Photographers have been holding things in front of the lens for as long as there have been lenses. Prisms, a shard of glass, a crystal turned in the hand until the light does something the lens alone won’t. Selenite is that idea built as a set. The highlights go pearly and moon-like, the blacks turn smoky, and the whole image takes on the silky, even quality of light that has passed through stone to reach you.
Built around three base presets on two creative profiles. Selenite is the base, cool and quiet. Golden Selenite is the same look warmed through, for late afternoon and golden hour.
The set also comes with three tools, each named for a way the stone carries light.
Lamina — the thin cleaved sheet. Fibres running one way, a leak coming in at the edge.
Isinglass — scatter and transmission, the softness you get looking through mineral rather than glass.
Amberglass — inspired by golden amber selenite. The warm one, for light with gold still in it.
Each tool layers cleanly on top of the presets, or works on its own when you want the atmosphere without the full treatment.
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