Days like this demand a different approach to colour so I chose a DxO film simulation I wouldn’t in sunnier days, Lomography X-Pro Slide 200, and combined it with the selenium and gold split-toning that I’d normally reserve for monochrome.
If these dark days continue I’ll explore this look further and see where it takes me.
But then there’s this approach, applying a movie rating preset named Moody Dark Green from DxO’s Cinematic Films collection from photographs made at an amateur radio club event in honour of Dick Smith.
The light in this little old hall is mixed and dim with several different types of bulbs in a mixture of fixtures and shadowy as well due the lack of a ceiling to cover the rafters and bounce the light around more evenly.
I’ve been reading how many users of DxO’s DeepPRIME XD have been getting great results from choosing much higher ISOs than they normally would so I shot all of this set with an ISO of 6400.
My usual maximum ISO is 3200 but these images in deep space demanded a small aperture and a different approach to colour due to lack of detail in the low values.
These colours remind me of rustic scenes painted by Pieter Breugel the Elder though he wouldn’t have used as much green as this.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
DxO PureRAW 3, the groundbreaking RAW photo enhancement software, gives photographers incredible image quality thanks to DeepPRIME XD
March 15, 2023
Together with innovative DeepPRIME XD — eXtreme Detail — denoising technology, this major new version of DxO’s award-winning RAW processing software delivers greater control without reducing the ‘one-click’ functionality that users love. It also features pivotal upgrades to the user interface, making workflow even smoother.
Paris (France): DxO Labs, the company which kick-started modern RAW processing and lens correction, today announces the immediate availability of DxO PureRAW 3, its revolutionary RAW enhancement software. PureRAW 3 optimizes the quality of any RAW image by eliminating noise, improving color, enhancing detail and correcting lens flaws.
DxO PureRAW 3 now features DxO’s latest artificial intelligence technology, DeepPRIME XD, delivering industry-leading noise reduction and RAW image enhancement; greater control over which corrections are applied through DxO’s renowned Optics Modules; and user interface modifications that offer improved integration with every photographer’s workflow.
DxO DeepPRIME technology gets even better — and for Fujifilm photographers, too!
DxO PureRAW set the standard for noise reduction and image improvements – but the introduction of DeepPRIME XD pushes performance even further. By using a larger neural network than regular DeepPRIME, DeepPRIME XD delivers greater levels of detail, improved color accuracy, and smoother, noise-free bokeh when shooting at even the highest ISO levels.
With DeepPRIME XD, photographers report improvements of more than 2.5 stops in noise performance. For example, images shot at ISO 4000 more closely resemble those captured at ISO 500 in terms of noise, color, and clarity.
Because noise reduction is performed as part of the RAW conversion process, DeepPRIME XD can also improve the dynamic range of an image, giving photographers greater flexibility when shooting in challenging situations where light is limited. The original DeepPRIME mode remains part of DxO PureRAW 3 for images that demand less enhancement or where faster performance is required.
“DeepPRIME almost surprised us when we first saw the results,” explains DxO’s VP of Marketing and Product Strategy, Jean-Marc Alexia. “We quickly realized that a larger neural network could boost performance, and that’s what we’ve delivered with DeepPRIME XD. This technology pushes the boundaries even further, and DxO PureRAW 3 will revolutionize any photographer’s images — and without disrupting their existing workflow.”
Until today, DeepPRIME XD did not process RAW files from cameras with an X-Trans sensor. However, with DxO PureRAW 3, Fujifilm X Series photographers will be delighted to learn that their cameras are supported, a development reflected in DxO PhotoLab 6.4, also released today. As a result, X-Trans images can undergo incredible noise reduction, remarkable detail enhancement, and the restoration of accurate colors, especially when shooting at high ISO levels.
