Pros & Cons
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- Works with Adobe Lightroom, Lightroom Classic, and Camera Raw.
- Nondestructive workflow.
- Loads of presets.
- Includes black-and-white, color negative, slide, and instant looks.
- Lite version available for less.
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- No Capture One version.
- Not for everyone.
- Pricey.
Digital imaging gives photographers wide flexibility when it comes to editing photos, especially when working in Raw format. Where you would choose different film stocks to get a certain look from a shot in years past, modern digital image sensors don't diverge as much in character. How you process an image, either via in-camera JPG tools or in a Raw editor, has a big influence on how your photos look. Really Nice Images can help you get that film look with RNI All Films 5 Professional ($192), a collection of presets for use with Adobe Lightroom. If you're interested in giving your digital images an analog look without leaving the confines of Lightroom, we like RNI's wide range of options enough to award it our Editors' Choice.
Adobe Compatibility
All Films 5 isn't a standalone application. Instead, it's a collection of presets for use with the current subscription-based versions of Adobe Lightroom Classic, Lightroom, and Camera Raw. It includes 180 total presets, based on more than 50 different types of film stocks. You can opt for a grainy look for any preset, and many offer faded and expired looks in addition to the basics.
If you shoot film, you'll recognize many of the names—Agfa, Fujifilm, Ilford, Kodak, and Polaroid are all well represented. Some favorites are absent, like Superia 1600 and TMax P3200, but missing emulsions are the exception rather than the rule.
There's also a Lite version, priced at $96, that offers around 40 presets. It covers almost as many types of emulsions as the Pro edition, but omits many of the fade options and other settings—you only get one version of Kodak Ektar versus the half dozen included with the Pro edition, just as one example. If you want to get started with Lite, an upgrade to the full Pro edition is an additional $96, matching the $192 asking price of the suite.
Installation is pretty straightforward. RNI includes an installer to automate the process, and I had it loaded onto my macOS system in minutes. With Creative Cloud, they appear in Lightroom Classic, Lightroom, and, if you have it set up, the Android and iOS editions of Lightroom Mobile. I'm able to add presets and edit shots on my iPad Pro just as easily as on my laptop.
Nondestructive Edits
The presets are absolutely nondestructive. There's no need to round-trip files to an external editor, as is the case with the similarly minded DxO Nik Collection 2, which offers more flexibility and lets you stack looks and effects, but uses a destructive editing process.
This means you can make as many versions of an image as you want with RNI, from within Lightroom, without making any changes to your original Raw photo. (It works on JPGs too—I spiced up a shot from the DJI Mavic Mini, which doesn't shoot in Raw, using a Kodak Ektar look.)
All Films 5 takes the nondestructive approach a step further than it had in the past. With All Films 4, as well as other preset packs I've used, ranging from the discontinued desktop edition of VSCO to influencer home brews like the FroPack, presets leverage contrast and other exposure adjustments.
RNI leaves your sliders alone here. No matter which preset you select, the basic exposure settings, color mixers, and the like are left untouched. All Films 5 leverages Lightroom's Profile options to make all color, contrast, and grain adjustments happen behind the scenes. You can vary the overall intensity of the effect with a single slider adjustment as desired.
This gives you some freedom in how you work. I'll typically start by scrolling through a few of my favorite presets as a starting point, and adjust other aspects of the photo afterward. You may opt to make some basic exposure and level adjustments first, especially if the image isn't close to where you want it without edits.
The close tie to Adobe's profiles is also the reason why you'll be able to use All Films 5 with Lightroom, but not with Capture One—it doesn't offer an equivalent feature. If you're interested in similar effects and you work with C1, All Films 4 Pro is still available for purchase, for $164.
Film Looks in Color or Black and White
RNI breaks up the film looks into five big buckets—Black and White, Instant, Negative, Slide, and Vintage. It certainly helps to enter with the knowledge that Velvia will be filed under Slide and Portra under Negative, but even without a strong background in chemical photography, each category gives you a decent idea of what's inside.
Even so, I'd recommend bookmarking your favorites, especially if you have a load of other presets installed. Lightroom doesn't offer any sort of type-ahead text search to call up different looks, however you can suppress select folders.
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Black-and-white emulsions include Agfa Scala 200, Ilford Delta, FP4, HP5, and Kodak Tri-X 200 stocks. There are fade options for many, and you can mimic some high-speed films by opting for Ilford Delta 3200, which nets photos with very rough grain and lowered contrast.
The monochrome looks may be All Films' weakest area. There are some big ones missing, including Kodak TMax and Ilford Pan F. Likewise, the quality and character of grain is as important as tonality when it comes to black-and-white photos, and RNI is limited by what Lightroom's grain adjustment tools can deliver.
For my serious black-and-white work, I continued to use Silverefex Pro (part of the Nik Collection), as its grain emulation is worth working outside of Lightroom's interface. But for quicker conversions, where I'm not as concerned about grain, or shots where I want to more easily get a faded look with lifted black levels, I'm happy with what RNI delivers.
Polaroid film offers a lot of nostalgic appeal, to the point where you can still buy instant cameras and film today. Color shifts, slight desaturation, and other imperfections are all hallmarks, and they're here in spades. There are classics like Fujifilm FP 100C and various Polaroid 600 stocks, as well as a couple of presets that mimic Fujifilm's current day Instax Mini film. You'll also get a number of options that emulate the results you get from expired film, including the green tint of the expired Polaroid 690 look I used for the image of the Brooklyn Bridge below.
Color negative is where I look first when processing images. There are a wide variety of emulations of popular films, ranging from consumer stocks like Fuji Superia and Kodak Gold, to more premium options like Portra, many of which offered faded looks. I went with the Kodak Ektar Cool Fade as a starting point for a shot of a wooded path. The image was strongly backlit, and the lifted blacks of the fade make it a bit less of a silhouette than it would be with an out-of-camera JPG.
Slide films are well represented. You'll find Agfa, Fujifilm, and Kodak-inspired presets, including the big names like Astia (shown below), Ektachrome, Provia, and Velvia.
Finally there's a set of vintage looks. You get several takes on Agfacolor, dated from the 1940s through the '60s, as well as Autochrome, Technicolor, and, of course, Kodachrome. There are more than a dozen looks based on the lauded film, including the 1958 edition, below.
Analog Aesthetics
Presets are becoming more and more popular, and while there's nothing stopping you from toying with adjustments in Lightroom to make your own, buying a collection like All Films goes well beyond what most of us are capable of creating.
There are dozens and dozens of film emulations here, each with its own unique color and tonal characteristics. Each is based on a different film, utilizing Adobe's profile function to make changes without messing with exposure and color adjustment sliders. This gives you plenty of room to make additional adjustments to finish the image to taste.
Veteran photographers who truly miss shooting with film, young upstarts with a hipster aesthetic, and portrait pros looking to set their work apart from the basic out-of-camera look should all check out RNI All Films 5, assuming you're working with Adobe software. (Capture One owners in search of similar effects can look to All Films 4 instead.)
We're naming RNI All Films 5 Professional our Editors' Choice, and happily recommend it to any photographer who likes the film aesthetic. If you're a little hesitant, the Lite version offers a good number of looks for half the price, and can be upgraded later if desired.
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Final Thoughts
RNI All Films 5 Professional
Digital photographers yearning for an analog feel should take a look at the RNI All Films 5 Professional preset pack for Adobe Lightroom.