Macphun: Let Your Aerial Photos Come to Life with Luminar

https://macphun.com/luminar/aerial-photography

“Do you yearn for a bird’s eye view? The latest version of Luminar for Mac features powerful and dedicated tools that help aerial photographers create their best photos ever….

… The new workspace instantly reveals the key photo filters you need to fix and enhance your aerial photos, from Dehaze to Accent filter, powered by artificial intelligence….”

Link:

Photolemur: Photolemur. Smart AI solution for perfect photos

https://photolemur.com/for-press

“Photolemur is the world’s first fully automated solution for creating perfect photos. It works on Mac and PC, automatically analyzes and perfects your images, and doesn’t require any manual involvement.

Photolemur is designed for anyone who takes photos. Just drag, drop and leave the rest to Photolemur, which will enhance them beautifully using artificial intelligence, smart tech and a bit of magic….”

Links:

ON1: ON1 Short Clip – New Lens Correction

The New Lens Correction pane in version 2017.5 automatically detects your lens and reduces distortion, chromatic aberration and peripheral fall-off. It automatically applies the correction when you browse to a photo. Further manual adjustments can also be made in Develop. If there isn’t a built-in profile for your lens you can manually adjust it as well.

We are close to releasing the next free update to ON1 Photo RAW 2017. Version 2017.5 will bring essential features, performance upgrades, and bug fixes to speed up and improve your workflow. These new videos give you a sneak peek of what we’re working on.

Macphun: Celebrate! Macphun Photo Software is Coming to Windows PC

https://macphun.com/pc

Picktorial 3.0 Photo Editor for Mac OS X Updated to Version 3.0

Picktorial 3.0 by Picktorial Innovations LTD is the latest incarnation of a powerful image editor with an apparently simple, elegant interface, made for macOS. Picktorial contains an impressive array of features and presets, and is currently on offer at an introductory price of USD 39.99, down from its usual price of USD 69.99. 

The Picktorial 3.0 GUI with demo image.

With the vacuum created by Apple abandoning Aperture, the photography image organising and editing software especially popular with professional photographers, publishers and agencies, as well as a certain amount of disgruntlement with Adobe, a number of smaller independent software creators have seen their opportunity and I welcome the choice that has appeared in recent times.

I have installed a trial version of Picktorial 3.0 on my production iMac, but our recent problem with lack of Internet and phone has meant that I am well behind on all my work. I will be putting Picktorial to the test as soon as I can, but in the meantime I can highly recommend Thomas Fitzgerald’s introductory article on it at his website below.

Links:

Quick Hands-On with the Amazing Fujifilm GFX 50S Mirrorless Medium Format Camera

Today I made a flying visit to L & P Digital Photographic in Artarmon, a suburb in Sydney’s north shore that is home to several movie and photography industry retail, rental and manufacturing companies, the most notable of the latter being Miller Tripods. My mission was to have a very quick look at the Fujifilm GFX 50S and its first three lenses, the Fujinon GF 63mm f/2.8 R WR, GF 32-64mm f/4.0 R LM WR and the GF 120mm f/4.0 R LM OIS WR Macro

For the next couple of days a Fujifilm GFX 50S, vertical grip, tilt adapter and the three lenses will be available to see and experience a hands-on with and then, some time after that, a GFX 50S kit will be added to L & P’s rental collection.

L & P also operates a compact rental studio at their Artarmon premises that once housed the studio and darkroom of Max Dupain, the late Australian modernist photographer known for his architectural photography collaborations with Austrian-Australian architect Harry Seidler.

Some Rough and Ready BTS Snapshots

L & P is already taking orders from professionals wishing to purchase or lease Fujifilm’s latest photographic innovation in the form of the GFX 50S.

My aim during the visit was to get a quick impression of the GFX 50S as a hand camera and not a stand camera, and not to create great photographs of the types of subject matter I would place in front of a camera like this. With luck that opportunity will come later and I will do a proper job of it.

Sample Snapshots

I simply stepped outside the door during a brief interval between rain showers, made two shots with the GF 32-64mm f/4.0 R LM WR lens set to f/8.0 and the GFX 50S set to ISO 400 and 1/640th of a second, focussing on the foremost figure at left of frame. I made the first exposure at 32mm and the second at 64mm.

