Pastel film

Pastel Film is built around colour as a compositional tool. Not as a filter you layer on top, but as a visual language that shapes how a photograph reads from the start. The presets draw from the palette of Wes Anderson's films: muted pinks, soft blues, greyed yellows and greens that feel just a little too composed to be accidental. Each preset has its own distinct colour block, but they all share the same quiet, cinematic quality that makes them feel related.

This pack is for photographers who make deliberate choices about style. Portrait photographers working in urban settings, editorial shooters for lifestyle brands, street photographers drawn to architecture and flat colour. If your images tend to feel too neutral after editing, or if most presets push your work in a direction that's too dark or too punchy, Pastel Film offers a different way in.

A flat façade? Works well. A portrait against a painted wall? Even better. The presets are at their strongest when there's geometry in the frame, repeating shapes, or strong colour blocks in the background. Soft overcast light, golden hour and interior daylight all sit naturally within this palette. Hard shadows and heavy contrast can work against the pastel quality, but even then, the colour logic gives your image a direction that individual edits usually don't.

What separates a collection from a set of standalone presets is internal consistency. The presets in Pastel Film are designed to coexist. You can apply one preset to the first photograph in a series and a different preset to the last, and the images will still hold together. That matters when you're delivering work for a magazine, a client portfolio or a curated feed. It also saves time, because you're not rebuilding a colour language from scratch every time.

In practice: open your file in Lightroom, apply a preset and see how it responds to your specific exposure. Most photographs only need a small exposure or white balance adjustment after that. Some images suit a lighter preset, others work better with more colour weight. Before you start fine-tuning, run through the full set. You'll quickly build a sense of which preset belongs to which situation, and the whole process gets faster from there.