When testing cameras, it is not unusual to see a situation when one camera can produce results a bit darker or brighter than another. In some cases, lenses are to blame for this variance, since most lenses cannot ideally transmit all of the incoming light. What this means, is that a lens with a maximum aperture of f/2.8 could potentially transmit less light, which could be equivalent to say f/3.5 in terms of brightness. The latter number is what is often referred to as a “T-stop”, or Transmission-stop, which is basically an adjusted f-stop that takes into account this light loss. In other cases, the camera itself can be the source of brightness variance. Although manufacturers are supposed to adhere to an ISO standard that guides the process of determining the right brightness level for each ISO, there is usually still some variance between not only brands, but also between specific camera models. We won’t get into the question of why there are such variances. Instead, we will concentrate on implications of such variances to camera sensor comparisons and ratings. Particularly, we will be looking at exposure variances in Fuji cameras, such as the Fuji X-T1. Many photographers, including myself, have been fond of the way Fuji sensors render images, outputting very clean and pleasant-looking images, even at high ISOs. But are those ISOs real? And is Fuji doing something shady to make its images look better? Let’s take a closer look…
What do you think is the possibility, when you are choosing and sorting images based on the JPEG previews, that you are going to discard the better-quality image, and keep the lesser-quality one? Let’s take a look at a typical “training” shot for a holiday – noon of a sunny day, blue Ionian sea, bright white limestone pebbles, bushes with dark-green, high-detail leaves (which lose all detail if the shot is underexposed), deep shadows under the bushes. These types of scenes typically have a very wide dynamic range. We will see later, however, that the real range of the shot we are examining is pretty much only 8 EV, if the exposure is technically correct.
No matter what software one uses for post-processing photographs, the process of selecting what images to keep and work on, also known as “culling”, can be quite painful when dealing with thousands of images. And this gets even more painful when working with RAW images, because operating systems usually have no built-in capabilities to view and properly render RAW files. Many photographers end up keeping all RAW images on their computers, because they do not want to go through the hassle of deleting bad images they will never use, only to realize overtime that their hard drives get filled up quickly and their post-processing time takes much longer. Those who try to cull images in Lightroom know that if a full size image preview is not generated at the time of import, it can take a long time to render each image. Sadly, Lightroom is quite weak at quickly previewing images, so working pros and enthusiasts usually end up complementing the culling part of their workflow with additional software like Photo Mechanic. At $150, however, Photo Mechanic costs as much as a retail version of Lightroom, becoming a cost barrier for many. Enter FastRawViewer, an amazingly fast and truly inexpensive RAW file viewer that has become my personal choice for culling images. It was developed by the same folks that created RawDigger – one of the best scientific tools for analyzing RAW images. In this review, I will take a closer look at FastRawViewer, go through some of its features and hopefully help you in simplifying both your workflow and your photo backup / storage needs.
If you have been waiting for Adobe to release full RAW support for the new Nikon D750 (see our detailed Nikon D750 review), for the new Canon 7D Mark II (see our first impressions preview), or for a number of other new cameras from Fuji, Leica, Olympus, Panasonic, Pentax, Samsung and Sony, you will be happy to know that Adobe has just delivered the final production version of Lightroom 5.7 and Camera RAW 8.7 that not only provide the RAW support, but also come with a huge list of newly supported lenses. Along with these updates, Adobe also delivered some updates to the Synced Collections in Lightroom, integrated a utility to import images from Apple Aperture and Apple iPhoto Libraries, enabled support for HiDPI displays in ACR 8.7 and provided a number of bug fixes for both Lightroom and ACR. For those who like to shoot tethered, both the Nikon D4s and the D810 are now fully supported. Another huge news is for Nikon D810 owners – the color profiles have now been finally fixed, so you will not see any banding issues when using Nikon camera profiles anymore!
With the introduction of the Nikon D4S and the D810, Nikon introduced the new sRAW format for saving images. While we have already explained the format in detail in our sRAW format explained article, there were many follow-up questions from our readers, some of whom asked us to provide some image samples from RAW, sRAW and JPEG formats to compare things like white balance recovery and highlight / shadow recovery. In this article, we will explore the sRAW format in detail and show sample images from both controlled lab and outdoor environments, demonstrating what sRAW is capable of delivering when compared to the regular RAW format.
Adobe rolled out a bunch of updates today to its Creative Cloud platform, including updates to Adobe Photoshop CC, CC 2014, Bridge, Lightroom and Camera RAW. Lightroom has been updated to stable 5.6 version, along with Adobe Camera RAW 5.6. These updates include a number of bugfixes, along with RAW support for the new Nikon D810, Panasonic Lumix AG-GH4 and Panasonic Lumix DMC-FZ1000 cameras. A number of lenses have also been added to this release, including the new Canon EF-S 10-18mm IS and EF 16-35mm f/4L IS USM lenses and a number of Sony Alpha lenses.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Fuji mirrorless cameras in Lightroom. Please see our previous articles on getting accurate colors for Nikon, Canon and Sony cameras.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Sony DSLRs, SLTs and mirrorless cameras in Lightroom. Please see our other articles on getting accurate colors for Nikon, Canon and Fuji cameras.
Today is a big release date for Adobe, because the company is rolling out a few major updates to its Adobe Creative Cloud platform, along with new apps for mobile devices designed for creative professionals and enthusiasts. One of the silent updates that got rolled and did not get much press is the final version of Lightroom 5.5 and Camera RAW 8.5. Adobe was so busy with its new products and updates, that it did not include any information on additional features included in Lightroom 5.5. It seems like the final release is similar to the 5.5 release candidate, where support for additional lenses and cameras were added, as shown below. The most notable bugfixes in this release are: properly reading lossless compressed files from older Nikon DSLRs and correct processing of Fuji X-T1 RAW files when using Dynamic Range 200% and 400% setting. And the most notable feature for Nikon D610 owners is that now there is finally tethering support, although Adobe never mentioned it on their website!
Today Adobe announced the availability of the final versions of Lightroom 5.3 and Camera RAW 8.3 (the previous version was a release candidate). A number of bugs that were present in Lightroom 5.3 have been fixed, and new camera and lens profiles have been added. No new features have been added, so this is mostly a camera / lens update + bugfix release. For those that recently purchased the Nikon Df, this release provides full RAW support for the camera! Other new cameras that are now supported since the release of the 8.3 RC include the Canon EOS M2, Casio EX-10, Nokia Lumia 1020 and Pentax K-3.