I then processed each raw file in version 3.1.4 of Iridient Developer and applied minimal tone, colour and sharpness corrections after choosing Pro Neg S from Iridient Digital’s free Fujifilm-style film emulations set.

After exporting the largest JPEG file, I uploaded it to my Flickr account as I need to conserve media space in my website hosting account right now. Flickr has applied its own sharpness-reducing compression algorithm so please bear that in mind.

These snapshots are mediocre photographs but the GFX 50S is anything but a mediocre camera. Click the images below to see them large in my Flickr account.

_DSF1204_iridient_srgb_full-size

_DSF1205_iridient_srgb_full-size

Thoughts and Observations

A quick and dirty first test like this of a newly released camera can only tell one so much. But it satisfied my aims. I wanted to know whether the GFX 50S would meet my needs and be a viable option for renting, leasing or buying sometime in the future, bureaucracies and lawyers permitting. The ‘Untitled’ project self-financing saga is ongoing.

When I got back into photography after an absence enforced by ill health resulting from chronic photochemical allergy and extreme dermatitis, a major concern was whether then current digital technology would offer as much variety in ways of seeing and photographing as the variety that I had come to rely on with analog photography.

My first serious digital camera was a DSLR, the Canon EOS 5D Mark II, and it was not an easy fit as I had never been an SLR person. Rather, I had relied on a range of non-SLR rangefinder and technical cameras and these somewhat unconventional, even non-conformist, cameras had helped create my personal photographic vision. Or more properly, visions.

It was only with the arrival of Fujifilm’s Finepix X100 rangefinder-style camera that I began to feel comfortable with digital photography. The Fujifilm X-Pro2 cemented that comfort with a camera that, in many ways, recalls the 120 roll film rangefinder cameras I had so loved.

Likewise Fujifilm’s X-T2 is a reminder of the technical cameras that were so crucial to my development as a photographer just as Panasonic’s Lumix GX8 shares some of the traits of the waist-level Rolleiflex twin lens reflex cameras I adored for their own unconventional way of showing me the world as a square and from down below, via the GX8’s unique tilting EVF.

Now the GFX 50S, with its clear similarity to the X-T2’s shape and usability, offers a combination of features I relied on in my technical cameras and my Rolleiflexes, filtered through Fujifilm’s and Panasonic’s recent digital camera innovations.

The GFX 50S allows you to use it like a small hand or stand-mounted view camera, like an EVF camera, more or less like a DSLR but minus the mirror slap, or like a tilting EVF camera that is in itself the closest simulation we have now of the wonderful TLR cameras once made by Mamiya, Rolleiflex, Yashica and others.

My brief experience with the Fujifilm GFX 50S was enough to tell me this and remove the last concern I had about whether contemporary digital hardware can provide me with enough creative options to build a set of closely related personal photographic styles in the way analog hardware did.

One thing is certain, confirmed by my two snapshots above: the Fujifilm GFX 50S’ resolution and image quality equals that of 4″x5″ sheet film cameras and I suspect that its future GFX 100S descendant will rival the results from 8″x10″ sheet film cameras.

Postscript:

After covering an International Womens’ Day rally in the Sydney CBD, I dropped into digiDIRECT’s city store to take another quick look at the Fujifilm GFX 50S. They had the camera, three lenses, EVF and vertical battery grip and kindly allowed me do some snapshots of one of the staff members, Benny, below.

DSCF6092_iridient_exposure

This photograph was made with the GF 120mm f/4 R LM OIS WR Macro lens and with the Vertical Battery Grip on the camera. I processed the raw file in Iridient Developer then exported it as a TIFF that I opened in Alien Skin Exposure X2 where I applied a Polaroid Type 55 preset and platinum split toning.

I chose f/5.6, AutoISO and aperture-priority, and the GFX 50S set 1/60th second. Although this is not a portrait as such, the experience of making it reminded me of how I loved to make frontal, full-face close-up portraits of artists, chefs, celebrities and businesspeople for the glossy magazines in Polaroid Type 55 positive/negative instant film, split-toning prints made on silver-rich baryta papers.

On considering the Fujinon GF lenses currently available and coming later in the year, I would choose the GF 120mm f/4 R LM OIS WR Macro and the GF 45mm f/2.8 R WR prime lenses as a very workable pair for full-face and environmental portraiture. The 120mm is roughly equivalent to 90mm in 135 aka 35mm format and the 45mm lens is close to 35mm in 135 aka 35mm format.

