Posts tagged with: Henry F.Smith Jr

Testing Irident X-Transformer for Fujifilm Raw files.

Clematis (Fujifilm X 100)

 

 

Among Fujifilm “X” users, the unique characteristics of the Trans-X sensor used in most of the camera line is a very familiar topic. This sensor was developed in 2012, and was one of the first sensors to not include an  anti-aliasing filter,. These filters, which slightly blur the image (thus reducing apparent resolution) had been included in most digital imagers up to that time to prevent the phenomenon of moiré. The Trans-X sensor used a less symmetrical color filter array to prevent moiré effects.

Those a few that are unfamiliar with this topic can find more information here.

Because of  the unique design of this sensor, programs to convert the raw files generated by these cameras have at times struggled to optimize the resultant files. Part of this may have been at least in the beginning, Fujifilm was not particularly forthright with information on the sensor.

Pond Along the Farmstead Trail (X100t)

Over the years we have looked at the different raw converter options for the  Fujifilm cameras and in my case those compatible with a Windows environment (definitely not a Mac person).

For many years it seemed clear that Phase One’s Capture One software was then programmed to beat, besting Adobe Camera Raw, and even slightly better, then Fujifilm’s on Raw file converter, based on the Silkypix photo management product.

Ultimately Adobe refined its raw conversion process for X-trans, and Photoshop and Lightroom became more competitive. Recently the differences in conversion quality, though still favoring Capture One, have not been worth the workflow interruption required.

Then there was Irident X Transformer. This was a Fuji specific raw file converter, exclusive to IOS, that has long been said to produce the best, most detailed images, from Fuji raw files. But alas, it was unavailable to those of us in the Microsoft world.

Now a version of Irident has been released for the Windows platform. I was excited to give it a try.

This is a very simple product with one mission, to convert a photo file from the Fuji raw format to the Adobe native DNG format( which Adobe understands very well), where it then can be further processed into a Tiff, jpeg or other file type. In the process of conversion, the program also applies a unique sharpening algorithm, as well as noise reduction, and lens correction, all of which can be controlled by the user. There is also Irident developer, a full featured photo program for IOS and Windows, selling for US$99.00.

September on the Lehigh (X Pro 2, XF 90mm f2.0)

 

 

X Transformer is roughly analogous to Adobe’s own digital negative converter, a program they offer for users of older Photoshop versions, who now wished to convert files from newer cameras not compatible with their versions of Photoshop.

I was eager to apply the program, to raw files from both the 16mp and 24mp X-Trans sensors, and compare them to Adobe Camera Raw conversion alone. I also converted files from the original conventional sensor X100 to see whether there was any advantage with that camera’s output.  I also converted Raw files using Capture One, and Adobe digital negative converter (which then I finalized in Photoshop much like one needs to do with the Irident DNGs) for comparison.

I tried to pick images with a variety of color mixes mindful of the effect the X-Trans sensor is said to have on green foliage.

I processed all images using equivalent amounts of sharpening. I turned sharpening to low on the Irident converter.

Below is fairly typical of the differences in the 16 mp files, the Irident conversion pulling far more detail than ACR alone, with Capture 1 (version 9) in the middle. So you know, the jpg conversion needed to post these actually tends to minimize the differences.

ACR alone( X100t)

Irident +ACR

Capture One(9)

 
Below is a file from my X Pro 2. Here the differences between the various conversions are more subtle, though the original TIFFs still favor the Irident workflow. Look at the small patch of lichen on the branch which is more detailed on the Irident version. I actually think that the Capture one version lags behind the ACR conversion, but I may have under sharpened that file slightly.

ACR (X Pro 2)

Irident+ACR

Capture 1(9)

Out of curiosity, I dug out a file from the Bayer sensored X100. Here I could detect little advantage for adding an Irident conversion first.

ACR (X100)

 

 

 

 

 

 

Irident +ACR                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            
I set up a final test.  I was curious to see whether an Irident+ACR 16 mp file, would be close to a 24mp X Pro 2 file converted with ACR alone. So I shot my X-T10 against my X Pro 2  using the same lens and my informal test scene. 