Power is nothing without control
As well as greater performance, DxO PureRAW 3 gives photographers a new level of control. The software’s updated interface now offers options for levels of lens softness correction, as well as the ability to toggle vignetting and chromatic aberration corrections. Furthermore, photographers can access the whole image area captured by the sensor, avoiding the crop enforced by other software when correcting deformations.
Interface improvements for a smoother workflow
DxO PureRAW 3 also introduces a number of improvements when it comes to workflow. Users can create multiple queues when batch processing large numbers of files, with the option to edit, re-order, and prioritize both images and queue lists while processing is underway. In addition, photographers can now choose to export files in TIFF format, alongside the existing JPEG and Linear DNG options.
Finally, the user interface has been revamped, bringing it closer in line with other DxO software.
About DxO PureRAW
DxO PureRAW is the only software of its kind, making unprecedented enhancements to RAW files at the beginning of a photographer’s existing workflow and therefore giving them the best possible foundations on which to edit.
Breaking with convention, the software uses convolutional neural networks to perform the demosaicing and denoising processes of RAW image conversion simultaneously. Having been trained using billions of image samples, the network is able to produce results that far exceed those made by human-designed algorithms, giving users Linear DNG files that have all of the flexibility of the original RAW file, but with the best possible image quality in terms of color, noise, and fine detail.
In addition, DxO PureRAW uses DxO’s highly regarded Optics Modules, a database of well over 80,000 lens and camera body combinations that provide the highest levels of corrections to lens softness, geometric distortions, vignetting, and aberrations. Updates in March 2023 bring support for a number of cameras and lenses including two popular Nikon Z zoom lenses, an RF prime from Canon, and a selection of cameras from Panasonic.
About DxO
For over 20 years, DxO has blazed a pioneering trail in the fields of photographic science and digital image processing. Built on principles of technical rigor and ceaseless innovation, we were at the forefront of bringing RAW development to photographers, and continue to build the most powerful and versatile software on the market, all designed to offer the greatest image quality and creative freedom. Along with its exacting Optics Modules, available in all our products, we publish DxO PhotoLab, which won the EISA 2020-2021 award for Best Photo Software and the TIPA award for Best Imaging Software in 2020, 2021, and 2022; the award-winning RAW preprocessing and noise reduction software, DxO PureRAW; and Nik Collection, the renowned suite of creative plug-ins for Adobe Photoshop®, Lightroom Classic®, and DxO PhotoLab.
Images
DxO PureRAW 3.
DxO PureRAW 3.
DxO PureRAW 3.
Commentary
At last, versions of DxO PhotoLab and DxO PureRAW that support Fujifilm X-Trans raw image files as well as Fujifilm Bayer raw image files, and a myriad of Bayer raw files by many other camera makers too.
We’re looking forward to putting DxO PhotoLab Elite 6.4 and DxO PureRAW 3 to the test with some newly-made photographs in the coming days.
Colour us very, very excited.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
Our favourite raw image file processing software DxO PhotoLab Elite has now gained the ability to support .RAF files from Fuijfilm’s X-H2S, X-H2 and X-T5 APS-C cameras and support for Panasonic’s Lumix S5II is coming in March 2023.
At the moment, in mid-February 2023, we’re still waiting for the DeepPRIME XD demosaicing and denoising function to support Fujifilm X-Trans raw files but Fujifilm Bayer raw files from the original Fujifilm Finepix X100 are supported as well as, we believe, Bayer raw files from Fujifilm GFX cameras.
We took one of our oldest Panasonic Lumix camera and lens combinations out for a walk today – a Lumix GH4 and Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS standard zoom lens – and it worked fine when minimally processed in the current latest version of DxO PhotoLab Elite.
Lumix GH4 and Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS Bayer raw file in DxO PhotoLab Elite 6.3
We’re not street photographers but this image is an apt document of aspects of life in this cluster of suburbs where Edward Hopper’s paintings of American urban living can be an appropriate comparison.
One of the many things we love about DxO PhotoLab and its companions-cum-plugins DxO FilmPack and DxO ViewPoint is that these applications inject new life into old digital images even when made with lower specced cameras and lenses.
