

Experiment with:

Wider focal lengths (23–35mm full-frame equivalent) to capture environment and story.
Slightly tighter focal lengths (around 50mm) to isolate gestures and expressions.

Over time, you’ll discover which focal length feels most natural for your style but at the beginning, play with both. Testing different focal lengths is another practical street photography tip for beginners that quickly improves your eye.

12. Embrace Imperfections

Street photography isn’t meant to be “perfect.”

Blur, grain, slightly crooked frames, motion it can all add energy and emotion. Don’t delete a photo just because it’s not technically clean. Ask yourself first: does it make me feel something?

Some of the most iconic street photographs are imperfect by traditional standards, but unforgettable in mood.

13. Edit Consistently: A Key Street Photography Tip for Beginners

Editing doesn’t need to be complicated, but it should be consistent.

Pick one app or software (for example Lightroom, VSCO, or your camera’s built-in app) and create a simple preset that matches the mood you like: contrasty and bold, soft and muted, or classic black & white.

Apply that look across a series of images so your work feels cohesive. A consistent edit helps people recognize your style, which is powerful for both creativity and social media growth.

If you edit in Lightroom, you can start with a simple base preset and tweak it for your style. For more ideas, you can link internally here to a blog post on creating your own Lightroom presets.

14. Share Your Work and Accept the Cringe

Posting your early work online can feel painful. Do it anyway.

Sharing your photos:

Helps you see your progress over time.
Attracts feedback and community.
Forces you to finish images, not just let them sit on your hard drive.

Yes, you might look back and cringe at your first photos. That’s proof you’re improving.

You can also link to other helpful street photography resources or official software tutorials as useful external links for your readers.

15. Make Street Photography a Habit, Not a One-Time Event

The best street photographers don’t wait for “inspiration” they build habits.

Aim for small, consistent sessions rather than giant, rare photo days. Even 20, 30 minutes a few times per week is enough to sharpen your eye and build confidence.

Bring your camera when you run errands, commute, or meet friends. The city doesn’t stop moving; you just need to show up often enough to catch it.

Final Thoughts: Your City, Your Story

Street photography is not about copying what you see on Instagram. It’s about learning to notice the beauty, humor, and drama in your own everyday world.

These street photography tips for beginners are here to give you a framework, but your perspective is what really matters.

Start with the camera you have. Commit to one neighborhood. Use simple settings. Get closer than feels safe, chase light, add layers, and let imperfect moments live.

If you keep showing up, your city will start to reveal stories that only you can tell and that’s when your street photography becomes truly your own.

2026 My Essential Gear

A Thoughtfully Chosen Setup

As an artist photographer who sells fine art prints, every piece of equipment I use has been carefully selected to ensure the best image quality, reliability, and efficiency. My gear is a balance of robustness, practicality, and design, allowing me to create high-quality photographs while maintaining a seamless workflow. Here’s an in-depth look at my setup and why I chose each piece.

Film Photography: Mamiya 7 II

For my film work, I rely on the Mamiya 7 II, a medium format rangefinder that delivers exceptional sharpness and stunning image quality. Its lightweight and compact design make it perfect for travel and street photography, while the 6×7 negative size ensures a level of detail that rivals large format cameras. The leaf shutter also allows for slower handheld shutter speeds without introducing blur.

My Preferred Film Stocks:

Kodak Gold 200 – A budget-friendly classic that produces warm tones and a nostalgic feel, perfect for sunny outdoor scenes.
Kodak Portra 400 – My go-to film for portraits and landscapes, offering excellent dynamic range, smooth skin tones, and great latitude in scanning.
Cinestill 800T – A cinematic, tungsten-balanced film that excels in low-light conditions, adding a unique glow to highlights.

Digital Photography: Fujifilm GFX 100S

For digital work, I use the Fujifilm GFX 100S, a medium format mirrorless camera with an incredible 102-megapixel sensor. This camera offers unparalleled detail, dynamic range, and color depth, making it an excellent choice for fine art prints.

Lenses I Use:

Wide-Angle Lens – Ideal for capturing grand landscapes, architecture, and immersive compositions.
Zoom Lens – Perfect for versatility, allowing me to frame compositions precisely without sacrificing image quality.

