In the small world of film emulation there’s an 800 pound gorilla standing in the corner: VSCO. I’ve never been shy about my use of VSCO Film on this blog and most of you probably know I’ve had an ongoing relationship with these guys for the past year or so, getting a chance at times to test some of their upcoming products. Here’s the thing: I really like what they do and I happen to think they do it extremely well. A success borne of quality IMHO. They’re also involved with the photographic community in ways that go beyond purely mercantile considerations which is all to their honor. When I received an email about the new Replichrome film emulation product from the folks at Totally Rad, I admit my initial reaction was… Meh. Yet-another-film-emulation-preset-package taking on VSCO. The fact that their PR email was rather aggressive in directly attacking them didn’t exactly make me feel warm and fuzzy either: I prefer products to focus on their own strengths and individuality. But then this probably highlights how entrenched VSCO has become in this sector. Still, given the complimentary download they’d sent me I felt it was only fair to try it out. So I did….
See more pictures on www.laroquephoto.com
Up till now, when to comes to serious and accurate film simulation presets for Adobe’s Lightroom and Camera Raw, for the longest time there has really only been one choice. That choice was Visual Supply company, commonly known as VSCO. Its range of film presets are superb, and accurately match a range of common print, and more recently, instant and slide film stocks. But now there is a new player in the film simulation market. It’s a new product from an established name in the photo processing world. The company is Totally Rad, and they have been making actions and plug-ins for Photoshop for many years. Their new product is called “Replichrome” and it is the result of nearly three years worth of work. They carefully profiled cameras and film by shooting negative and scanning it, and then using that to create colour profiles for various digital cameras so that it matches the scanned negative. The result they argue, is an incredibly accurate simulation of traditional print film for digital photography. So what’s it like in reality? I’ve been playing with it over the weekend and I have to say, it certainly seems accurate. It’s been a while since I’ve shot film, and I can’t definitively judge how close it is to actually shooting film. to do that I would have to actually go out and shoot the same scene on negative and digital and compare the processed results to the film. But it feels right. It looks like film, and as far as your audience is concerned, at the end of the day that’s all that matters……
Nice Infographic: The Making of Replichrome
Great Replichrome video review by FadeandBlurred on youtube:
Recently, I decided to leave the DSLR game and start shooting the Fuji X series exclusively for my job. Being a predominantly film shooter, I’m usually not into the color palette that most digital sensors have to offer. Well, the Fuji X-Pro 1 really changed that for me. I love the colors that I get straight out of camera with it, but it’s still a digital sensor. There’s always a small adjustment that can be made. Like I said, I shoot film all of the time. Though it’s mostly black and white film, I still love shooting color film from time to time. Kodak Portra 160 and Fuji 400H are my two favorites. I always try to get that look digitally, but have never had good luck with it until now. A woman by the name of Rebecca Lily has created a set of presets to use in Lightroom, Rebecca’s Pro Set II, specifically designed for the Fuji X users that want to give their images that little touch to emulate the film look. I try to do as little as possible when editing a digital photo and these presets work great for that. I’ve used the VSCO presets before and those are great, but this set is unique and has a LOT more to choose from. I’m particularly a fan of the Pastel choices that it has to offer….
See on downriverframes.tumblr.com
Apple has released RAW Compatibility Update version 4.08 for Aperture, iPhoto ’11, and Mac OS X in general. This update adds support for the following cameras:
- Canon EOS 70D
- Fujifilm X-M1
- Leica M
- Leica M Monochrom
- Nikon Coolpix P330
- Pentax 645D
- Sony Cyber-shot DSC-RX1R
- Sony Cyber-shot DSC-RX100 II
You can download the new software via the System Update feature in Mac OS X, or by using the source link below. Source: Apple
See on www.dpreview.com
Just for fun, I’m doing a little giveaway here on my blog! As a photographer who shoots both Fujifilm and a Fuji X-E1 digital camera, I’ve had great interest in emulating the pastel look of overexposed, pro lab scanned Fuji Pro 400H film for my digital work to get cohesive results with both mediums. What began as a personal quest has found its way into my upcoming Pro Set II for Lightroom and ACR, which will be released next week. So, here is the challenge: look at the above images (you can click to see them larger). Then post in the comments what you think each image was shot on, Fujifilm Pro 400H, or the Fuji X-E1 post-processed in Lightroom with one of my new Pro presets.
