“For many photographers and videographers, editing and post-production are a vital part of the process. For this reason, it’s crucial to have an accurate and effective display to work on in order to produce the best results….”
BenQ SW320 31.5″ 16:9 4K Color Accurate IPS Monitor
BenQ PV3200PT 32″ 16:9 4K Video Editing IPS Monitor
It has been a long time since I last came across a BenQ monitor in a store in either of the Australian cities in which I have lived, and I have never bought nor used one, so I cannot comment on their qualities for photography and video editing, nor their longevity, but I am willing to consider them and found this article a useful start to my research.
We often rely on two monitors here at the ‘Untitled’ home office, but some of them are ageing or failing, with yet another dying just the other day.
As a result we have sworn off Dell products for life and have been looking at other brands for our video and photo editing workstations as well as for more mundane tasks not demanding high-end monitors.
The two BenQ monitors covered in Fstoppers’ article look interesting but their lack of Thunderbolt connectivity means they are of limited interest for use with our Apple computers.
Will we upgrade our Windows PC to something more contemporary, and will either of these monitors play a part in that?
Or will we stick with Apple machines given the wide range of macOS software already in use here?
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.
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
Capture One Pro 10.1 in action. If you were a fan of the way previous CP1 versions handled the styles and presets dropdown menus, occluding the image like this, then you can use it in a similar way via the Adjustments/Styles menu item.
In my humble opinion the new Styles and Presets tool is a far better and much faster solution. I am a big fan of having plenty of styes and presets to radically speed up the process of editing raw images in CP1. Sliders can slow the process down considerably.
In this screenshot I am quickly trying out the look of various film simulation styles from Alexander Svet’s excellent Capture One Film Styles and Capture One Film Styles Extended collections. I finally chose 012 Kodak Portra 160 as the basis for the colour and tone rendering of this image.
Trying out Alexander Svet’s 006 Fuji Astia 100F v5 Winter film simulation style from his Capture One Film Styles Extended collection. I love shooting in Australia’s low winter sunlight.
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.