“In this video I give you a quick walkthrough of Capture One Express for Fujifilm (Also for Sony) to get you up to speed, starting with importing, then some basic editing, and finally how to export….”
Now that Phase One has released its free Capture One Express raw processing software for Fujifilm, I can wholeheartedly recommend it.
I learned how to use Capture One Pro, the full version that supports hundreds of different cameras and lenses, some years ago by watching free training videos on the Web, and can highly recommend Thomas Fitzgerald as a Capture One teacher as well.
1Styles.pro – two collections of excellent film simulations styles for use in Capture One in its various versions.
All raw processing and image editing software is not created equal although all such products I have used in recent years, whether open source and free or purchased, are very capable of achieving great results even if some products’ interfaces could do with a little modernizing.
One of my favourite raw image processors and image editors is Phase One’s Capture One Pro, and it is especially good for processing photographs containing skin tones.
Hardly surprising given Capture One is primarily aimed at fashion, portrait and wedding photographers and also has a large user base amongst architectural and landscape photographs, especially those working with large sensor cameras and who often need to print their images large, really large.
Capture One Pro has ably though partially supported Fujifilm X Series cameras for some time now but according to statements made by Phase One staff members and reported in the specialist online press, supporting Fujifilm’s GFX Series medium format cameras would not be on the cards due to a perceived conflict of interest.
Phase One has long been a major player in the medium format camera and sensor world with its own ranges of excellent though expensive cameras and digital backs.
The release of two versions aimed directly at Fujifilm camera users, the free Capture One Express Fujifilm and the licensed Capture One Pro Fujifilm, comes as a pleasant surprise.
The latest version of Capture One Pro 11 supports Fujifilm X-T3 raw files, as indicated by the test I did this afternoon with the three X-T3 images above, and I will look for a GFX raw file to try out soon.
This has been a great day for Fujifilm product announcements and now this unexpected bonus comes too.
Raw files from Fujifilm X-T3, processed in Capture One Pro 22.214.171.124 with 1Styles.pro styles
“This image is from an X-Trans raw file (Fuji sensor.) These are normally a big challenge for raw processors but I was able to process it quickly and effectively with ON1 Photo Raw 2018 using 2 of my favorite filters- Dynamic Contrast and Color Enhancer….”
We live in interesting times for digital photography with some great cameras now on the market and an ever-growing, ever-evolving set of choices in image editing and raw processing software available to those with deep pockets as well as those with less so.
Headline news at the moment is Google selling Google Nik Collection, which it acquired when buying Nik Software for access to their Snapseed mobile image editing app, to DxO with DxO continuing Google’s recent move to give Nik Collection away for free.
DxO has stated that they will continue developing the Nik Collection though not how they will apply all the technology within it.
All hail the U Point
The company has already made good use of one key complement of all applications within the Nik Collection, its U Point technology that is a more accurate, more sophisticated alternative to using brush tools for masking.
I first came across U Point selection and masking at a photography trade show in Sydney at the Nik Software stand where Nik Collection component Viveza was being demonstrated.
I immediately bought a copy and found I could use it to bring to stunning life images shot under lighting circumstances too challenging for the image editing suites of the day to get the best out of with their then-current tool sets.
Make precise edits quickly
Use U Point® technology to selectively edit just the parts of your photos that need touching up without losing time on complex masks and selections.
As soon as I downloaded the PhotoLab trial version I put it to good use editing the monochrome image at the top of this page, relying heavily on DxO’s new iteration of U Points.
DxO is on to a winner
DxO PhotoLab was formerly named DxO OpticsPro, the Elite version of which I bought as my very first raw processor at the same time as a Canon EOS 5D Mark II, on the recommendation of a Danish photographer friend.
I quickly added DxO FilmPack and DxO ViewPoint, both of which work as plug-ins extending DxO OpticsPro and now DxO PhotoLab, as well as being standalone editors and plug-ins for image editing products like the long-discontinued Apple Aperture, Adobe Photoshop and Lightroom.
I recall that Nik’s version of U Point seemed to have worked faster than DxO’s, which takes a little longer to display the tooltips that explain just what each icon represents but I am sure DxO will be ramping up its U Point display and operation speeds each new version.
It was refreshing to get back to using U Points in DxO PhotoLab as they have always been and remain my preferred selection and masking tool.
