I’m happy to announce that my latest Style Pack for Capture One is now available to buy from my digital download store. T-Pan for Capture One is a set of Black and White styles inspired by black and white film. The look is aiming to re-create the experience of shooting with a professional grade black and white film stock, and creates a rich film like monochrome image.
T-PAN also comes with a set of tools, which consists of a number of different types of grain, and some additional set of styles for creating a “soft” look, to emulate the analog softness and texture of film. There are 10 virtual film stocks, with 3 variations each.
For photographers shooting with Fuji cameras, getting the best from your camera’s RAW files can sometimes seem like a challenge, especially if you’ve been mostly using Lightroom. Because of the way Lightroom converts Fuji RAW files, there can often be smearing of fine detail, leading to a water colour effect, as well as issues with strange “worm” like artifacting in areas of solid colour. While not everyone is bothered by these issues, for many, it is a reason to consider other methods of converting RAW files.
This is where Capture One comes in. Capture One is a very powerful image editor in its own right. In earlier versions it was primarily considered a tool for high end medium format cameras, but over the years it has become more mainstream and is one of the primary challengers to Lightroom in the photo workflow space. For Fuji shooters, Capture One uses a different engine that doesn’t suffer the same artefacts that Lightroom does when converting Fuji X-Trans files. While there are workarounds for Lightroom that help improve or solve the rendering of X-Trans files in Lightroom, such as using X-Transformer or the recently released “Enhanced Details” functionality, both of these options require the creation of an additional DNG file. With Capture One, you get the full quality without having to go to this extra step.
But this isn’t the only reason one might consider using Capture One. If you’re using one of the GFX series of cameras, or if you’re using one of the non X-Trans fuji cameras, it works perfectly with those also. The software has many other advantages too with a pretty sophisticated toolset, including some advanced colour tools, layers and many more features that make it a powerful photography application.
Capture One has supported Fuji cameras for a while, but with version 12, that support is taken to a new level. Version 12 of the application increases compatibility with Fuji RAW files, in part thanks to a collaboration with Fujifilm. This has also brought support for Fuji’s medium format cameras, as well as official Fuji film simulation modes for selected models. This, coupled with an extensive toolset, gives Fuji shooters a powerful alternative for processing Fuji RAW files.
Capture One Versions
There are a number of different version of Capture One available, some of the features vary slightly depending on the version. Most of the information in this guide is written for the Pro versions of Capture One, whether that is the Fuji specific version or the full version.
Capture One Pro
This is the standard “Pro”version of Capture One. It offers all the available tools, and it will work with all supported cameras. It is available as both a perpetual licence and as a subscription.
This is the free cut-down version of Capture One. It still offers the same RAW processing engine, and Fujifilm support but its features are significantly limited compared to the full version of the software.
I’m happy to announce that I’ve finally finished my new Capture One guide for Fuji shooters. Called “Processing RAW files in Capture One 12” – snappy title, I know! – It is written to provide Fuji shooters with enough knowledge to get the best results when working with Fuji RAW files in Capture One. It’s not a complete manual for Capture One, and while you don’t need to be an advanced user, you need to know the basics.
This isn’t an updated version of my old Capture One guide either – it’s a completely new book. The old one was originally written for version 8 and then updated multiple times, but as there have been so many changes lately, I wanted a fresh start with v12 of Capture One, so I started from scratch. There are a few paragraphs from the old one (why re-invent the wheel) and a couple of sections adapted from blog posts, but it’s mostly new material.
The guide is broken down into four chapters. The first chapter introduces the guide, and explains what it is and also the advantages of Capture One for Fuji Shooters.
The second chapter looks at quick set-up tips to make working with Capture One a little easier. It also also looks at some common tasks that you should know for use in Capture One that will also help you use the tips and workflows discussed later in this eBook.
Chapter 3 looks at the various settings and workflows for Capture One that are specific to working with Fuji files, such as how to set film simulations, how to match DR settings and so on.