On another note, as soon as DeepPRIME XD for Fujifilm X-Trans comes to DxO PhotoLab then we’ll be shouting it from the rooftops.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
DxO – Supported Cameras & Lenses – At the time of writing in mid-February 2023, DxO PhotoLab Elite 6.3 supports Fujifilm X-H2, X-H2S and X-T5 and Panasonic Lumix GH6 with support for the Panasonic Lumix S5II coming in March 2023.
I came across this YouTube channel this morning during online research for an article on Fujifilm’s latest cameras, the X-T5, X-H2 and X-H2S, and the Fujinon XF 18-120mm f/4.0 LM PZ WR stills and movie zoom lens.
The presenter doesn’t share his name or other details in the channel’s About tab but he appears to be based in New Zealand and he seems to be a landscape photographer.
He upgraded to DxO PhotoLab Elite 6 after its release earlier this year and has been using it in conjunction with other DxO software as well as applications made by other companies.
His tutorials on DxO PhotoLab 5 are also useful and applicable to version 6.
Two videos by DxFlow on DxO PhotoLab 6
DxFlow: Here is why Photolab 6 is the best update they have ever done to Photolab.
“Disclaimer. There are so many great choices out there for RAW editors. I don’t want to start a debate about which one is best. They all have their strengths. All you can really ever say is which one you like the most. For me that is Photolab – no question. But it has had a somewhat hidden (in that it was never talked about too much) limitation in the working colour space. They have finally modernised that aspect and I could not be happier with what I am seeing.”
We’ve been relying upon DxO raw processing and image editing software for almost twenty years now since getting back into photography and video in the digital era and although we continue to try out and buy other such software by other makers, DxO’s products remain our number one choice.
Why?
Because, after spending more decades before that in darkrooms and ruining our health by it, we have limited patience for spending time editing images and we want to get the very best results fast with the option of spending more time and doing more to our images only if we choose to.
DxFlow: DxO Photolab 6’s new colour management – My experience so far
The video today is an attempt to sum up everything I am noticing about the new colour management so far. I am obviously not a colour scientist, so this is very much me sharing what sense I can make of all this. To me, this is still the number one improvement they have made in recent years.
This is DxFlow’s second review video on DxO PhotoLab 6 and there may be more coming soon.
Meanwhile please check out his videos on the previous version of PhotoLab and other software as they’ll also be applicable to version 6.
I’ve been impressed and pleased by my results processing Bayer raw files in DxO PhotoLab Elite 6 in conjunction with DxO FilmPack Elite 6 and the recently-updated DxO ViewPoint 4 especially when applying DeepPRIME XD.
I’m hoping that DeepPRIME XD for Fujifilm X-Trans raw files will be coming soon, but I’ve read this translated comment in the DxO Forums:
“DxO is very demanding in terms of final rendering and that’s why we have not yet wanted to launch DeepPRIME XD for Fuji X-Trans devices because we are not satisfied with the result.”
Meanwhile support for the Fujifilm X-H2 flagship hybrid is coming later this month, December 2022, while the Fujifilm X-H2S flagship hybrid is already supported.
No news yet about support for Fujifilm’s Fujinon XF 18-120mm f/4.0 LM PZ WR stills and movie zoom lens.
Hello,
About cameras, in December you’ll get support of Fuji X-H2, Nikon D100 and Sony FX30. In January you’ll get support of Canon EOS R6 Mark II, Fuji X-T5, OM System OM-5 and Sony A7R V. All will be in PhotoLab 5 and 6, PureRAW 2, FilmPack 6, ViewPoint 4 and Nik 5.
About lenses, Tamron 20-40mm will be supported in December.
You’ll get more news with the release.
Regards,
Marie
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter and whichever raw processing software you use.
We’ve been using DxO PhotoLab Elite 6 as a trial version since it was first released earlier in 2022 and recently purchased an upgrade licence for it and DxO ViewPoint 4 during the Black Friday discounts and sales period.
We have been relying on DxO PhotoLab Elite and its companion applications by DxO as our number one choice for raw file processing, image editing and film simulation and other effects with our use of DxO PhotoLab going back to the time it was named Optics Pro Elite.
The arrival of DeepPRIME XD denoising and demosaicing in DxO PhotoLab Elite 6 has cemented its status as our first choice for processing raw files from Bayer and more recently Fujifilm X-Trans sensor-equipped cameras.
The Joy of Editing with Dave Kelly: DxO PHOTOLAB 6 Has Been Released (This is a FIRST LOOK) Now with Deep PRIME X
We’ve been very impressed by how Bayer raw files benefit from DeepPRIME XD and look forward to DeepPRIME XD support for Fujifilm X-Trans raw files coming to DxO PhotoLab 6 very soon.
Dave Kelly’s first look at DxO PhotoLab 6 is a good introduction into what this latest version can do and we look forward to seeing his in-depth review appearing soon.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production.
… and in the course of a couple of hours it turned from bright, hot sunlight to cloudy grey and cold.
So I swapped between square images in colour with the Panasonic Lumix GX8 and Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro and 16:9 monochrome with the Fujifilm X-Pro2 and Fujinon XF 50mm f/2.0 R WR.
I processed both sets of images in the latest DxO PhotoLab Elite with DxO FilmPack Elite and DxO ViewPoint but chose DeepPRIME XD demosaicing and denoising for the GX8’s Bayer raw files and DeepPRIME for the Fujifilm X-Trans raw files.
I look forward to the day when DxO PhotoLab Elite gains parity for processing Fujifilm X-Trans with the Lumix GX8’s Bayer raw files.
These JPEG files were exported directly from DxO PhotoLab Elite but I found that the X-Trans files needed to be exported as Bicubic Sharpen whereas the Bayer files only needed export as Bicubic.
Given the choice, I’d process everything with DeepPRIME XD for its greater detail and tonal separation especially in the low values and do without Bicubic Sharpen altogether.
The colour photographs are for a colleague and the monochrome one is for our project photographing local suburbs and their high streets as if frames in a movie.
It’s an unbreakable rule that we carry a camera and at least one lens with us everywhere we go every day and make at least six exposures each time even if we throw most of them out.
As with the bodies of athletes, the eyes and shutter release fingers of cinematographers and photographers should be exercised each and every day to some degree.
Varying what we create images of and how we do it is essential to that exercise regime.
We’ve been thinking about panoramic aspect ratios and longer focal lengths for the safety of distance from locals careless about spreading COVID-19; so today we chose our venerable Fujifilm Fujinon XF 56mm f/1.2 R and selected the most panoramic aspect ratio our daily carry camera offers, 16:9.
We’d love to supplement our old 56mm f/1.2 with its recent update, the Fujinon XF 56mm f/1.2 R WR, but funds mitigate against that for now as does the need to update so much of our production hardware.
Normally we’d prefer our Fujinon XF 50mm f/2.0 R WR for its more documentary-style fast autofocus and higher optical quality, but our old 56mm lens has a certain charm in its optical character though we’re not really fond of so-called “character lenses” given our documentary background.
We processed these Fujifilm X-Trans raw files in the latest DxO PhotoLab Elite and although the results using DeepPRIME demosaicing and denoising are good, we are so looking forward to DxO’s software developers adding full support for X-Trans including DeepPRIME XD.
Based on our tests of DeepPRIME XD on Panasonic Lumix Bayer raw files from smaller Micro Four Thirds sensors, the ability to select DeepPRIME XD for X-Trans raw files should add extra dimensionality and detail especially in the low values.
We hope we don’t have to wait too much longer for equal and full support for Fujifilm X-Trans raw files in all of DxO’s excellent software.