First, the 16mp X-T10 with ACR and Irident.

Now the X-Pro 2 with ACR alone. I think a case can be made that the details in this crop are very similar to the X-T10 image.                                                                                                                                                                                                                                                                                                                                                                                                                                 Finally here’s the X-Pro 2 with ACR and Irident. Now it clearly jumps ahead of the X-T10.

 

     

 

Now this is not scientific, but I have formed the following conclusions:

Pre-converting the raw files with Irident X Transformer into DNG seems to be helpful to extract the most realistic and detailed X Tran images from Adobe Camera Raw. This effect, however, is to me, more noticeable for the 16 mp imager where Irident is quite helpful. The advantage of Irident seems to be some less dramatic with the newer 24mp imager though not negligible. Is this because Adobe has done a better job in their algorithms for the Trans-X III? Or has Irident not quite figured things out for this sensor?

Also, Capture One remains a step ahead of ACR for 16mp Trans-X though not as good as Irident +ACR. For the 24 mp imagers is seems to have less advantage though I have not upgraded yet to version 10. All of this suggests to me that Adobe has done a better job with analyzing and coding for the new 24mp sensor. I did not test Capture One with the Bayer-sensored X100 because in the past I have noticed little difference between ACR and C1 with conventional sensors.

Finally, I should say something about the Workflow using Irident X Transformer. It certainly adds an extra step to processing. In my case the program wouldn’t display thumbnails, requiring me to go back to Adobe bridge and get the file #. This is annoying.

So, in summary, I would say if you want the simplest workflow with X-Trans files, go with Adobe products such ACR or Lightroom. Capture One is certainly an alternative with the potential to reveal a smidgen more detail, but for me, it is less streamlined. Finally, for big prints and critical results, adding Irident X Transformer to Adobe definitely allows you to extract more detail from your images.

 

 

 

Some Thoughts on Fujifilm’s new X100F and X-T20, and whether to upgrade.

Rime on Spruce (Fujifilm X_T10, XF 55-200mm f3.5)

 

 

Back in the days before digital imaging, it was much easier to keep your gear current. I think back to 1980s vintage Nikon F3 which was produced (admittedly in multiple forms) for perhaps 20 years. The camera featured very simple technology, with little pressing reason to update. There was finally an auto focus version of the camera in the last several years of its twenty-year lifespan, but for the most part there was little change over its long history.

Nowadays things are radically different. Cameras are far more sophisticated, and photographers now expect fairly frequent updates to them, even though they long surpassed the performance of those older cameras long ago. I think also the fact that the technological advances of new models involve not only exposure and focus, but the actual film stock (the digital sensor) that the camera uses increases the interest in upgraded models.

In the last week, Fujifilm has announced replacements for 2 cameras that I currently own. The X100F replaces the X100T model in a somewhat confusing nomenclature scheme. And the X-T10 is replaced with the X-T20.

As always the question of whether to and when to upgrade comes up.

Let me first acknowledge, that photography is not my main source of income.  I have always tried to be rational about equipment purchases.  Every once in a while I find myself with a bloated collection of gear which needs to be thinned.  I am there now.  Soon, I suspect I will once again become a frequent visitor to my FedEx drop-off point.

I see that I am not the only one who faces this dilemma. A Fuji photographer I very much admire, Zack Arias, writes about gear simplification here.

X-T 20 (Fujifilm image)

 

 

 

 

 

 

 

 

 

 

First my thoughts on my current X-T10 currently the budget version of the SLR style X-T1 interchangeable lens camera. This for me as a modestly used device (I have learned that I prefer rangefinder style cameras and I already own a nearly identically spec’d  XE-2). The main improvement in the newer camera is, of course, the sensor, which is now 24mp.  I already own a version of this sensor in my X Pro 2.  In my experience, the real resolution boost offered by the newer chip is modest, and the high ISO performance is roughly the same.  Still, more resolution is not a bad thing.

Whereas I do enjoy the Acros film simulation that is only offered in the 24 mp cameras I can typically get pretty close to the same profile with a custom RAW conversion I have set up in Photoshop. There are autofocus improvements I suppose, but I’m not grossly unhappy with the current camera (and perhaps there is more to come in a firmware upgrade). Finally, while I think the enhanced video capabilities are interesting, they are not important to my workflow. 

Thus I probably won’t upgrade this camera anytime soon.  In fact after this analysis, as much as I like the little X-T10, I would consider putting it on E Bay list, and waiting for the rumored rangefinder style XE3 to be introduced.

The X100T to “F” upgrade is slightly different for me. I like the fact that the battery will now be the same as all of my other Fuji “X” cameras though the older battery was fairly cheap(and I have a lot of them). I hope the camera will still be chargeable through its USB port. Once again the new sensor (the same 24mp sensor of the XT-20) is not really a draw for me, but not a detriment either.  Apparently, unlike a lot of other people, I do like the new ISO/shutter speed dial (same as on my X Pro 2).

X100F (Fujifilm image)

 

 

 

 

 

 

 

 

 

 

I do wonder however whether the incremental improvement in auto focus in this model line will be greater (the X100T had earlier auto focus technology than the X-T10). To me, a very significant improvement is the autofocus “joystick”. It was a very useful addition to the X Pro 2.

Ironically, I have actually avoided using it on that camera for fear of it becoming reflexive when it is not available for focusing on my other bodies.  Currently, if one is to retain the largest number of function buttons on the camera, moving the autofocus point, requires you to first press the lower button of the four-way pad, which then tells the camera that the keypad  is to be used for autofocus.  This means an additional step and occasionally results in lost opportunities.  With the joystick, moving the autofocus point can be done instantly.  Adding it to the X100F means that I will be more comfortable relying on it in both cameras. In fact the lack of the joystick on the X-T20 means that it will be more difficult to integrate that model line in the future.

I hope the XE 3 will have a joystick.

 One new development I am both frustrated and intrigued by is the improvements in the lens converter system for the X100F. the new converters communicate with the X100F, allowing the camera to automatically adjust when they are mounted (I often forget to do this on my current camera).  This is wonderful, except that I have pristine copies of both of the older lens converters for the X 100 series which I understand are optically identical. I would probably first upgrade the TCL (50 mm FOV), as that is the one I use far more frequently than the WCL(28 mm FOV).  I could really save some money here if only my interaction with the camera was a little more disciplined.

As this is my most commonly used camera, I believe it makes more sense to upgrade this instrument, given that I will obtain the most benefit and enjoyment from the money spent.  And my fairly pristine X100T, on eBay, seems to have decent residual value.

This explains my thought processes, on upgrading equipment.

Feel free to offer your comments and ideas.

 

 

 

 

A Broomball Tournament in Lake Placid

People standing on Ice at the Mirror Lake Inn

On the Ice at the Mirror Lake Inn (Fujifilm X100t)

There is a different and wonderful culture in the Adirondacks. It is one where outdoor activities feature prominently.  Events such as the Wooden Ski Race, and Full Moon Madness that I have described elsewhere on this site, as well as the Saranac Winter Festival, all display a physicality and an embrace of the season that is lacking for instance, in my Pennsylvania hometown.

On a recent trip to Lake Placid, I attended one of my favorites; namely the Broomball tournament, held at The Cottage, a waterside/ pub restaurant, that is part of the spectacular Mirror Lake Inn; a luxury resort hotel in the village.

Arounfd the firefor broomball at the Cottage

Around the Fire (Fujifilm XT-10, XF 56mm f1.2)

The Cottage is the pub and informal dining venue for the resort. In summer can be very pleasant to paddle a kayak or canoe to the restaurant’s dock , and stop for a bite of lunch.

For much of the winter, however, with Mirror Lake firmly frozen, an area of the ice is plowed behind the restaurant, and an informal hockey rink is set up. Then in January, the restaurant sponsors a tournament for the somewhat arcane sport, which is apparently the winter version of softball for many people.

Crowd at Broomball, Mirror Lake Inn

Crowd at Broomball, Mirror Lake Inn (Fujifilm X100t)

Broomball, is a sort of proto hockey. The rules are similar, but the equipment, at least in the case of the local variety is much less sophisticated. As I understand it was often played in tennis shoes, though there is actually a specialized shoe to wear which gives more friction to the icy surface. In the Lake Placid varient, the predominant “stick”, was an actual broom, with the bottom cut off about halfway up, then wrapped in duct tape. There is an actual broomball that is used, a little bigger than a softball.

Broomball action at the Mirror Lake Inn

Broomball action at the Mirror Lake Inn (Fujifilm XT-10, XF 56mm f1.2)

While some of the teams, had actual matching hockey Jerseys (and apparently padding), most people played in heavy outdoor clothing sometimes with whimsical touches. Everyone plays with some sort of helmet. In this multisport town, I saw players sporting rock climber’s helmets, skiing helmets, and even hockey helmets. Though it was quite mild (high 20s F) this year, I have seen it proceed enthusiastically with temperatures in the minus teens.

 More Broomball action at the Mirror Lake Inn

More Broomball action at the Mirror Lake Inn (Fujifilm XT-10, XF 56mm f1.2)

Now to be sure, Broomball, apparently in Canada, and parts of the US, is a serious sport with a governing body, and specialized equipment, and national tournaments. Not so much in Lake Placid. Though obviously a lot of serious competitive athletics goes on in town, this one is not so intense. Like many activities in the North Country, my impression over the years from this event, it is that it is first and foremost an opportunity to socialize and be convivial on a dark cold evening in January. It is only secondarily a competition.

 Even More Broomball action at the Mirror Lake Inn

Even More Broomball action at the Mirror Lake Inn (Fujifilm XT-10, XF 56mm f1.2)

The large crowd gathers both in the restaurant, where windows allow the games to be followed, or down on the ice around a warming fire built for the occasion. As the festivities continue, the bar gets rowdy, but never unpleasantly so. Many of the older folks, who prudently no longer play, share great memories of their own time on the ice.

Photo taken in the Cottage at the Mirror Lake Inn

In the Cottage (Fujifilm X100t)

It is one of the small events, that over the year makes Lake Placid a truly unique placed to visit.

The Gear that I use: The Samsung Galaxy G7 Curve review

Tiny Santa at the Mall (Samsung Galaxy S7 Curve)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  I still think the practice of upgrading from one highly capable smartphone to another slightly more smartphone is a relatively wasteful exercise. But, when my previous phone began to look shabby, and the battery started to fail, I began to shop around. I finally acquired a Samsung Galaxy S7 Curve at a remarkable deal from Verizon. It pushed all the right buttons for me: Beautiful screen, faster processor, bigger battery, waterproof…and apparently a better photo experience.

On the camera side, there are some signs that Samsung “gets it”. For the G7 models get fewer megapixels (12 vs. 16 on the S6) on a bigger sensor, with on-chip autofocus, a microSD card slot and the ability to shoot RAW.  This might just be a smartphone that can produce a decent image.

Little Creek (Samsung Galaxy S7 Curve)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

So how has it worked for me?

The Samsung Galaxy S7 curve, at least as of this writing, Is Samsung’s high-end smartphone (the G8 is imminent, which is probably why I got mine cheap). It’s a beautiful instrument, with a sleek metal body and that unique curved screen.   As a phone/ tablet, it is for my purposes essentially flawless, with a gorgeous display, fast processing, and excellent battery life. It’s still waterproof but it no longer has the annoying flap over the USB port so annoying on my previous Galaxy S5. If you want a great phone, buy one today.

Cattails on a December Morning (Samsung Galaxy G7 Curve)

How does it work as a camera? On this issue, I have definite reservations.

The new sensor is supposedly an improvement in the older sensor, with the pixel pitch (1.4) up approximately 40% from the sensor in the S6. It tests very well on DXomark (It currently ranks 2nd among camera phone sensors). Theoretically, this should improve low light capability. To an extent it does. But compared for instance to even the “crop frame” sensor of the 16mp Fuji’s (pixel pitch 4.79) you can’t really expect too much.

Here’s a jpeg image shot of my friend Elliot in typical tavern lighting.