Chapter 4 looks at the importance of sharpening when processing RAW files, and explains the stages of sharpening. It also covers how Capture One’s sharpening and noise reduction tools work as well offering suggestions on how best to set these parameters when working with Fuji files.
There are also some included presets for sharpening and noise reduction.
There are full details available including a complete breakdown of what’s in each chapter, and a sample of the first chapter to download here on the store page. The guide’s normal price will be €5 but for the next two weeks it will be on sale for just €4.50. (Prices may vary depending on local VAT rates)
I’m happy to announce that my newest product is now available. It is a set of creative profiles for use with Lightroom (version 7.3 or later) and Photoshop Camera RAW. “Creative Profile Pack One” is a set of 45 creative profiles for Lightroom and Photoshop.
Creative Profiles were introduced in Lightroom 7.3 and are a one-click way to apply a look to your image. Unlike a preset which adjusts the sliders in Lightroom, Creative Profiles behave more like an overall effect, and with a single button, apply all the adjustments. They have the additional advantage of allowing you to adjust the amount of the effect with a single slider. Creative profiles can also equally be applied to both Jpeg and RAW files.
The profiles in this pack are decided into three collections: Film Lux Profiles, TF-Colour and TF-Mono. Some of these are derived from my popular Lightroom presets but have been specially modified and enhanced so that they work better as Profiles.
Film Lux Profiles are loosely based on my “Film Lux” presets, and provide an analogue film feel. TF-Colour contains a number of colour effects, including Vivid effects, and Warming and Cooling effects. They contain some looks inspired by my popular Landscape Gold and Bleached Bronze presets. TF-Mono contains a number of black and white profiles.
A few weeks ago when I launched Alpine for Lightroom, a few people wrote to me asking for a Capture One version. After some work and experimentation, I’m happy to announce that I now have a version of Alpine for Capture One. It’s not exactly the same as the Lightroom version due to the differences in how the software works, but it’s broadly similar.
So what is Alpine? In a nutshell, Alpine for Capture One is a set of “Styles” that is designed to give your RAW images a stylised look. The idea for Alpine was to work with images of forests and mountains, to give the “woodsman” style of effect that is popular certain outdoor magazines. The styles generally work by enhancing the greens and browns in an image and are best suited to photos which contain a lot of these tones. Alpine is also designed to work best with lower contrast images, typically shot on misty or overcast days, although there are also some styles that will be better on sunnier, high contrast images too.
Porting these from Lightroom to Capture One was initially a little more difficult than I was expecting. The reason for this is that some adjustments, while they might have the same names, and broadly do the same thing, actually behave quite differently in different software. The other problem I have is that the starting point for different cameras in Capture One is much more variable than it is in Lightroom.
After a considerable amount of trial and error and tweaking various settings I managed to come up with a set that I was happy with, and captures the essence of the original idea behind Alpine. The Capture One version actually includes a few additional looks that weren’t in the originalLightroom version too, and overall, I think it’s a good package. While it is designed for a fairly narrow set of subjects, the styles should give you a pretty good starting point.
I’m happy to announce that my latest in a series of guides for Fuji X-Series cameras is now available. The official title is “Fuji Jpegs: A Guide to Shooting and Processing” is a 76-page guide with tips and techniques for getting the best results when shooting with Fuji’s Jpeg engine.
The guide covers both things you can do in-camera and how to treat your images afterwards. I start by discussing why you would want to shoot JPEG in the first place. I outline some of the advantages and disadvantages of shooting the format, and I talk about the pros and cons of shooting Jpeg and RAW to separate cards on cameras with dual card slots.
I then talk about some of the settings that you can change in-camera on Fuji X-series cameras, how things like shadow tone and highlight tone work. I also discuss noise reduction and sharpening settings, and how to optimise the in-camera jpegs for post-production.