The locals seem to live in a world all their own with their truck-sized glossy black or road-blending grey European SUVs, huge block-filling European-style or 1920s Hamptons MacMansions with all the built-in gadgets and luxury resort lifestyle optional extras, non-vegan cafés and restaurants and a plethora of real estate agency offices lining every high street.
Given this is what we have here without risking COVID-19 infection by jumping on a bus or train into the city, our nearby localities are as good a documentary subject as any.
We’ll swap making these sorts of images between our Fujinon XF 56mm f/1.2 R and XF 50mm f/2.0 R WR lenses to see what handles the subject matter best without the benefit of DeepPRIME XD at least until DeepPRIME XD supports Fujifilm X-Trans raw files.
Links
B&H Affiliate Link – click here to research and purchase or pre-order your choice of camera, lens and accessories. We currently recommend the X-T5 in combination with the 30mm f/2.8 Macro lens and MHG-XT5 hand grip as an excellent prime lens-oriented starter kit for photography and we’re looking forward to the coming Fujifilm X-Pro4 digital rangefinder camera which we hope will combine the best of the X-Pro2 with the best of the recently-released X-T5 and X-H2.
We’re having more fun processing Bayer raw files in DxO PhotoLab Elite 6.0 and the new DeepPRIME XD denoising and demosaicing feature, and wish DxO would fully support Fujifilm X-Trans raw files too.
Not much happens in the suburbs where we live now and have lived before so photographs made here tend to be a little Edward Hopper-like, attempting to create “subdued drama out of commonplace subjects ‘layered with a poetic meaning’, inviting narrative interpretations”.
We made these photographs with our beloved Panasonic Lumix GX8 and our Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens and processed the Bayer raw files with DxO FilmPack Elite’s Astia film simulation preset for a painterly look and to emphasise the damp grey days of this third La Niña year in a row.
DeepPRIME XD for M43 20 megapixels Bayer raw on Lumix GX8 at ISO 200
If the “XD” in DeepPRIME XD means “extra definition” then these unscientific tests appear to indicate that DxO PhotoLab Elite 6 is digging extra detail out of these 20 megapixel Micro Four Thirds raw files to produce results more reminiscent of APS-C-sized sensors.
That’s more noticeable in full-sized TIFF exports of these images from DxO PhotoLab Elite than these smaller JPEGs but we’re pleased at how low values in these images appear to benefit as well as better definition in all items in focus.
We’ll keep trying this latest version of DxO’s raw processor out while hoping for some good, strong sunlight but what we really want to see is full support for Fujifilm X-Trans raw files too.
If DeepPRIME XD is helping us get so much out of our M43 Bayer raw files then we can only imagine how much better our Fujifilm X-Trans are files might look compared to regular old DeepPRIME.
DeepPRIME XD for M43 20 megapixels Bayer raw on Lumix GX8 at ISO 3200
To further test DeepPRIME XD’s ability to dig extra detail out of images, I shot the two images above at a small clubhouse lit with uneven mixed light sources with the camera set at 3200 ISO and f/5.6.
Not bad for images from a Micro Four Thirds sensor with a base ISO of 200.
I’m rather fond of M43’s 4:3 aspect ratio and much prefer it to 35mm’s 3:2 aspect ratio for many subjects and genres, especially portraiture and documentary.
These results have encouraged me to consider carrying a Lumix GX8 or GH4 with me more often as my daily carry instead of a Fujifilm APS-C camera like my X-Pro2.
DeepPRIME XD has given both Lumix cameras extra life now.
I’m pleased that Fujifilm has finally listened to user requests and added two extra aspect ratios, 4:3 and 5:4, to its X-H2.
I hope that Fujifilm will do the same for the X-H2S, X-T5, X-Pro4 and all its future APS-C cameras.
DeepPRIME XD for APS-C 12 megapixels Bayer raw on Fujifilm X100 at ISO 800
We still have our original Fujifilm Finepix X100 though every so often we wonder if we should consider selling it considering its age and collectable status.
