Capture One v7.0.2, the latest version of Phase One’s image management and Raw conversion software, includes support for Fujifilm’s X-Trans cameras. Given the trouble this non-Bayer design has caused for third-party Raw converters (it remains to be seen how many will ever offer support), this has caused a lot of excitement in the Fujifilm community. So, just how well does Capture One do, and how significant is the problem , in the first place? To provide some context, the vast majority of digital cameras ever made perceive color using what’s known as a Bayer Color Filter Array, named after the late Kodak engineer Bryce Bayer. For its recent cameras, Fujifilm has developed its own color filter array pattern, which it calls X-Trans. The idea behind X-Trans is that its pattern repeats less often than the Bayer pattern, rendering redundant the low-pass filter that usually protects against moiré. The disadvantage of creating a non-standard color filter array (especially one that took two years to develop the demosaicing algorithm for), is that third-party software makers have to do a lot more work to provide Raw support….
„As you can see, Capture One’s color response is much closer to the camera’s results than Adobe’s default profile. The default results are also substantially more sharpened than the JPEGs are. In comparison with the camera JPEGs, there are hints of the same brushstroke effect that Adobe Camera Raw produces, though not to the same degree and mitigated, perhaps, by the better color response.“
See full article on www.dpreview.com
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.
See more pictures on frontallobbings.blogspot.de
Having happily used the X-Pro1 for my work and personal photography since I sold my Leica M9, I have been incredibly pleased to see how well the camera and X-mount lenses work for long exposures. I have always been intrigued by LE photography and have shot it with the same variety of cameras that I have used for my other photography. Starting out with DSLRs and moving to rangefinders, I never felt like I was achieving the results I wanted nor did I feel that I was using the appropriate equipment. Perhaps that has changed with the Fuji X cameras. Shooting LE photos with rangefinders was a step in the right direction. Since the viewfinder isn’t connected to the lens, there aren’t the same issues of keeping light out of the viewfinder and you can still frame your shot with ND filters in place. Also, I love the ability to use a simple cable release to trigger the shutter. That and all of the manual controls make LE photography a snap with a rangefinder. With the X-Pro1, I feel like I have the benefits of the rangefinders, plus a lot more versatility and amazing image quality. Not only can I use the camera like a rangefinder, I also have the benefit of using the rear screen like a view camera. The interactive horizon line is a big benefit for insuring that I have the camera level, as my tripod doesn’t have a level on the head. Also, when shooting in Bulb mode, for exposures of over 30 seconds, the X-P1 displays a timer on the rear screen. It’s great. The X-Trans sensor is also performing really well. Image degradation is often a problem with digital cameras as exposures get longer. White or dark pixels may start to appear in the image as the sensor heats up. My lovely Epson R-D1 couldn’t handle exposures of more than a handful of seconds; that old sensor just wasn’t up to the task. Even the Nikon D3 had a difficult time handling long exposures, particularly on hot days. My X-100 is very convenient for LE photography as it even has an internal, 3-stop ND filter. Yet, the sensor isn’t up to the quality of the X-Trans and I stay clear of exposures longer than a couple of minutes. Lens choice is a critical component of LE photography. Although wide-angle lenses are a common choice among photographers, I find that I prefer using the 35mm (53mm equivalent) X-mount. It produces outstanding results and it’s been interesting to stack a group of ND filters on it and shoot wide open. This results in a slower shutter speed, but not truly a long exposure, and a nicely out of focus background. The 18mm lens is a good alternative. I look forward to using the 23mm lens, when it’s available. Soon, I hope! The versatile X-Pro1 has enabled me to do more LE photography, with better results. This has inspired me to shoot more long exposures, which has led to an interesting new opportunity. In March, I will be teaching a LE workshop at Lúz Studio & Gallery. Since it’s Winter right now, that has meant doing a lot more standing around in the cold, but it has also opened up the way I use my camera and how I see the world……
See full article on doncraigphoto.wordpress.com
