Today Phase One released an update for Capture One to support the FujiFilm X-Trans formats. This includes both the X-Pro1 and the X-E1 cameras.
I've been testing them out the last couple of weeks and been very pleased by the results. Although I'm hesitant to call it perfect (my own workflow still yield slightly better results in resolution) I'm pleased at least to say that there's a professional raw processor that supports the FujiFilm X-format that has the same workflow efficiencies as Adobe Lightroom. It resolves much of the nagging issues that some users complain about using Adobe Camera RAW or Lightroom, and yields the professional and user friendly software of Capture One.
I've also used the latest Capture One (7.0.2) for several weeks with my Canon EOS 5Dmk3 files as well and there were no real surprises there, however the support for full tethering has been improved which was one of the earlier problems with the initial release of Capture One 7.0.
Adding support for the FujiFilm file format seemed to be a top priority by Phase One and this is certainly welcome considering the detail smearing that seems to plague any processor that seems to use the traditional processing on the FujiFilm files.
With this new player on the game, we now have all but DxO Optics as major raw processing engines that fully support the format, however rumour has it that Adobe is working on a new ACR 7.3 that will introduce some improvements to the X-Pro1 and X-E1 files in the coming months.
Regardless, the results speak for themselves. I found that Capture One not only improves in details, but also prevents some colour smearing which seems to be another issue in the Lightroom files (look especially at the log on the lower left where the log has lost a lot of wood grain details).
The dynamic range controls have also been improved from Capture One 6 to Capture One 7 which is a big upgrade, but also in comparison to Adobe Lightroom seems to have less clipping and noise issues when pushing those functions to extremes.
Now not everything is perfect here. There's still issues with Capture One and the details. Moire seems to be an issue that causes an unusual maze like pattern to appear in specific textures and still some smearing of details happens. However the great news is that it smears at a much higher detail rate over Adobe's implementation of these files.
I discussed the issues with Phase One over the past couple of weeks and have been sharing my own findings, and one of the simple ways to combat this issue is to turn off the Details slider in Noise Reduction Advanced (or reduce this). This seemed to correct for some of the smearing of details that is set by default.
I'm hopeful these minor issues will be resolved in the next version of Capture One, but for now, it's very nice to have a professional RAW processor that at leasts matches the output quality of the JPG files out of camera, with far more flexibility found in RAW processing.
Non c'è niente da fare...! Ad ognuno il suo e, quando uno non è capace, meglio che lasci il posto a chi se ne intende veramente. Dato che Max Angeloni (4 passi con: Fujinon XF 14mm f/2.8 R) non sa usare il nuovo 14 mm di casa Fuji, per fortuna di riflessifotografici.com io so benissimo cosa farci, e quindi me ne sono rapidamente impadronito per raccontarvi come va. Ovviamente sto scherzando: il problema sta semplicemente nei gusti personali, nelle abitudini e nelle opportunità. Max Angeloni, semplicemente, preferisce usare altre focali, sia per motivi lavorativi che per diletto. Ce lo vedo poco anch'io infatti, un 21 mm equivalente (nel formato 35 mm) sul set di un fotoromanzo, oppure durate lo shooting di una modella in studio o ancora in tutte quelle situazioni fotografiche ove si predilige la forte presenza nel fotogramma dell'elemento umano. Personalmente, invece, ho avuto modo di usare lungamente focali supergrandangolari sia in esterni che in interni. Anche se negli ultimi anni, avendo praticamente abbandonato la reflex, mi son dovuto accontentare di lavorare spesso con una focale minima di soli 28 mm o, nei casi più fortunati, 24 mm. Finalmente, Fujifilm ha immesso sul mercato una focale più "spinta" e, pur se ho dovuto riprenderci un po la mano, mi sono subito "tuffato" per le vie della Città Eterna per ritrovare le antiche sensazioni, che solo queste focali sanno trasmettere.....
The long exposure game, is one of compromises: fighting too little light, balancing the moon and its reflections, cameras and lenses, camera meter or external meter! Long exposures are one of the more difficult photographic styles and one that takes experience and patience to master. As such, the photographer needs every helpful trick that they can gather into their bag of tricks in order to generate, stunning etherial images! .....
Sometimes I can't resist shiny things. I get fixated, like a dog with a stick. And dammit, the guys at VSCO just know how to present their wares and make everything they create simply drool worthy. Last night I heard about the new VSCO Film 03 release and headed to their website, with the firm intention of NOT purchasing anything. I was simply curious. Ten minutes into it I was hitting the buy button. To be honest, a lot of that had to do with the fact that they've now added Fuji profiles to this pack. Yup, along with Nikon and Canon specific presets we now get X-cameras support — complete with native film profiles when applied to raw files. I really wanted to test this. This new offering is all about instant: digital emulations of Polaroid, Fuji and Impossible Project instant films. As always the visual material used to present the various possibilities of this new pack is, frankly, amazing. I dare you to check out Jeremy Cowart's page and not feel a sudden urge to fill your shopping cart.
The presets are divided into two main categories: Consumer and Professional. The Toolkit this time focuses on elements commonly associated with instant films such as grain, blur, tone and vignetting; these can be stacked on top of the emulations themselves. But while the promise of one click processing may be alluring, you'll need to put in the time to learn how to control and tone down the results. Otherwise it can easily become slightly "instagramish". But this, in my opinion, is true of all the VSCO Film packs. I still believe that if you're willing to analyze how these looks are achieved, by examining the tone curves, the colour mixes and calibrations, they become a fantastic learning tool. Plus, you'll gain the ability to wield your own looks based on the painstaking work these guys have put in. A final word on the Fuji profiles: man, this opens up some serious possibilities. When working with RAF files you now have the added option of switching film profiles in Lightroom's calibration pane. This is a very interesting tool to play with, as each film contains its own contrast and colour curve. Change the film, change the mood. My only hope is that they add this support to the previous film packs in an eventual update. I haven't had a lot of time to put in but I revisited some images to test things out. I'm including these below. VSCO Film 03 Instant is available for Lightroom and ACR 7. It's discounted 25% for the next two weeks and if you already own another VSCO Film pack you get the usual customer loyally discount as well — so 50% off in total. Damn those shiny things.....
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