This is followed by some more general shooting tips, including how I have my own X-Pro 2 set up, and some tips for avoiding camera shake, how to focus on tricky subjects and so on. I also offer a series of recipes. These are basically some suggestions for combinations of settings that you can use to achieve various effects in-camera.
Finally, I look at some tips for processing Jpegs. I look at ways to sharpen Jpegs based on the settings I had previously suggested, and I look at some other tips and tricks for different software. Specifically, I deal with Lightroom, Photoshop and Apple Photos. I also discuss Fuji’s own X-Raw studio and how to generate new Jpegs from raw files in-camera. The guide also comes with some presets for Lightroom, designed to sharpen Jpegs and some Actions for Photoshop.
It’s the longest in this series of guides that I’ve written yet, and I hope people find it useful. I tried to pitch this guide at a broad audience in terms of experience level. I didn’t want to make it too “beginner” to put off more experienced readers, but I didn’t want to make it too advanced either. Similarly, it covers a broad range of topics, but I didn’t want to go too deep into any one, as not everyone has the same interests. It’s probably a little different from my other guides too, in that it focuses more on shooting rather than editing.
Anyway, I have been quite nervous about launching it, because it is a little different, but it’s done now, so it’s in the hands of the readers!
The guide will normally sell for €6.50 but I’m having a special launch price of €5 for the first two weeks. (The exact price depends on local Vat rates.) You can find out more details about it here on the store page, including a complete chapter breakdown, and a downloadable excerpt.
To give you an idea of how these work in real life, I put together a little video showing the LUTs in action. This was created in FCPX 10.4 using he new built in LUT tool.
The History of Film Candy
Film Candy was the first digital product that I ever created, and it was originally developed for Apple’s Aperture. There were three releases of the original Aperture presets, and these were small packs containing a few presets each. When I switched entirely to Lightroom, I created Film Candy for Lightroom, which combines ideas from all three of the original Aperture versions, and creates similar looks for Lightroom.
These LUT versions of film candy are based on the Lightroom Presets of the same name, and are a collection of looks derived from both Film Candy 1 and Film Candy 2 for Lightroom.
Creating these was actually a little harder that I had anticipated. There are many tools available to convert Lightroom presets into LUTs but it turns out it’s not that straightforward. You need to use specific source images to make sure all colours are covered, and even then if you get some things wrong, you can make unusable LUTs. It took a lot of trial and error to get these right.
(Price includes VAT based on the Irish vat rate, but will vary depending on your location. The store will show you the current price based on your local Vat rate. Outside the EU price will be shown exclusive of VAT)
I was recently shooting some Street Photography with my Fuji X-Pro 2 and I was processing the images with Capture One. I was trying various different looks, but in the end I wanted to go with a black and white theme. As I already had a whole set of looks already created, with SilverLUX, I used this as the basis for the overall style of the images.
While there is a whole range of different effects available with Silver Lux, I ended up using a few of the styles the most often. These allowed me to create a consistent theme for the collection. In addition, I also used some of the grain presets that come with the pack in order to add a little stronger grain to the images. Below is a look at the final result, as well as a few before and after examples.
SilverLUX for Capture One is a set of “Styles” that are designed to give your RAW images a black and white effect. There are 25 Styles in total included with SilverLUX. The set also comes with a collection of 20 grain presets that makes use of Capture One’s excellent grain function to give you a range of grain options.
I’ve been working with the excellent AuroraHDR from MacPhun for some time now, and slowly I’ve been building a collection of presets to use with the software. I’m delighted to say that they’re now available. The pack includes a collection of 22 presets. The included looks are designed to cover a wide variety of styles, and include more traditional, artistic style looks as well as more natural looking styles. The pack also contains some presets designed to work with single image HDR files, and also some black and white HDR looks.