If you’re a fuji user or even just a fan you’ve probably been reading the reports of upcoming X-Pro1 and XE-1 support to be added to Capture One, the high end Raw converter from Phase One. Reports had been steadily leaking out from people using the beta and the general consensus was that it was an improvement over Adobe’s implementation in Lightroom. They released the final version today, and I decided to have a look and see if it lived up to the hype. In case you’re not following this blog regularly, let me just tell you where I’m coming from with regard to this subject, just so you can put my opinions in context. I had been a relatively early adopter of the X-Pro1 but I had eventually sold mine, partly due to the lack of a good workflow for handling the raw files. It was actually the Lightroom support that pushed me over the edge. I was very critical of it, and found the “watercolour” artefacts to be completely unacceptable. Needless to say I got a lot of criticism for those comments (from both die hard Fuji fans who think the X-Pro1 is perfect in every way, and die hard Lightroom fans who believe the same thing about Lightroom.) I’ve done a lot of testing and playing around with settings trying to find a way to live with Lightroom’s conversions, but I stand by my opinion, that the quality of the raw processing of X-Pro1 files in Lightroom is seriously sub par. To be fair, I am hyper-critical when it comes to image quality. I have worked for years in broadcast television, and a critical part of my job is making sure the images I produce meet broadcast standards, so quality control is drilled into me. Anyway, I just want to put that out there, because I was so critical of the raw conversion to date, that it says so much more when I say that am blown away by the difference with Capture one. DP Review did some initial testing today and they were somewhat skeptical of the differences, but I have to disagree with their findings. I’ve spent a few hours with it now and I have to say the difference is night and day. There is still a degree of the watercolour effect with capture one, but it is much less obtrusive than Adobe’s. Images are also much sharper even with the default settings. In fact, in my opinion you need to turn the sharpness down a little. I don’t want to go mad with lots of comparison images because there are lots of them out there on the web already, and you can download a 60 day trial and try it for yourself if you want to do your own comparisons. But I do want to point out a few things. It should be noted that it’s not just the smearing that Capture one does better. The whole image seems to be much sharper, and also there is much better colour in details too……
See full article on blog.thomasfitzgeraldphotography.com
If you have been listening to my podcast Shutter Time with Sid and Mac, you know how my workflow works. About this time, I create a new Lightroom catalog, and start cleaning up my previous year catalog, getting it ready for archival. While I was going through it, to see if maybe I missed something, I found a little stack of images, that I haven’t even touched. They were taken last June, on one of our excursions into the country side. I have no idea how I missed them, and forgot about them. Sacrilege! All these were shot with Fuji X-Pro1, and some are HDR as well. The funny thing is, that I remembered that day very well, and always asked myself about the pictures from that trip. Knowing my scatter brain, I always quickly forgot to look for them. I’m glad I found them. So I took a cue from my boys, and instead of cleaning, I started playing It’s a great feeling to be working on landscape photos from the summer, when it’s cold and snowy outside.
See on www.miksmedia.net
I have been using the Capture One beta version 7.0.2 for a bit and wanted to share an example of the difference in processing RAW files from the X-Pro1 between Adobe Lightroom and Capture One’s beta. Yes, yes, I know the Capture One is beta. I’m not going to speak to the details of its stability, any errors, etc. Anything like that I would report to Phase One. Since I mainly shoot landcapes, I’d like to illustrate the difference between the two RAW processing engines using an image with a bunch of foliage. The image I’m showing is one I shot at North Fork near Ogden, Utah during autumn. There was great light but I wasn’t too happy with the lack of foreground interest when I took the photo. Since there is mainly foliage and grass in the shot, it’ll serve to illustrate the stark difference between Lightroom and Capture One. The image was shot using the 35 mm prime lens, ISO 200, 1/15 second, f/16, with a polarizing filter. In both Capture One and Lightroom, my standard sharpening was used. I cannot push the Lightroom sharpening much at all or details get even more mushy where it seems I can push Capture One as far as I’d like. Amazing. First comparison is a 100% crop of the trees, first from Adobe Lightroom 4.3 and the second from Capture One 7.0.2 ….
See full article on www.codyhatch.com
“They shall not grow old, as we that are left grow old Age shall not weary them, nor the years condemn At the going down of the sun and in the morning We shall remember them, lest we forget”
On the 11th day of the 11th month each year, they gather on the red square surrounded by sandstone buildings more than a century old. Some wear their medals proudly over the heart, while others display medals of the absent. With only the tweet of birds, they stand in silence to remember the fallen.