The first one to guess both correctly wins, and gets to choose between:
- 3 boxes (15 rolls) of 120 Fujifilm Pro 400H
- My new Lightroom & ACR Pro Set II …
See on www.rebeccalily.com
As the title suggests this is the third and for the time being the last of my RAW converter comparisons. This time we will look at how each converter handles high ISO’s files, conversions to black and white (monochrome), skin tones and leafy landscapes. In the first comparison I left all of the examples at the default settings. This time I tried to get the most out of each image in each of the seven converters. For these comparisons the converters will be presented in alphabetical order and not in preference. In addition to the six previously used converters, I have added Lightroom 4.4 and upgraded Iridient Developer to 2.2. These are not the only RAW converters out there. AccuRaw to name one, however I feel these are the most accessible and known programs, albeit a couple are Mac only….
See on gambofoto.blogspot.de
Iridient Developer is arguably the best RAW converter for Fuji X-Trans raw files. About a month ago I tested Iridient 2.1 and was really impressed. My review is here. The latest 2.2 update brought additional features, improvements and bug fixes for Fujifilm X.
New, smoother “Soft Look” demosaic option for Fuji X-Trans models.
Added support for Fujifilm RAW daylight, cloudy and tungsten white balance presets for most recent models. Added support for automatic RAW lens distortion and vignetting correction metadata for many Fujifilm models. Support for Fujifilm X-M1 ….
See on vkphotoblog.blogspot.de
It’s been nearly two months since I started using VSCO Film 02 to edit my X-Pro1 RAW files. My favorite preset, without a doubt, is Fuji Superia and its many variations. As good as the Superia presets are however, I still missed the Provia, Velvia, and Astia simulation modes of the X100 and X-Pro1. Well, it looks like I no longer have to choose between shooting in RAW and the using film modes because VSCO just released their slide film presets, VSCO Film 04, which includes emulations of these three films. Since I just purchased VSCO Film 04 yesterday, I haven’t had much time to work with the presets yet. I will say this though, if you’re using one of the newer Fujifilm X Series cameras and have been on the fence about VSCO, these are probably the presets to get. With that, I’ll leave you with two images I made in San Francisco edited using the Provia, Velvia, and Astia presets (just hover over the images to see which is which)…..
See on stephenip.com
Here’s a little secret: some of my images in the past few weeks were experimentally processed with beta versions of VSCO Film 04. So you’ve already had a glimpse of some of these film emulations at work. This new pack is all about slide films (positive films if you prefer) from Kodak, Agfa and Fuji, including a few that should be well known to X shooters: Provia, Astia and Velvia. One of the great advantages of VSCO Film is how much you can tweak everything , so you can certainly tone down the dial on 04 presets, but then you’d be missing out… The number one reason to get this pack is colour — screaming, bleeding, dripping colour. And contrast. In your face contrast. It includes two instances of the king of colour itself Fuji Velvia (50 and 100), as well as the very rare, limited run Fuji Fortia SP. If you’re into blues and reds, welcome to the Land O Sat…..
See on www.laroquephoto.com
Last week, finally, Fuji implemented a long awaited focus peaking (FP) function with their latest FW update. I consider this and the previous update in June (to use Selector button to move AF point) as the most important, at least for me. I have and using various old legacy lenses on a regular basis and those two functions are absolutely critical to achieve the best possible results, especially with fast lenses (f/1.8 or faster) when DOF is really thin and/or main focus point is not in the center of the frame. Once I installed all required updates (including 3.01:) I quickly realized that I can’t use FP! I just couldn’t clearly see FP highlights in the EVF without magnification! Yes, it was clear on LCD and at 3x mag in EVF, but not at default EVF settings. Then I recalled that several months ago, well before FP implementation, one of the fellow photographers (mark-vdi) suggested to change jpeg setting to increase visibility of what was called “shimmering” effect in a standard manual focus mode. Since I don’t care about jpegs I went to Shooting Menu (red icons) # 2 and changed parameters as following: Sharpness=+2, Noise Reduction=-2. I also increased EVF brightness to +1 ( go to Set Up (blue icons) #2, LCD Brightness +1). But you have to do it while looking through the EVF otherwise you will increase LCD brightness instead. Checked again and voilá I could clear see highlights! Now I was ready for the field test…..
See on vkphotoblog.blogspot.ca