Based on popular request, I’ve created a bundle of all four of my current Fuji X-Trans post processing guides. The guides cover Capture One, Lightroom, Iridient Developer and Iridient X-Transformer. This bundle contains all 4 of these guides and is a little cheaper than buying them separately.
If you get the bundle you will receive individual PDFs along with the presets that are included with some of the Guides. All guides are formatted as PDF which you can print for your own personal use, or it can be read on an iPad or other device.
If you haven’t seen my guides before, here is an overview of the individual ebooks included in the bundle:
Workflow & Settings for Processing Fuji X-Trans Raw Files in Capture One PDF Guide
This is a PDF version of my online guide for processing X-Trans files in Capture One. This short guide attempts to cover the main settings that I use to get good results from Fuji X-Trans files. It is written specifically for Fuji X-Trans shooters who are using Capture One.
Workflow and Settings For Processing Fuji X-Trans images in Lightroom
This guide looks at the many aspects of processing Fuji X-Trans images in Lightroom. It talks about what makes the X-Trans sensor unique, and how that affects post processing. It discusses working with RAW and JPEG files in Lightroom, and shows some strategies for managing both.
It also looks at how to get the best out of Fuji RAW files in Lightroom. It shows you how to mimic Fuji’s film simulations, and how to match Fuji’s dynamic range settings. Finally it covers sharpening X-Trans files in Lightroom and how to minimise artifacts and reduce some of the issues around Lightroom’s conversion of Fuji Raw files.
As a bonus, this guide also comes with my collected Fuji Lightroom presets, all in a single easy to find collection. These presets have been given away on my Blog in the past, and I’ve included them with this guide as a bonus so that you don’t have to download them separately.
This guide is designed to help you get the best results from processing Fuji X-Trans files in Iridient Developer. It is designed specifically for X-Trans shooters to tell you what you need to know to process your images in Iridient Developer.
Processing Fuji X-Trans Files with Iridient X-Transformer and Lightroom
This guide is designed to help you understand and get the best results from using Iridient’s X-Transformer Software in Conjunction with Lightroom to process Fuji X-Trans raw files. While it may seem like a simple application, the number of parameters available make for a lot of possible options when using it. This guide aims to provide you with a roadmap through those options, and provided you with some recipes to get you started with the software.
This guide is based on my own personal use and opinion. I wrote it because I like the software, and personally find it very useful. While it may seem like a simple application, the number of parameters available make for a lot of possible options when using it. This guide aims to provide you with a roadmap through those options, and provided you with some recipes to get you started with the software.
The guide is not too long, and is 30 pagers, broken down into 3 chapters and an introduction. It also contains a set of bonus Lightroom presets which are designed to work with some of the suggestions included in the book.
You can find full details on my store, including a low res version that you can page through to see what’s in the book before you buy it.
I’m delighted to announce that my latest set of Lightroom Presets, FilmLUX 2 is now available. FilmLUX 2 was designed to create a subtle “film” like look to digital images, without them looking overly processed. With many presets, and even when processing manually, it can be easy to take your images too far and have them look like they’ve been heavily treated. With FilmLUX 2 I wanted to create a set of looks, that could enhance an image without it looking like you’ve done an extensive amount of work to it. while the images will still look treated, the effect won’t be too extreme.
There are twenty five different “looks’ in FilmLUX 2 and they are broken into three categories. There are five “chrome” like looks, which are based on an older type of transparency film, and have a reduced saturation for an aged effect. Secondly, there are ten “Vivid” style looks. With these, I wanted to create a vivid look that wasn’t too oversaturated, and still looked relatively natural. They also have a film like curve, ad tend to brighten the image a little, for that slightly pushed film look. Finally, there are ten “negative” effects. These have reduced saturation, raised blacks and a subtle roll off not he whites for a softer look. Each of the 25 main looks comes in two variations, one with grain (marked with a +G) and one without grain.
Here are some examples of FilmLUX2 in action:
A bench in the meadow at the Botanic Gardens, Dublin
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