Given Google’s neglect of the Nik Collection, recent versions including the current one under the DxO aegis fail to function as plug-ins within recent versions of Photoshop and no doubt Lightroom, causing weird error messages as seen in the header image on this page.
DxO and Fujifilm X-Trans raw files
The only downside to DxO buying Nik Collection is to do with the camera sensor types that all DxO software supports.
Some time ago, the DxO people told me that they will never support X-Trans raw files due to their non-Bayer technology and would only ever support Bayer pattern sensors.
Right now, though I am wondering if the name change of DxO OpticsPro to DxO PhotoLab might be signalling grander intentions for DxO’s key software product.
More than a sophisticated raw developer?
If they are intending to turn DxO PhotoLab into more than a very fine raw processor with built-in camera, lens and analog film simulation profiles, with the addition of all the many image editing features of the Nik Collection, then surely they must be considering adding support for Fujifilm’s X-Trans and non-X-Trans sensors, cameras and lenses.
As I have found time and again, it can be a real pain having to process Fujifilm rare files in one raw processor then raw files from all one’s other, non-Fujifilm cameras in another raw processor, then editing them all together in an image editor once having imported them as TIFF or PSD files.
Always best to do as much as one can in one raw processor regardless of camera used, preserving the ability go back make non-destructive changes.
A range of cameras and sensor types
Like many photographers and cinematographers these days, I rely on a range of camera, lens and sensors types in order to best suit my subjects and how I wish to depict them, and having limitations imposed on me by software companies being unwilling or unable to support all my hardware is a massive pain.
I have yet to establish a fixed workflow that gets the best out of all my gear and continue to try out various options.
Now that Iridient Digital has released the first version of its Iridient X-Transformer aimed at converting Fujifilm X-Trans raw files to DNG files, I have begun running files from my X-Pro2 through X-Transformer then opening them in various image editing applications to see which may work best with them.
DxO’s three core products, PhotoLab, FilmPack and ViewPoint, accept and process TIFF and JPEG files as well as raw files from Bayer image sensors, minus certain core functionality, so they can be introduced into your workflow after your initial raw file processing stage.
Meanwhile, other developments
Lest what started as a small article grows too large and boring, let me list other recent developments in raw processing software.
Adobe recently outraged and panicked many dedicated Adobe Photoshop Lightroom (to use its full name) users by signalling the end of the non-suscriber version of Lightroom aka Lightroom CS in favour of the subscription-only version named Lightroom CC, those initials standing for Creative Cloud.
Like a surprising number of Australian pro photographer colleagues, I have never been a serious Lightroom user having stuck with Photoshop and Camera Raw for years and then jumping ship to DxO OpticsPro and other image editing software.
Irish photographer Thomas Fitzgerald is quite the expert on the pros and cons of various raw processors and image editors as well as workflows, so I will refer you to his Thomas Fitzgerald Photography blog for further details and clarification of Adobe’s now more confusing naming conventions for its two current versions of Lightroom.
Coming from a traditional photography technical background, Mr Fitzgerald is also a highly recommended authority on other software such as Capture One Pro, Macphun (now Skylum) Luminar, ON1 Photo Raw, Apple Photos and plenty more besides.
I highly recommend making him a regular stop on your daily photography reading list.
Meanwhile I will be catching up on the other new developments in software and will be covering them here soon.
My photo editing and raw processing watch list
These are the brands and products I try to keep an eye on, or have used and liked, and I currently use a subset of them in my work.
There are quite a few more of them, paid-for and open source, but I can’t keep an eye on everything out there!
Tastes and needs are different for everyone, so this list may be useful for you when working out your own photography workflow.
The header image is based on a DxO OpticsPro raw sample photograph that I edited in DxO PhotoLab using the Nik Collection’s U Point adapted by DxO since buying it from Google.
The biggest difference between DxO’s version of U Point and Nik Collections’ is that DxO’s displays icons first and then tool tips appear later after hovering your cursor over an icon.
Given that there is no universally understood icon language, are icons the best solution for a GUI like this or should DxO revert to the Nik Collection’s text-only U Point GUI?
I exported the file from DxO PhotoLab as a TIFF then imported it into Adobe Photoshop where I attempted to apply the Nik Collection Analog Efex Pro 2, resulting in the error message depicted in this screenshot.
