Especially with weddings, it’s less about making the image look stylized and more about enhancing the emotion—making it feel like a memory you can step back into.
Loredana Gasparotto has always been drawn to the look of film. The faded tones, the softness, the quiet nostalgia of an image that feels like it was found rather than taken. But she's never wanted to give up digital's control or consistency.
VSCO is where those two things meet. Starting with a base edit on desktop for precision, then moving to mobile to layer in flares and Halation, her workflow is deliberate and repeatable—built to bring a consistent emotional quality to everything she shoots, from personal work to wedding clients.
In this conversation, Loredana walks through how presets and film effects shape her approach, and why the most important thing a filter can do isn't change how an image looks, but how it feels.
1. What VSCO editing tools do you use regularly?
I usually start with presets on my desktop—the larger canvas just gives me more control and precision. Lately though, I’ve been editing on my phone too, and I’m really loving the Halation effect.
So now my flow is: base edit on desktop, then I add flares and Halation on my phone using VSCO.
2. You shoot digital but love the look of film, how do presets and tools help you get there?
Honestly can’t go without presets—I love them.
Especially anything analog, faded, that slightly nostalgic Polaroid, old photo feel. I didn’t originally shoot much film, I’ve always been drawn to the control that digital gives you. But I’ve always loved the look of film. That’s really what pulls me toward filters and presets.
With tools like VSCO, I feel like I can get that same analog, nostalgic quality without the unpredictability or waiting that comes with film.
It gives me the best of both worlds—creative control and that timeless aesthetic. Filters, for me, are less about “effects” and more about storytelling and atmosphere.
There’s a bit of mystery and quiet magic that comes through when the contrast is lowered and the tones are softened.
3. Tell us about these images. What drew you to a faded, softer treatment for them?
For those images, I was really drawn to using fades. Lately, I’ve been using them a lot because they create this slightly “otherworldly” feeling—like the image exists in a softer, more dreamlike space. There’s a bit of mystery and quiet magic that comes through when the contrast is lowered and the tones are softened.
The presets also helped enhance the natural greens and browns, which was something I really wanted to emphasize. I wanted the environment to feel alive and immersive, not just like a background.
And a little side note, I was really happy that one of those images, “the girl in the garden,” was actually mentioned in PhotoVogue. It wasn’t selected as photo of the day, but even being recognized felt really special.
4. How do presets translate to client work, especially weddings?
I have used presets for wedding and client work, mostly in terms of color grading. I tend to go for softer tones, gentler shadows, and a slightly faded look to create a sense of warmth and nostalgia.
For me, especially with weddings, it’s less about making the image look stylized and more about enhancing the emotion—making it feel like a memory you can step back into.
5. Have any of these tools changed how you photograph?
I haven’t been using VSCO Capture as much yet, but I can already see it influencing how I frame and how I think about light, which has been really helpful.
6. How would you describe where your photography is headed?
I’m really drawn to documentary photography, and I found a photographer on Instagram who’s been inspiring me a lot. I’m planning to experiment with Capture to see if I can get a similar feel.
At the same time, I love fashion photography—not so much for the clothes, but for the creative direction and the story behind each image.
Tool aren’t just visual. The best ones are felt first.
Loredana's workflow isn't about stacking effects. It's about building a look that carries emotional weight, one that clients feel before they can explain why they love it.
That starts with presets that give digital images the warmth and atmosphere of film. It continues with tools like Halation that add light and texture in exactly the right places. And it moves fluidly between desktop precision and mobile experimentation.
Presets shape the feeling. The workflow makes it repeatable. And when both are working together, the result isn't just images clients are happy with, it's work they remember and come back for.
With tools like VSCO, I feel like I can get that same analog, nostalgic quality without the unpredictability or waiting that comes with film.