Although I often lit those editorial portraits with Broncolor flash units with spot grids and barndoors, nowadays I’d be more likely to use continuous light such as my Rotolight Neo three light kit with barndoors to narrow the beam down.

Other LED lights I want to investigate sometime are the Dedolights with variable beams that spread from spot to flood and take a range of light-shaping accessories.

While electronic flash has its advantages in freezing movement, it can be distracting when trying to really narrow down the beam and place the light with a high degree of precision but little time with a portrait subject.

Using continuous light allows you see exactly what the camera is going to see and permits building a closer relationship with your sitter, faster. The GF 120mm f/4 lens’ optical image stabilization means one can handhold the lens in continuous light and obtain enough sharpness, or one can of course place the GFX 50S on a tripod and use it somewhat like a small view camera.

Image Credits:

Header image concept and hack by Carmel D. Morris.

Iridient Developer Raw Processor Adds Support for Fujifilm GFX 50S, X100F, Leica M10, Panasonic GH5 and More

Raw processing software developer Iridient Digital has updated its flagship Macintosh MacOS product Iridient Developer to version 3.1.4. Iridient Developer is reportedly favoured by photographers seeing to gain the sharpest, most highly detailed renderings of raw files from Fujifilm cameras with non-Bayer X-Trans sensors. 

Iridient Developer 3.1.4 supports raw files from 11 new cameras including the Fujifilm X100F, depicted here being processed using Iridient Digital’s Fujifilm Pro Neg S film simulation profile.

Iridient Developer also supports non-X-Trans Bayer sensor-equipped cameras, notably Fujifilm’s recently released GFX 50S medium format camera as well as over 620 other cameras.

The list of new cameras supported by version 3.1.4 of Iridient Developer includes:

  • Canon – G9 X Mark II and EOS M6.
  • Fujifilm – GFX 50S, X-T20, X100F and X-A10.
  • Leica – M10
  • Panasonic – DC-GH5 and DC-FZ80 aka DC-FZ82.
  • Pentax – KP
  • Sigma – sd Quattro H, DNG format only.

Iridient Digital’s other software product, Iridient X-Transformer, is currently under development and has been updated to beta version 3. Iridient X-Transformer converts Fujifilm X-Trans and non-X-Trans RAF raw image files into open standard DNG raw files.

Links:

The color presets for APS-C models have been improved, especially for the extreme ends of the tonal range (dark shadows and bright highlights). The Vivid style in particular should show much better results in dark shadows and very bright colors in many cases should show more gradual transition to clipping and better saturation.

These film emulation style presets are intended to produce a similar look to the X-Trans in-camera conversion styles for Classic Chrome, Standard/Provia, Soft/Astia, Vivid/Velvia, ProNegStd, ProNegHi, Monochrome, Monochrome+Ye, Monochrome+R, Monochrome+G and Sepia.

Image Credits:

Header image concept and design by Carmel D. Morris.

Needing Early Access to Raw Files from Soon-To-Be-Released Cameras?

Conversations with staff at companies developing image editing and raw processing software has revealed the need for early access to raw files from cameras due for imminent release so their software can support them. Camera makers don’t, it seems, have the close relationship with software makers that photographers might hope they would. 

But there is one way around that. Look online for raw files from pre-production cameras. While camera brand ambassadors do not, as a rule, share raw files often due to their firmware being alpha or beta and too soon before release, some reviewers seem to get hold of late pre-production or production-ready cameras before they go on sale.

One such camera review website is Imaging Resource and it is currently sharing raw files from two about-to-be-released cameras with another due soon, as follows:

There may be other sites where raw files can be found; simply search using the name of the camera plus the words raw and samples.

Image Credits:

Header image concept and design by Carmel D. Morris.

Free Open Source Raw Processor RawTherapee Gets Big Version 5 Update

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.

Using RawTherapee 5 to view and process a Fujifilm X100F raw file.

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.

RawTherapee and its open source raw processor companions written about at The Fujifilm X-Pro2: The Optical Viewfinder Documentary Hybrid Camera for the Rest of Us? Plus Notes About the X-T2. are no exceptions.

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.

Links: