Capture One Pro 10.1 Update Improves Fujifilm X-Trans Support, Enhances Styles Workflow, and More

Phase One has released its first major update of the year for raw processing powerhouse application Capture One Pro, making its latest version 10.1, and it brings a slew of new and improved features. My two favourites of the list are a major enhancement to CP1’s styles workflow and greatly improved, speed-boosted support for Fujifilm’s X-Trans sensor cameras such as the X-Pro2 and X-T2. But wait, there’s more, including improvements to CP1’s support for Photoshop .PSD files for those who finish their images in Adobe’s image editing software, a before/after function via a temporary adjustment’s reset, tokenized image watermarking and new Applescript support. Lastly, C1P adds support for a range of cameras including the Sony A9, Fujifilm X-T20 and the Panasonic Lumix GH5, and lenses from a range of camera and lens makers. 

Snapshot made on my X-Pro2 from a walk along the sunny ridge road near our former home across the valley. I chose the Provia Sternfeld film simulation by Peter Dareth Evans for the JPEG and in-camera preview then processed the raw file in Capture One Pro 10.1 using presets by Image Alchemist and the 012 Kodak Portra 160 film simulation style from Alexander Svet’s Capture One Film Styles Extended.

One of those newly-supported lenses is the Panasonic Lumix G 25mm f/1.7 Aspheric standard lens that came with my Panasonic Lumix DMC-GX8 in a Panasonic Australia marketing promotion. The 25mm f/1.7 is an underestimated lens that I have come to appreciate especially attached to the GX8 when I use it to simulate shooting with a Rolleiflex twin lens reflex camera, the GX8’s EVF tilted upwards for discrete waist level shots in city crowds. I look forward to seeing C1P’s support for it in action soon.

The GX8 and its tilting EVF may be the closest we will come to the Rolleiflex waist level shooting style in the digital era, though the Fujifilm GFX 50s’ optional EVF tilt adapter may be a good simulation in combination with the camera’s 1:1 aspect ratio setting and its GF63mmF2.8 R WR standard lens.

Capture One Pro 10.1’s much improved Styles and Presets functionality

I am far from expert in the many ins and outs of Phase One’s Capture One Pro raw processor, so best to hand you over to three of the Capture One Pro experts in Alexander Svet of Capture One Film Styles, Paul Steunebrink of Image Alchemist and Phase One’s Image Quality Professor.

For me the most impressive improvement in Capture One Pro 10.1 is its handling of styles and presets. In previous versions, whipping through and previewing the effect of presets and styles on your images was a messy affair with the image covered with dropdown menu items to the point where the image was barely visible. Version 10.1 locates all your styles and presets, built-in, custom and third-party, in its own Styles and Presets tool, neatly arranged to find them more easily without occluding the image upon which you are working.

Links:

Image Credits:

Header image processed in Alien Skin Exposure X2 using the Kodachrome 35mm old preset.

Capture One Pro Raw Processor Updated to Version 10, New Features and Training Videos

Its not red hot news, as Phase One A/S released version 10 of its Capture One Pro raw development software a few weeks ago now, so much as some welcome added extras in the form of a number of excellent training and webinar videos by Phase One for those of us new to Capture One Pro and that are very useful for veteran users too.

This past year, 2016, has been an amazing one for raw processing and image editing software, as I have mentioned several times before now in other articles, with major updates as well as entirely new products.

We as photographers benefit from a broader choice of products and, in my humble opinion, the software makers benefit from one of them lifting the bar higher again with the rest challenging themselves to match and even surpass the current leader’s example, or diverge into a completely different direction.

I have barely had time to properly digest how Capture One Pro 10 has lifted the bar and have yet to try its new features out, but the stand-out for me is its new three-step sharpening process.

Three Step Sharpening
Full control over the sharpening process from Capture to Output. Diffraction Correction, new creative tools for Halo Control makes sharpening easier, and recipe independent output sharpening remove the need to guess amounts for final size.

While trying out and working seriously with a range of image editing and raw processing software recently, I have noticed some divergence in the way each product sharpens images. Those variations seem to depend on which camera the raw files come from, and, of course, how the user manipulates each product’s sharpening controls.

X-Trans raw files from Fujifilm’s X-Pro2 and X-T2 cameras are a case in point. Opinions vary widely amongst experienced users as to which raw processors get the best out of X-Trans files but I have also been noticing differences with raw files from other cameras.

There is clearly more to sharpening than meets the eye. From the evidence Phase One has understood that and its solution is a three-phase process with the welcome ability to see the result of that in version 10’s Output Proofing tool, before hitting the Process button.

Bravo Phase One for seeing the light, and now I hope that all the other raw processing and image editing software makers will follow that example, find their own ways of improving sharpening and even go beyond Phase One’s achievement in version 10 of Capture One Pro.

Now the question is, will Capture One Pro be supporting Fujifilm’s groundbreaking GFX 50S medium format digital camera? Not according to a Phase One representative:

“It is unlikely that we will support the Fuji GFX 50s – we have a long standing policy of not providing support to direct competitors of our core business.”

If true, even more incentive for makers of other raw processors and image editors to equal then surpass the features in Capture One Pro 10.

Right now I and other photographers of my acquaintance are relying on a range of raw processing software in order to get the best out of each camera brand’s sensors and lenses. Not all raw processors are created equal in terms of core functionality, regardless of other possible image editing functions.

Wouldn’t it be incredible if all such software’s core features rendered the best conversions possible for all raw file types from all cameras and lenses, levelling the playing field in that regard, but then strived to differentiate themselves in other ways?

One or two to get the best out of Fujifilm X-Trans raw files, others to get the best out of other brands’ raw files, another because it has a decent Digital Assent Management (DAM) function, it all adds up.

Being an independent, self-financed photographer/moviemaker having to maintain licences for a range of similar, oftentimes overlapping, software in order to get the best out of what one does is incredibly expensive. It would be good to narrow things down a little.

  • Youtube.com: Phase One channel – scroll down the page to Capture One 10 Tutorials and Capture One 10 Webinars.

Stories: Mercury Rises at the Fisk (Wireless) Memorial in Wahroonga

On 22 Seprember 1918, Ernest Fisk, head of AWA (Amalgamated Wireless Australasia) and Raymond E. McIntosh (and a host of other engineers) received a direct transmission from Marconi at his Caernarfon station in Wales. This was cited as the first (major) direct radio communication from Great Britain to Australia, the message received at Fisk’s home, ‘Lucania’ at Wahroonga on Sydney’s north shore. 

Each year, Ku-ring-gai Historical Society (KHS) members celebrate this event at Wahroonga outside the home where a memorial was erected in Fisk’s honour. The weather was not kind today hence the limited photos available. But why mention a moment in history that many have forgotten?…

Stories: Rally to Save Our Sirius

“Save our Sirius,” said the man sitting on the pavement not more than three metres away from Sirius, the social housing icon of Brutalist architecture in Sydney’s historic The Rocks. “Why do they want to save a pub?” 

The Sirius building is anything but a pub, as my first story about it illustrates, a fact that can be easily determined by those who care to glance upwards from their comfy perches.

More than a thousand citizens of all ages, who clearly do know what Sirius is and stands for, took part in a rally on September 17 to protest the imminent eviction of the last remaining longterm residents of Sirius and the planned sale and destruction of their homes.

People from all walks of life took part, including present and past residents of Sirius, Dawes Point and Millers Point, architect Tao Gofers who designed Sirius in the 1970s, local and state politicians, as well as architecture enthusiast and radio personality Tim Ross….

Stories: The Sirius Building, The Rocks, Sydney

The Sirius building is an inner city social housing project in the heart of Sydney’s historic The Rocks district, under threat of destruction. 

It is a rare, iconic example of the Brutalist movement in architecture, extant from the 1950s to the 1970s.

Brutalist architecture, like Brut champagne, is form derived from function, unsweetened with needless ornamentation, constructed with concrete cast into moulds often lined with roughened timber….