Our philosophy is that every bit of gear here should still be usable and not just sit there unused, so we got it out the other day and shot some images of the building activity going on around us.
It’s been a while since we made any serious photographs with it and when we did the results from processing X100 raw files in much earlier versions of DxO PhotoLab were good but not impressive enough to justify keeping the camera.
These images paint a very different picture when using DxO PhotoLab 6 Elite and DeepPRIME XD.
Next we’ll try making some images with non-M.Zuiko Pro lenses on M43 cameras and see what we get with DeepPRIME XD on 20 megapixel and 20 megapixel Bayer files.
Meanwhile, DxO, please radically update your support for Fujifilm X-Trans raw files to parity with its support for Bayer raw files!
For FujiFilm X-Trans images, the current restrictions are:
No Prime, and DeepPRIME XD support* (but DeepPRIME is supported).
No auto mode option in DxO Smart Lightning.
No dead pixels option in DxO Denoising technologies.
No maze option in DxO Denoising technologies.
*It is planned to add DeepPRIME XD support only with a later minor update of DxO PhotoLab 6.
We rely on our Fujifilm cameras for discreet documentary photography in available light and more often darkness where we often have no choice but to set high ISOs then process for optimum quality results.
Fujifilm’s X-Pro series digital rangefinder cameras are well-suited to this type of photograph given their lack of resemblance to intrusive and noisy DSLRs and DSLR-style cameras.
It’s true that Panasonic’s Lumix GX8 rangefinder-style camera also tends to be ignored in public for its resemblance to compact point-and-shoot cameras and the results we are getting from processing its raw files in the latest version of DxO PhotoLab Elite are impressive.
But we often need to use both types of cameras on the same projects as neither system has every lens type and focal length that we want so its a question of mix and match cameras plus lenses while trying to process Bayer and X-Trans raw to look like they’re from one and the same system.
DeepPRIME XD for M43 20 megapixels Bayer raw on Lumix GX8 & Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS at ISO 500
With once normal bright and sunny spring and summer days a thing of the pre-pandemic past, I’m still working out how to effectively process photographs made in our now customary gloom.
Perhaps a more painterly approach may work?
If so, Panasonic’s Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS zoom lens seems to be a good match as its optics appear softer and more flattering than those of Olympus’ M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens.
Another year is drawing to its inevitable close, the third wintery-cold La Niña rain-bomb weather event has begun here in Sydney, we made some comparison snapshots of our Fujinon XF 50mm f/2.0 R WR with our Fujinon XF 56mm f/1.2 R this morning and discovered on our return to the Unititled.Net premises that DxO has released DxO PhotoLab 6 and DxO Viewpoint 4.
So what else could we do but process today’s photographs in the trial version of DxO PhotoLab 6 Elite and DxO ViewPoint 4 along with DxO FilmPack 6 Elite?
Our intention with these snaps was to remind ourselves of the differences between both lenses and their suitability, or not, for available darkness documentary photography in the light of Fujifilm’s recent release of the Fujinon XF 56mm f/1.2 R WR.
Both lenses were set at their maximum apertures and as expected the Fujinon 56mm f/1.2 R’s out of focus rendering was soft and an extreme contrast against its sharply focused areas.
As a documentary lens it’s best suited for isolating details against a background containing little no useful information.
The Fujinon XF 50mm f/2.0 R WR renders out of focus areas as soft but they still contain enough information to support the main object of the photograph or as counterfoils.
Although the lenses’ focal lengths seem similar with just 6mm between them, their 35mm equivalents better indicate their key difference.
One is equivalent to 84mm in the 35mm sensor format while the other is equivalent to 75mm, almost 10mm difference and enough to give them a very different character to each other.
One is about a person against a background while the other is about a person located in an environment.
In common with past DxO software updates, this first version of DxO PhotoLab 6 has some missing bits that will be worked on over the coming weeks.
There are currently more missing bits in its support for Fujifilm X-Trans raw files than for, for example, Bayer raw files from our Panasonic M43 cameras.
Most noticeably, DeepPRIME XD demosaicing and denoising is not activated when processing X-Trans files though it works beautifully even on lower megapixels raw files older Panasonic cameras like the GH4.
Key modules like Exposure Compensation and Smart Lighting are still not fully functional for Fujifilm X-Trans raw files compared to Bayer raw files.
And, oddly, Split Toning doesn’t activate for Fujifilm X-Trans raw files right now so I had to rely on dialled-down Gold toning to communicate the cold and grey La Niña weather that’s plunged us back into winter.
This is just a quick first look at our most essential, most relied-upon software, DxO PhotoLab and DxO ViewPoint, and there are a few other new features that are promising if not exciting such as enhanced project support and the Repair tool morphing into ReTouch.
Then there’s the new Working Color Space, DxO Wide Gamut, that now supplements Classic (Legacy) and will no doubt soon overtake it.
What new and as yet unknown benefits will that bring, I wonder?
For anyone with Fujifilm X-Trans cameras wavering on investing in DxO raw processing software, waver not as ever since X-Trans support first appeared in a beta version we’ve been obtaining better results from DxO PhotoLab for our kind of available light documentary photography than from any other raw processing and image editing software.
With more Fujifilm users adopting DxO software, our hope is that DxO will be emboldened to invest the time and money to bring it up to parity with their longtime excellent Bayer raw file support.
Portrait of a Brush-Turkey friend
Photographed with Fujifilm X-Pro2 and Fujinon XF 50mm f/2.0 R WR lens then processed in DxO PhotoLab 6 Elite, DxO FilmPack 6 Elite and DxO ViewPoint 4 with Velvia/VIVIDDigital Films simulation preset.
B&H Affiliate Link – click here to help us with costs for creating this website and its contents by pre-ordering and purchasing items from B&H.
B&H Affiliate Link – Fujifilm X Series Cameras – X-H2 – X-H2S – X-Pro3 – We’re looking forward to the X-Pro4 in 2023 with the 40 megapixels sensor first used in this year’s X-H2.
DxO – DxO PhotoLab, DxO FilmPack, DxO ViewPoint, DxO PureRAW² and Nik Collection – the first two is an excellent raw processing pairing for documentary and photojournalism work while DxO PureRAW² offers a great raw processing first step for those relying on other companies’ image processing software.
SmallRig Affiliate Link – click here to help us with costs for creating this website and its contents by pre-ordering and purchasing from SmallRig.
“When DXO Photo Lab 5 was released a few weeks ago, it came as a pleasant surprise to many that they had finally decided to support Fuji cameras. Fujifilm support is currently in beta, but the software is capable of producing some really good results. However, to get the best quality, you need to jump through a few hoops first. In this article, I’ll talk you through how to get the best results and some of the options you need to consider….”
Thomas Fitzgerald’s website, his ebooks and his store have been crucial to me in learning how to get the best out of Capture One and I’m pleased to see that he is now providing some tips on get the best from using DxO PhotoLab 5 with Fujifilm X-Trans raw files now that it, DxO FilmPack and DxO PureRAW² have beta support for them.
I hope to see Mr Fitzgerald providing more such write-ups on the subject from now onwards.
DxO’s software was the very first that I used on the advice of friends in Europe when I got back into photography in the digital era and it continues to be my default choice for documentary photography.
Capture One tends to be my first choice for portrait photography due to its skin colour controls.
DxO – DxO PhotoLab, DxO FilmPack, DxO ViewPoint, DxO PureRAW and Nik Collection – the first two is a superior raw processing pairing for documentary and photojournalism work while DxO PureRAW² offers a great first step for those relying on other companies’ image processing software.
UNITITLED.NET 