Filming & Behind-the-Scenes: Lumix S9 + DJI Osmo Pocket 3

To document my process and create engaging content, I use the Lumix S9 for filming and, from time to time, for still photography. Compact, refined, and efficient, it fits seamlessly into my workflow to capture clean footage and occasional stills when the moment calls for it. The DJI Osmo Pocket 3 remains dedicated to behind-the-scenes and travel vlogs, delivering smooth, cinematic stabilization in a discreet form factor.

Computing & Editing: The Backbone of My Workflow

Editing is just as crucial as capturing the shot, and my hardware ensures seamless processing of high-resolution files.

Mac Studio M4 Max – The powerhouse behind my workflow, handling large RAW files, complex retouching in Photoshop, and batch processing in Lightroom without any lag.
MacBook Pro M1 – My portable workstation for editing on the go.
iPad Pro 11” – Perfect for reviewing images, making quick edits, and client presentations.
BenQ PD3220U 32” Monitor – A color-accurate 4K display, essential for precise color grading and proofing my fine art prints.

Storage & Backup: Protecting My Work

Data security is non-negotiable in my workflow. I ensure that all my files are backed up in multiple locations.

Synology 24 TO
On the go LaCie Rugged 4 To

Carrying My Gear: The Best Camera Bags

Transporting gear safely while keeping it easily accessible is key. I switch between different bags depending on the shoot:

WANDRD PRVKE – A durable and weather-resistant backpack, perfect for travel photography.
Peak Design Everyday Sling 10L – Ideal for carrying a compact setup during street photography sessions.
Bellroy Camera Bag – A stylish yet functional option for casual shoots and urban photography.

Software: The Creative Tools I Use

I rely on Adobe Lightroom and Photoshop for my entire editing process, from RAW conversion to fine-tuned retouching. Lightroom allows me to organize, edit, and apply my custom presets, while Photoshop helps with detailed retouching and print preparation.

Conclusion: A Setup Built for Excellence

Each piece of my gear has been chosen with careful consideration, ensuring that I can produce the highest-quality images while maintaining an efficient workflow. Whether shooting film or digital, editing, or backing up my files, my setup is optimized for reliability, practicality, and aesthetic excellence.

If you’re interested in seeing the results of my work, check out my fine art prints, available in limited editions of 30.

📷 Photography & Video Gear

Film

Mamiya 7 II – Medium format rangefinder camera
Favorite Film Stocks:

Digital

Fujifilm GFX 100S – Medium format digital camera
Lenses:
- Fujifilm GF Wide-Angle Lens
- Fujifilm GF Zoom Lens

Video & Behind the Scenes

DJI Osmo Pocket 3 – Compact stabilized camera
Lumix S9 + 18-40 mm F4.5

🖥 Computing & Editing

Mac Studio M4 Max
MacBook Pro M1
iPad Pro 11
BenQ PD3220U – 32” 4K color-accurate monitor

💾 Storage & Backup

Synology NAS 24TB
LaCie Rugged 4TB – Durable portable hard drive

🎒 Camera Bags

WANDRD PRVKE – Weather-resistant photo backpack
Peak Design Everyday Sling 10L – Ideal for a compact setup
Bellroy Camera Bag – Stylish and functional

🛠 Post-Production Software

Adobe Lightroom
Adobe Photoshop

Why You Should Create Your Own Lightroom Presets | Photography Editing Guide

Why You Should Create Your Own Lightroom Presets (Complete Guide for Photographers)

In a world flooded with images, developing a strong and recognizable visual identity is no longer optional it’s essential. Creating your own Lightroom presets allows photographers to control their color grading, editing workflow, and overall photography style with precision. Creating your own Lightroom presets is one of the most powerful ways to take control of your style, streamline your workflow, and elevate your photography to a professional level.

Whether you’re a photographer, content creator, or visual artist, custom presets are more than just filters. They are a creative signature.

1. Build a Strong Visual Identity with Lightroom Presets

Your preset becomes your visual language. By creating your own, you ensure consistency across your images colors, contrast, mood, and atmosphere all speak the same tone. Over time, people will recognize your work instantly, even before seeing your name.

A strong identity is what separates memorable photographers from the rest.

2. Stay True to Your Artistic Vision

Using ready-made presets can be tempting, but they often impose someone else’s aesthetic on your work. Creating your own presets forces you to analyze light, colors, and emotion and translate your vision into precise adjustments.

You’re no longer following trends. You’re defining them.

3. Save Time in Your Photography Editing Workflow

Once your presets are dialed in, your editing process becomes faster and more efficient. Instead of starting from zero on every image, you begin with a solid creative foundation that you can fine-tune if needed.

This means more time shooting, creating, and refining your craft.

4. Learn Lightroom at a Deeper Level

Creating presets pushes you to truly understand Lightroom: tone curves, color calibration, HSL, split toning, and color grading. You stop editing by instinct and start editing with intention.

The result? Cleaner edits, better color control, and complete creative confidence.

5. Adapt Your Lightroom Presets to Any Shooting Situation

When you build your own presets, you know exactly how they react to different lighting conditions, cameras, and scenes. You can create variations daylight, low light, high contrast, soft tones all based on the same aesthetic core.

Your style stays consistent, no matter where you shoot.

6. Create Value Beyond Your Images

Custom presets can also become a product. Many photographers successfully sell or share their presets as part of their brand, offering insight into their creative process.

Your experience becomes value for others and for your business.

Essential Steps to Create a Lightroom Preset

Creating a strong and reusable Lightroom preset requires structure, patience, and intention. Below is a complete, professional workflow from technical corrections to artistic decisions suitable for photographers progressing from beginner to advanced level.

1. Start With a Clean Base Image

Choose a well-exposed image shot in RAW, with neutral lighting and no extreme color casts. A preset should be built on a versatile image so it behaves consistently across different photos.

Avoid images that are already heavily edited.

2. Correct Exposure and Global Light

Begin with the Basic panel:

Exposure
Highlights
Shadows
Whites
Blacks

Your goal is balance. Make sure highlights are not clipped and shadows retain detail. This step defines the technical reliability of your preset.

3. Adjust Contrast and Tonal Structure

Next, refine contrast using:

Contrast slider
Tone Curve (Parametric or Point Curve)

Use the tone curve to shape your image subtly. Gentle S-curves add depth, while flatter curves create softer, more muted looks.

This stage determines whether your preset feels punchy, soft, cinematic, or natural.

4. Set the White Balance Intentionally

White balance should be adjusted before heavy color work. Decide whether your style leans warm, cool, or neutral.

A consistent white balance philosophy is crucial for presets that work across multiple lighting situations.

5. Refine Colors Using HSL

The HSL panel is where your preset gains personality:

Hue: shift specific colors
Saturation: control intensity
Luminance: manage brightness of colors

Pay special attention to skin tones (oranges and reds) and dominant colors in your photography.

6. Use Color Calibration (Advanced)

Calibration allows deeper control over color rendering at the sensor level. Small adjustments here can significantly affect overall harmony.

This step is often overlooked but separates amateur presets from professional ones.

7. Apply Color Grading to Define Mood

Now shape the emotional tone of your image using Color Grading:

Shadows
Midtones
Highlights

Keep it subtle. Color grading should enhance the image without overpowering it. This step gives your preset its signature atmosphere.

8. Add Presence and Texture Carefully

Use tools like:

Texture
Clarity
Dehaze

Apply with restraint. Overuse can make presets harsh or unusable across different images.

9. Optional: Add Grain or Effects

If your style includes a film or vintage feel, add grain or vignette lightly. These should remain optional and adaptable.

10. Save and Test Your Preset

When saving your preset:

Exclude exposure if you want flexibility
Test on multiple images with different lighting
Refine and adjust based on results

A good preset evolves over time.

Conclusion: Why Creating Your Own Lightroom Presets Matters

Creating your own Lightroom presets is a key step toward building a strong photographic identity and mastering your editing workflow. For photographers evolving from beginner to advanced level, presets are not shortcuts they are tools for consistency, intention, and creative growth.

When your colors, contrast, and mood become recognizable, your work gains impact and credibility. Over time, your presets stop being simple settings and become part of your signature.

Frequently Asked Questions About Lightroom Presets

What are Lightroom presets?

Lightroom presets are saved editing settings that allow you to apply consistent color grading, contrast, and tonal adjustments to your photos in one click.

Should beginners create their own Lightroom presets?

Yes. Creating presets helps beginners understand how Lightroom works and develop good editing habits early, instead of relying on generic filters.

Can Lightroom presets work on all photos?

Presets are a starting point. Lighting, exposure, and camera settings vary, so minor adjustments are often needed after applying a preset.

Can I sell my Lightroom presets?

Absolutely. Many photographers sell presets as digital products, offering their unique style and expertise to others.

Take Your Editing Further

If you want to speed up your workflow and achieve a consistent, professional look, creating your own presets is the best place to start.

You can also explore professionally crafted Lightroom presets designed for real-world shooting conditions built to be flexible, natural, and easy to adapt.

Your style deserves more than a generic filter. Build it, refine it, and share it.

But if you don’t have the time or the desire to create your own presets from scratch, you can find my Lightroom presets ready to use instantly by following the link below.

Buy Ludwig’s Presets

How to Overcome the Fear of Filming or Shooting in Public: The Art of Confidence for Creators

The Art of Creating Without Fear

How to Overcome Fear and Build Confidence in Street Photography

There’s a strange feeling that hits you the moment you take out a camera in the middle of the street.
People walking by, the noise of traffic, and that small voice whispering that everyone is watching you.

But here’s the truth: no one really cares.
Most people are too busy wondering what others think of them to actually judge you.

When you decide to leave everything behind to live from your passion photography, video, art, whatever it is—you must face that fear head-on.
Because if you don’t, the alternative is worse: a life spent in a routine job five days a week, dreaming of what you could have done.

Confidence Is a Muscle, Not a Gift

The first time you film yourself talking to a camera in public, it feels ridiculous.
You imagine people staring, judging, whispering. But they aren’t. They’ll glance for two seconds, then move on.

Confidence doesn’t appear overnight. It grows every time you push through discomfort.
Each moment you tell yourself I don’t care what they think, you reclaim your freedom to create.

Like any muscle, confidence strengthens with repetition.
The more you shoot, the more you film, the less you notice the world around you.
Your focus shifts entirely to your craft, to the light, to the scene unfolding in front of you.

But always remember this: street photography is not about invading people’s space.
It’s about respect, observation, and storytelling.
The camera should never feel like a weapon it’s a bridge between you and the world.

Why You Shouldn’t Fear Looking Stupid

Creativity demands a bit of madness.
The difference between those who create and those who don’t isn’t talent it’s courage.
The courage to look foolish for a moment, to take a risk, to say yes when everything
in you says not today.

That fear you feel is a sign you’re doing something real.
If it were easy, everyone would be doing it.

Next Time You’re in the Street

When you’re about to film that YouTube clip or raise your camera to capture a candid moment, and that voice inside says they’ll think I’m an idiot talking to myself, smile.
That voice isn’t your enemy it’s your compass.
Because behind it lies the person you want to become: fearless, creative, alive.

So the next time you hesitate, remember this simple truth:
Nobody’s watching. Everyone’s just living their own story.
And you’re finally starting to live yours.

Your Turn

How do you deal with people’s eyes when you’re filming or photographing strangers in the street?
Do you have any tricks or ways to stay calm and confident when the world is watching or when it feels like it is?
Share your experience in the comments, your advice might help someone take that first brave step.

The Joy and Nostalgia of Travel Photography

Travel photography has always been, for me, a mix of two emotions: the joy of discovery and the quiet nostalgia of knowing that every moment I capture will never happen again.

The beauty of discovering new places

There’s a special kind of happiness that comes with arriving somewhere new.
The air smells different. The light moves in unexpected ways. Every color feels slightly unfamiliar, and that unfamiliarity inspires me.

When I travel with my camera, I’m not just documenting a location. I’m listening to it.
Light bouncing off a wall, a reflection in a café window, someone walking through a frame at the perfect second these small details tell a larger story.

The nostalgia of frozen moments

Every photograph is a celebration, but also a quiet goodbye.
The light fades, the shadow moves, the silence shifts, and the image becomes a memory.
Photography lets me hold time still, but only for an instant. That bittersweet feeling is what keeps me inspired.

Less gear, more freedom

With time, I’ve learned that I don’t need a heavy backpack full of lenses.
I now prefer to travel light, with one or two cameras, each with a single lens.
Limitation brings freedom. It forces me to see differently, to focus on composition, light, and instinct instead of gear.

Carrying less has helped me reconnect with the spontaneity that first made me fall in love with photography, the pure joy of seeing, creating, and experimenting without rules.

Finding meaning in travel photography

In the end, travel photography isn’t only about distance or destinations.
It’s about being present, noticing how light touches a wall, how silence fills a space, how ordinary moments become extraordinary through attention.

So I’ll ask you:
What drives you to take photos when you travel the discovery, the nostalgia, or the joy of creating something that will never exist again?

Photography Is Boring Now And It’s Our Fault, Thanks to Instagram

Photography Used to Be Dangerous

There was a time when photography required risk.
You had to think before you shot. You had to see.

Now everyone’s a “photographer.” Everyone has presets, AI retouching, and that same moody orange-and-teal look.
Scroll through Instagram and you can predict the next frame before it loads.

Photography has become a wallpaper factory perfectly exposed, technically flawless, and utterly lifeless.

Instagram Standardized the Way We See

Instagram didn’t just change how we share photos it changed how we see.
It standardized color palettes, framing, and even the places people photograph.

The same pastel cafés, misty forests, and turquoise beaches appear over and over.
Creators copy what gets likes and views, because the algorithm rewards sameness.

In chasing engagement, we’ve traded creativity for conformity.

AI Didn’t Kill Photography We Did

Many blame AI for destroying creativity. That’s lazy.
AI didn’t take our jobs it took our clichés.

The algorithm learned from us: reflections in puddles, drone symmetry, shallow-focus portraits.
AI didn’t invent these tropes. We did.
And we repeated them until they became meaningless.

We trained the machine to imitate us and it succeeded.

Fear Replaced Creativity

Today’s photographers are scared to stand out.
Everyone avoids “bad light,” “wrong color balance,” or an “imperfect” feed.

But imperfection is where emotion lives.
A slightly missed focus, a strange shadow, an accidental reflection that’s life.

We’ve sterilized photography in exchange for approval.
We’re creating for hearts, not for honesty.

The Truth About Gear

The Fujifilm X100VI, Leica Q3, Sony A7R V amazing tools, yes.
But cameras don’t create wonder. You do.

Still, we talk about “the Leica look” or “Fuji colors” like sacred dogma.
Those are marketing myths.

If your photo has nothing to say, no sensor in the world can save it.

The Way Out: Rebellion, Not Nostalgia

The solution isn’t to romanticize the past it’s to rebel against sameness.

Shoot film. Shoot digital. Shoot on a phone or a potato if it moves you.
Just stop copying.

Photography doesn’t need more perfection.
It needs humanity, mistakes, honesty.

We’re drowning in beautiful noise but starving for meaning.
The only way to fix it is to make something real again.

Why I Chose the Fujifilm X100VI — and Why I Ended Up Selling It

Why I Chose the Fujifilm X100VI and Why It’s My Ideal Everyday Camera

As a photographer who usually works with medium format and high-end gear, I never expected a compact APS-C camera to become such an essential part of my daily creative life. But the Fujifilm X100VI changed that. This isn’t just a technical review, it’s a story about why this camera won me over and how it quietly became my favorite companion for everyday photography.

Chapter 1: Falling Back in Love with Spontaneity

When you’re used to shooting with large, heavy cameras, photography often becomes a ritual that involves planning, setup, and intention. But what about the unexpected moments? The quiet corners of daily life, the light falling just right on a street, a quick portrait of someone passing by?

The X100VI made me fall in love with spontaneous photography again. It’s light, always with me, and lets me focus on seeing, not setting up.

Chapter 2: Why I Chose the X100VI

I bought the X100VI for three simple but powerful reasons:

IBIS (In-Body Image Stabilization)
A game-changer for me. I can now shoot handheld at slower shutter speeds and still get crisp images. Perfect for low light situations or subtle motion blur.
40MP sensor
That’s a lot of resolution in such a compact body. I can crop in post, print large, and still retain beautiful detail and color depth.
Design and discretion
It looks timeless, almost like a vintage rangefinder, and people don’t see it as a “serious camera.” That helps me capture authentic, unguarded moments, especially when photographing strangers or street scenes.

Chapter 3: A Word About Film Simulations

One of the most iconic features of Fujifilm cameras is their film simulations — and the X100VI offers an incredible range. Classic Chrome, Nostalgic Negative, Acros, Provia… each one brings a different emotion and atmosphere to your images.

I often use them as a visual guide while shooting, to see how the light and tones might render.
But personally, I shoot mainly in RAW.

Why? Because I like having full control in post-production. I enjoy developing the image later in Lightroom, shaping the colors and tones based on how I felt in the moment, rather than being locked into a baked-in JPEG. Still, I love that Fujifilm gives me both inspiration and flexibility.

Chapter 4: The Strengths of a Small Sensor

Yes, it’s an APS-C sensor. But that’s not a downside, it’s a strength when put in context.

Depth of field is easier to manage, which is perfect for street, travel, or spontaneous portraiture
Lighter lenses, faster autofocus, and better portability are all part of the APS-C charm
The files are still incredibly detailed, and Fuji’s color science brings everything to life

Combined with IBIS and high resolution, this small sensor performs far beyond expectations.

Chapter 5: Image Quality That Surprises Me Daily

There are days I leave my Hasselblad or Mamiya at home and just carry the X100VI. And when I get home and look at the images, I’m genuinely surprised at what this little machine can do.

The tones. The colors. The clarity.
Even straight out of camera, the images have depth and soul — but when I process the RAW files, that’s where the magic really happens.

Chapter 6: What I Don’t Love (But Can Live With)

No camera is perfect, and the X100VI has a few limitations worth mentioning:

Fixed lens)
You have to love this focal length (equivalent to 35mm full frame). It’s versatile, but not for every situation. Still, for my kind of daily work, it’s ideal. Fast, discreet, and sharp.
Small sensor limitations in dynamic range
In extreme lighting situations, it doesn’t have the same highlight retention as a full-frame or medium format sensor. But with careful exposure and post-processing, it’s rarely an issue.
Price increase
The X100VI is not cheap anymore. But you’re paying for build quality, performance, and a unique balance between analog soul and digital reliability.

Chapter 7: A Camera That Fits into My Life

Whether I’m walking the streets of Paris, exploring a quiet town in Wyoming, or chasing light in California, the X100VI is always in my bag or around my neck. It doesn’t get in the way. It becomes part of the rhythm of daily life.

It’s the camera I use when I’m not “working.”
But strangely, some of my favorite images, the most honest, the most intimate, come from it.

Chapter 8: So Why Did I Sell It?

Here’s the honest part. Despite everything I just wrote, and I meant every word, I ended up selling the X100VI.

The reason isn’t technical. The camera is everything I said it was: gorgeous, capable, sharp, discreet. The IBIS works, the 40MP sensor delivers, the film simulations are beautiful. On paper, on a test bench, even on a weekend walk, the X100VI delivers.

But weeks went by, and I just wasn’t reaching for it.

When I had a project in mind, I’d pick up the Hasselblad. When I was traveling for a series, the Mamiya was already in the bag. And when I just wanted to walk around with a camera… I’d grab my phone. The X100VI ended up in that strange middle ground. Too “serious” to be casual, too constrained (fixed 35mm, APS-C) to be my main tool.

It’s not the camera’s fault. It’s mine. The X100VI is built for a specific kind of photographer: someone who wants one camera, one focal length, always with them, shooting whatever the day gives them. That’s not how I work. I shoot in series, with intention, and when I’m not building a body of work, I’m not really shooting at all.

So I sold it. No regrets, no drama. Just the honest realization that a great camera isn’t necessarily the right camera for the way you actually work.

If you’re considering the X100VI, ask yourself one question before buying: am I the kind of photographer who genuinely shoots every day, anywhere, without a project in mind? If yes, this might be the best camera you’ll ever own. If, like me, you mostly shoot with a series in mind, you might love it for two months and watch it gather dust after that.

Final Thoughts: A Beautiful Camera, Just Not For Me

The Fujifilm X100VI is a remarkable tool. It reminds you that great photography doesn’t always need big gear or technical perfection. Sometimes it’s about being present, ready, and inspired.

But “remarkable” and “right for you” are two very different things. I learned that the hard way, and that’s okay. If you’re someone who shoots constantly and casually, this camera will become your best friend. If you’re more focused on projects like I am, it might end up like mine did, admired but unused.

Either way, give it a serious look. And above all, be honest with yourself about how you actually shoot, not how you think you should shoot.

Do you own the X100VI or are you thinking about getting one? I’d love to hear your experience, and especially, did it become part of your daily life, or did it end up like mine? Let’s talk in the comments!

Cinematic urban photography blog