“Still the dark stain spreads between their shoulder blades A mute reminder of the poppy fields and graves When the fight was over, they spent what they had made, but… In the bottom of our hearts we felt the final cut” – Roger Waters
See more pictures on www.kagecollective.com
A hop, skip and jump (ok, 4 hour bus ride) from the world famous Rio de Janeiro along the Costa Verde (Green Coast) of Brazil lies the little UNESCO heritage town of Paraty, sometimes spelt Parati, but always pronounced Para-Chee. A little piece of Portugal in tropical Brazil, Paraty was a blast from the past, chock full of old colonial architecture, cobbled streets, horse drawn carriages and old men peddling sweets in carts. A port town, Paraty is decidedly working class, and the simple, almost rough hewn architecture reflects that fact. In the 1800s when gold was still flowing from the mines up in Minas Gerais, Paraty was the port the Portuguese used to ferry the loot out of the country and to imperial coffers in Lisbon. When that gold dried up, Paraty fell in importance and faded into the annals of history, a mass exodus left the town almost empty, but it also meant that the buildings remained preserved in time without too much degradation all these years.
A relatively small town, Paraty can be covered by foot, and we spent few days there wandering about the cobbled lanes an amidst the beautiful buildings with their trademark windows. Late afternoons were spent sipping Agua de Coco on the beach, with Samba blaring from tinny speakers hung up in the trees on the sand. After our crazy time in São Paulo and Rio de Janeiro, it seemed a rather stark contrast that nobody seemed to be in any kind of hurry in Paraty.
And it suited us just fine.
See more pictures on handcarryonly.com
For a short period of time, one week perhaps, I have felt the pleasure and sorrow of being the winner of the 2012 National Geographic Photo contest and being later disqualified.If you are interested here is the story: „National Geographic, how I won and lost the contest in less than one second“
In any case this proves that the FUJI X-pro 1 is more than capable of reaching all kind of high summits in the photographic world.
This photograph was taken at Asi Gaht, Varanasi, more or less 5:45 am. I usually stay next to this precise Gaht when in Varanasi. I just had finished my leading my last expedition to India with Nomad Photo Expedition. This said, I obviously know the place :-) . The extraordinary thing about the ghats is their tremendous transformation which lies on the level of the Ganges. On this opportunity – one month ago- the level was low and, unfortunately, the image, from the steps of the Gaht, was not very pleasant: mud, garbage, etc… I decided to go down, next to the Ganges.
Even with the XPRO-1 outstanding low light performance, I did not want to risk the picture and decided not to go beyond 2.500 ISO. This shot was done with the 18mm (27 mm equivalent) 1/8th of a second , 2.0 f. As you will surely understand, the low speed made the things even more difficult. As well as the mixture of lights: I had to put together threee sources of light, a moving scenario and all this with only twenty minutes of „good“ lighting. My main concern was to decide on the exposure. In theory I should have set everything to a right hand side histogram to prevent the grain should I need to work later on the picture with LR or PS. My decision was -and I think that it was, for once, the right one- to underexpose (you do not have time for a serious measuring) two stops less than what my „multi-I don’t knowwhat “ exposure setting was telling me, in order to prevent as much overexposure on the candle lights as possible. I knew that the candles would be out of range if I did not underexpose. The different sources of light were a bit tricky: candels, lamps from a nearby street, the night. And the fog, wich is also an issue as it reflects the light, normally fools the meter readings which will, again underexpose. I keep visiting the Gaht each morning, early in the morning and at dawn, with my camera, a Fuji X-pro1, and two prime lenses: a 18 mm and the 35 mm. I feel more at ease with the wide.
At this early time, before dawn, you have barely time for, perhaps, four to five different framings as the light that I want lasts for no more than 20 minutes. It is quite stressing to decide the setting depending on the things that are happening around you: lights, candles, people, specially knowing that there is not much time left and everything will disappear as people move and change position continuously.
On this opportunity, suddenly, a big group of pilgrims, obviously coming from villages (they are more prone to be photographed) came into the Gaht. I literally run to fight for my position in the middle of the mass. I have lately discovered that the “ I am a professional photographer“ approach works far better than the „shy“ approach: cameras, tripods, lens bags, an Indiana Jones hat :-) . With the poor light and the mass, people have little time to care about me: they came to Varanasi for their ritual morning bath, they are not in the mood of loosing their time arguing or discussing with an -obvious- foreigner in disguise (disguised as a photographer). All this to advance that I was well before the „final“ shot at the place. Probably at 5:00 am for the „final“ shot taken at 5:45 am.
This was possibly the 6th shot in the same position. I set the tripod, decided on the frame and light and, using my mechanical shooter, (Fuji Xpro1 does not have an electronic shooter !), and not looking through the camera, (as in old good time) I shoot..
See full article on harryfisch.blogspot.com.es
A blog from Montreal area photographer Patrick La Roque. Mainly focusing on essays, Fujifilm X-series cameras and Aperture tips…
He has a really sensitive eye for emotional situations!
See more pictures on www.laroquephoto.com