“I had been keeping my eye on the market for a while, and knew that ultimately my decision would come down to the Lumix GH5 and the Fuji X-T2. Both are excellent cameras, and while the GH5 is likely a better option for many filmmakers, based on my unique needs I chose to go with the X-T2.…”
…With regards to resolution, clarity, and motion cadence, the X-T2 is absolutely superb. It delivers detailed images that are clear and crisp without being overly sharp, and it handles panning shots and other motion very well, with less motion judder/artifacts in 24p than what I have come to expect from many other cameras.
Fujifilm has a well-deserved reputation for its Kaizen – continuous improvement – firmware updates, a practice I first encountered with my first Fujifilm digital camera, the classic rangefinder-style Finepix X100S. The X100’s updates turned a revolutionary camera into one that remains fun to use and usable for documentary photography assignments to this day. And now, Fujifilm is set to outdo itself with a massive list of firmware improvements to its two flagship cameras, the rangefinder-style X-Pro2 and the DSLR-style X-T2. Happy days.
The full firmware list contains a record-breaking 33 new and improved items of which 27 will appear in late March and the final 6 in late May. Some are for both the X-Pro2 and X-T2, some are for the X-T2 only and some are for the X-Pro in a catchup with the X-T2’s current feature set.
For the X-T2 only, 😦
The X-T2-only updates indicate that Fujifilm has chosen to increase its differentiation between both cameras’ video capabilities. The X-T2 is about to gain:
#14. Activation of the Eye Sensor in video recording (X-T2 only).
#15. Change of ISO sensitivity during video recording (X-T2 only).
#17. Display live histogram during video recording (X-T2 only).
#18. Optimization of external microphone’s input level (X-T2 only).
Other X-T2-only updates indicate other differentiations by Fujifilm between its flagship cameras, in tethering and for portraiture and other genres often requiring vertical orientation of the camera:
#22. Automatic vertical GUI for LCD (X-T2 only).
#28. Support for computer tethering via Wi-Fi (X-T2 only).
Tethering, the ability to connect cameras to computers by wire or Wi-Fi, has been an accepted, often client-demanded, tool in commercial photography for some time now and has been well supported by medium format and DSLR camera makers, and some raw processing software. USB tethering recently came to the X-T2 via standalone software and plug-ins for Adobe Lightroom.
Many of the new and improved firmware items for both cameras are welcome indeed, speeding up their accuracy and operability. Some may have limited usefulness while one glaring omission from the firmware of both camera remains AWOL – zebras.
AWOL, an immigrant from video world
Zebras for ensuring accurate exposure are welcome immigrants from the world of video camcorders and high-end stills/video hybrid cameras like Panasonic’s Super 16/Micro Four Thirds GH4, GX8 and the new GH5.
Zebras have rapidly proven themselves just as useful for stills as for video, helping combat the all-too-prevalent problem of overexposure that pushes high values over the shoulder into unrecoverable burn-out territory.
High value or highlight burn-out is as problematic in stills as it is in video, whether one is shooting raw or JPEG files. Although extreme high values can be recovered to some degree in raw files with recovery function sliders – going under names like “whites” or ‘highlight” in raw processing software – doing so in video or for JPEGs results in muddy high values that can become an eye trap for viewers.
Eye traps are areas in the frame that draw viewers’ attention at the expense of the most meaningful objects in the image, weakening its message and damaging effective storytelling. Hard-edged burnt-out bright patches are particular eye-trap culprits even when their values are lowered in post-processing.
Avoiding burn-out and needless processing
Far better to avoid the burn-out eye-trap problem and fruitless correction work in post-production altogether by getting exposure right in the first place, and that is where zebras excel compared with histograms.
Above: Photographing in high dynamic range environments like this can be challenging when trying to achieve correct exposure without burning out the high values. Here I used exposure zebras on a Panasonic Lumix GH4 to ensure the best exposure of sky and footpath then raised the middle and low values in a raw processor.
Histograms have their uses in assessing your scene or subject’s dynamic range and determining whether to add a light or accept low value details that can be raised in grading or raw processing.
Both the X-Pro2 and X-T2 have histograms that could be improved by enlargement and better delineating their right and left edges. Judging then setting accurate exposure via histogram can be a slow process unsuited to the speed and stresses of documentary photography or video.
As cinematographer/director Paul Leeming demonstrates in his tutorial on ETTR – expose to the right – zebras are a fast and accurate exposure method that can benefit photographers and videographers using Fujifilm cameras, should Fujifilm see fit to add it to firmware. Zebras are not included in late March and late May’s firmware.
Useful updates for both cameras
There are plenty of impressive improvements for both cameras, many of which photographers have been requesting for some time now, most notably the following:
#3. Programmable long exposure of up to 15 minutes.
#6. “AUTO” setting added for the minimum shutter speed in the ISO Auto setting.
#7. Faster “Face Detection AF”.
#8. Improved in-focus indication in the AF-C mode.
#9. Addition of a smaller Focus Point size in Single Point AF.
#13. Change of focus frame position while enlarging it.
#19. Addition of “Eye Sensor + LCD Image Display” in the View Mode.
#23. Name Custom Settings.
#24. Copyright information in EXIF data.
#25. Voice Memo function.
#26. Extended AE Bracketing.
#27. Addition of “Shoot Without Card” mode.
#31. Addition of “-6” and “-7” to EVF’s brightness setting.
#33. Function assignment to the Rear Command Dial.
Having tried shooting HDR with the X-Pro2 and X-T2’s three-bracket-only functionality, I have badly missed the larger bracket range available on many other cameras including my Panasonic Lumix GH4 and GX8.
Some of my favourites for X-Pro2 and X-T2
Number 26, Extended AE Bracketing is particularly welcome. Extreme dynamic range scenes demand five, seven or even nine AE brackets to give a wide enough range for HDR processing in products like Macphun’s Aurora HDR 2017, causing me to rely on other cameras than Fujifilm’s for interior and some exterior HDR work.
I bought my X-Pro2 for the benefits of Fujifilm’s legendary colour rendering and its APS-C sensor as opposed to my other cameras’ Micro Four Thirds sensors, and new feature 26 gives me added incentive to add an X-T2 as a companion to my X-Pro2.
Numbers 24 and 25, Copyright information in EXIF data and Voice Memo function, are invaluable when shooting documentary projects, portraits and similar assignments. Every photograph, not just those shot commercially, needs to have copyright data embedded in its EXIF data from the moment of exposure.
Voice memo functionality is crucial when covering an event or shooting a series of portraits, especially without an assistant. Ever tried making a photograph then whipping out a notebook to jot down your subject’s name and other details? Voice memo features in other brands of cameras name audio files similarly to the photographs they relate to, making them easy to find and transcribe back at home base.
Number 23, Name Custom Settings, is a great improvement over the nuisance of having to remember what subject matter or customized look relates to a cryptically-named custom setting.
Numbers 2 and 3, Extended ISO 125 and 160 selectable and Programmable long exposure of up to 15 minute, are functions that may come in handy for some low light and night scene cityscape projects coming my way soon.
Although I generally stick to ISO 200 or 400 for daylight documentary work, habit and years of successful analog practice means I prefer the lowest ISOs I can get for tripod-mounted small aperture photography. Conversely, Fujifilm’s excellent wide aperture lenses like the XF 56mm f/1.2 R and XF 23mm f1/4 R and their incredible bokeh tempts me to shoot wide open with low ISOs.
Cable releases and remote releases are increasingly becoming things of the past for long-exposure photography as well as all-to—easily forgotten or lose on location so I suspect programmable long exposures will be lifesavers.
Number 9, Addition of a smaller Focus Point size in Single Point AF, brings the X-T2 and X-Pro2’s focus point size choice to six with pinpoint focussing, crucial when shooting with long lenses on the X-Pro2 and even longer lenses on the X-T2 when picking out the most essential object in a field of them.
I am going to love this one for shooting portraits with the X-Pro2 and the XF 56mm f/1.2 R lens with aperture wide open for razor-sharp highlights in one eye.
Just for the X-Pro2
Several of the 33 items are for the X-Pro2 only, adding features already in the X-T2’s current firmware:
#10. Addition of “AF Point Display” (X-Pro2 only – already on X-T2).
#11. Addition of “AF-C Custom Setting” (X-Pro2 only – already on X-T2).
#20. Shorter EVF display time-lag (X-Pro2 only – already in X-T2).
Number 11, AF-C Custom Setting, adds action-photography autofocus settings that have well-proven themselves on the X-T2 and that I would have loved on the X-Pro2 for covering intense, fast-moving events like demonstrations. Pine no more.
Likewise, number 10, AF Point Display, will bring more surety when covering those same kind of situations as well as fast-moving portrait subjects flitting in and out of inner city crowds.
Number 20, Shorter EVF display time-lag, will be useful in the same circumstances when shooting with the X-Pro2’s EVF. I default to the OVF or ERF-in-OVF most of the time but switch to the EVF when shooting with a monochrome film simulation or my subjects are moving through mixed bright sun and deep shadow.
Times like that you need a sharp eye on your prime subject in order to hit the shutter at exactly the right moment and the less EVF lag the better.
Plenty of gains, some losses
Thirty-three feature additions and updates for two closely-related cameras sharing sensors, processors and more is quite some feat and Fujifilm deserves heaps of praise and kudos for that.
I suspect that most photographers will be very happy indeed with this list, and some have already described it as “awesome!”. Until the firmware appears, and it is clear exactly how each new item or improvement works in practice, we can only guess as to their implementation and usability but, fingers crossed!
The X-T2 wins some great new video features that I have long wanted on the X-Pro2 and that it will not be getting any time soon if at all, it seems. I will be buying an X-T2 soon enough, as a companion to my X-Pro2 instead of the second X-Pro2 I was originally planning on, but right now my next video-centric choice will be Panasonic’s Lumix GH5 due to its full, mature feature set and sheer usability.
I may not be counted amongst “most photographers” given an equal dedication to still and video that seems to be rare in some parts of the world, but then the X-T2 and X-Pro2 are cameras that appeal to photographers whose work and needs are anything but the norm, well beyond what most photographers demand of their cameras and lenses.
Most photographers, from what I see in the streets of this fair city, are more than happy with the many limitations of DSLR cameras but Fujifilm flagship camera users are a very rare and demanding breed.
And that is, to a large degree, Fujifilm’s own fault. At a time when the independent photo and video landscape was dominated by model after model of DSLRs that barely looked any different from each other, the Fujifilm Finepix X100 was a radical breath of fresh air.
It promised so much, then delivered on it with a succession of great firmware updates that set the expectation of brilliant firmware kaizen for every Fujifilm camera coming after it.
The X-Pro2 3.00 and 3.10, and X-T2 2.00 and 2.10, firmware updates continue in that tradition of satisfying high expectations and have extended both cameras’ usability and capabilities.
Gaps do remain, though, and they are mostly on the X-Pro2 side. Not everyone with high expectations loves the DSLR-style form factor of the X-T2 and there are many of us who are digital refugees from Leica rangefinder days or who could never afford their digital M-System cameras and who can now satisfy their rangefinder-style needs with the X-Pro2.
Will the X-Pro3 one day gain what Fujifilm has left out of the X-Pro2?
Will the X-Pro series lag behind the X-T series’ feature set turning the former into stills-only camera and the latter into a stills-plus-video compromise?
Is the rumoured APS-C super camera the one to watch for high-end Super 35 video?
Does Fujifilm have a blind spot for the incredibly useful exposure zebras functionality on its cameras? And if so, why?
I know I will be getting an X-T2 sometime soon, for the subjects and lenses to which its DSLR-style form factor is well-suited.
I know I will continue to love the X-Pro2 for giving me back the rangefinder-style way of documentary photography I had thought had gone forever during the DSLR ascendancy.
I want another X-Pro2 in my documentary kit as a backup and for when Fujifilm comes out with a revamped XF 18mm f/2.0, as wide lens to the XF 50mm f/2.0’s narrower vision.
But like more than a few fellow X-Pro2 users out there, I want to see the X-Pro2 series flagship cameras remain on a near-equal feature-set footing with their X-T series sisters and that demands improving the video features on both.
Is Fujifilm already planning the next pair of firmware updates and are they listening just as intently to their ever-growing user base?
RawTherapee has just received its largest update in several years, to version 5. It is always a good idea to have copies of open source raw processing and image editing software on your production computers and keep it updated.
Makers of free open source software are not constrained by the schedules and constraints to which commercial software makers are held and can add new camera support or innovative, sometimes even odd, processing tools to their products.
I have just downloaded RawTherapee 5 and will explore its new features when I have some ever-decreasing spare moments. Ha! A quick scan of RawTherapee 5’s processing tools reveals some very interesting possibilities indeed.
When the Fujifilm X-Pro2 camera was first announced there was a great deal of excitement about the fact that its brand new 24MP X-Trans III non-Bayer sensor would be capable of 4K video. Although the X-Pro2 was released with 1080p Full HD video capability only, I was informed early last year by a Fujifilm staffer that the camera’s 4K video capability was forthcoming, to be released sometime after the 4K-capable X-T2. That never occurred.
I was deeply disappointed. I want the X-Pro 2 to be fully 4K video-capable and I suspect more than a few purchasers of Fujifilm’s X-Pro2 camera were too, although they may not be so vocal about it or have simply given up on the idea and have placed their faith in the X-T2 as a viable Super 35 4K video camera.
Although there is nothing wrong with shooting video at FHD 1080p, given most television channels still broadcast FHD-delivered programs at 720p, the differences between shooting and editing in 4K then downscaling for distribution and broadcast, and shooting and editing FHD, are observable. The quality is much better.
Shooting, editing, outputting and archiving at 4K for 4K distribution when the means finally arrives makes good business sense. Why fail to future-proof your work by working only in FHD when 4K and the infrastructure you need to handle it is here now and continues to improve?
I was first alerted about Fuji Guy Billy Luong’s statement about the X-Pro2’s 4K capability and his fight for it at the FujiRumors website, in their article of the 12th February:
The half line skipping when shooting 4K allows the X-T20 to shoot 4K without overheating. Take asks Billy if this could be implemented to the X-Pro2 via Firmware update. Billy answers: “I hope so, it’s something I’m pushing all the time. I don’t understand why the X-Pro2 has no 4K like X-T20, since there is a solution for that. I’m fighting for that in Japan.“
The video by bigheadtaco aka Take Kayo where Billy Luong makes this statement is below.
When I wrote my first article about the Fujifilm X-Pro2, I tested the X-Pro2’s video functionality and was impressed by its ability to shoot movies in Fujifilm’s justly celebrated film simulations. The downside then, besides the lack of 4K support, was the X-Pro2’s lack of other features necessary for high quality video.
Videographer Steve MacDonald is also a fan of the potential of the Fujifilm X-Pro2 rot be a great video camera and has written a soon-to-be-published ebook on the subject, The Fujifilm X-Pro2 Video Set-Up Guide, based on its current 1080p FHD-only incarnation.
I won’t reiterate my own arguments for cameramakers refusing to do a Canon, as it were, by not crippling their own cameras’ capabilities in firmware. I also will not restate how useful it is to be always carrying a camera equally capable of top-notch video as well as stills for those moments when amazing or important things suddenly happen in front of you.
I will state here though that Mr Billy Luong has my full support in taking his fight for 4K video in the Fujifilm X-Pro2 to the powers-that-be at Fujifilm in Tokyo. No more crippling core camera functionality, please!
Dublin-based photographer and photographic post-processing expert Thomas Fitzgerald recently published the results of processing one Fujifilm X-Pro2 X-Trans raw image with seven different raw convertors or image editors with raw conversion capability.
Tests like this are useful when considering whether to try out an unfamiliar item of software or go straight to purchase though they are seldom definitive. Processing raw files is something of a moving target and all of them are updated regularly with improvements and new features.
Likewise various raw processors’ support for Fujifilm’s X-Trans sensor raw files, another moving target given that some major raw processors do not support X-Trans raw at all yet, and one that apparently never will. So it is good to know what does, currently.
Also good to read Mr Fitzgerald’s well-qualified opinions on the state of each item of software. He rates two of them as not ready for prime time at the moment. Let’s hope their makers have improvements on the way.
The raw processors or raw-capable image editors that Mr Fitzgerald tested are:
One surprise for Mr Fitzgerald is each product’s variations in default cropping, with further variation in edge detail. Oftentimes I will crop a raw file in a raw processor I have been using less lately to be taken by surprise at how much I have lost at the edge, causing me to rethink the image as I had visualized it before pressing the shutter button.
Thomas Fitzgerald is a writer as well as fine art photographer and has published a series of ebooks on processing Fujifilm X-Trans raw images in three raw processors and one on processing Sony A6000 files in Lightroom. I bought the three on X-Trans processing and recommend them.
Mr Fitzgerald also sells a number of Lightroom presets collections and a Photoshop texture pack. His blog is insightful and well worth reading.