G

Elliot (Samsung Galaxy S7 Curve)

 

The camera shot this wide open f1.7, at iso400 and 1/10sec. The resultant jpeg is aggressively noise managed, with smearing of what detail there might have been. I consider this unusable for other than display on the phone’s own screen.

Now here’s the Raw version, processed in Adobe Camera Raw.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As you can see, the image is grainier, but the detail is retained in Elliot’s face, and in the 3×5 cards in the foreground. And in the raw converter, I can decide between noise and detail. This image may be more useful.

Autofocus is fast; much more responsive than in my previous S5. This is apparently due to “Dual pixel technology” of having phase detection pixels throughout the whole sensor.

Frozen Pond, Nescopeck Creek Valley (Samsung Galaxy S7)

Frozen Pond, Nescopeck Creek Valley (Samsung Galaxy S7 Curve)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The camera app is at one time very good, and very weird. On the surface, the app seems well designed, with multiple modes available, including “pro, which allows significant manual control. It is in this mode (only) that you can access raw capability. There are multiple autofocus modes.

It is at the same time frustrating. You can save your jpegs to the SD card, but the far larger raw files will save only to the camera’s memory. So the point of having an SD card slot is undermined.

Also, the camera seems to use any excuse to shift out of raw capture mode. Specify a “vivid” jpeg profile in “pro” mode and raw capture is lost. Accidentally do a burst of shots…same thing. I thought I was shooting raw for the “frozen pond” shot above, only to get home and find that I wasn’t. This behavior causes me to think that this is not in any way a reliable device for serious photographers.

Turkey Tracks (Samsung Galaxy S7 Curve)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Most infuriating is the phone’s behavior when attached to my PC. When hooked up by USB, you first need to pull down the typical Android notification screen and enable the phone to transfer media. Fine.

Problem is that when I use Photoshop Bridge, to navigate into the camera files to edit them, the software doesn’t recognize the jpegs and can’t display a thumbnail.

Erratic (Samsung Galaxy S7 Curve)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Even more ironically, Photoshop can’t recognize its own proprietary dng. raw files while they reside on the phone.  This problem does echo the behavior of my previous S5.

 

Hemlocks in Snow (Samsung Galaxy S7 Curve)

 

100% crop ISO 100, f1.7 1/100sec

 

 

This means that if you want to edit a file, you must copy it into a file on your computer. Then for some reason I cannot fathom, it becomes readable. With the raw files (which remember won’t save to the SD card) potentially eating up a lot of camera memory, I just cut and paste them to a file on my hard drive, and deal with them there.

Ski to the Twin Springs (Samsung Galaxy S7, edited in ACR)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

How about the image quality?   Compared to my Galaxy S5 I think the loss in resolution and sharpness is surprising. The jpegs, perhaps in an effort to reduce noise, are over-processed to the point where a lot of detail, particularly in the shadows is completely lost, The above  “Hemlocks in the Snow” image illustrates this nicely; note that it was shot at 1/100 sec ad at iso 100, which are hardly challenging settings.  They look fine on small displays, however.

The raw files seem to lack dynamic range and cannot be pushed too far before they look odd. I saw banding emerge with modest editing of color or contrast. The “Twin Springs” image above, for instance, was shot at iso 50 and yet, was still very fragile.

I’ll keep trying, though.

For me, all of this means that I will rarely use raw, and mainly, as with previous phones, use the phone to shoot jpegs for casual use.

The Galaxy S7 is widely thought to be one of the top two or three camera phones available now. I’m sure will enjoy using it.

But camera phones aren’t cameras. Not yet anyway.

 

Capturing Carolers- Event shooting with the Fujifilm X100 series.

 

Carolers from Cavanaugh's 2016 (Fujifilm X100t)

Carolers from Cavanaughs 2016 (Fujifilm X100t)

 

Every December on the second weekend of the month, my lovely wife and I participate in a rather, em convivial, Christmas event, the annual caroling trip run by Cavanaugh’s Grille, which is our local pub.

It’s a non-paying gig, but nonetheless an interesting photographic opportunity, given the colorful holiday clothing, the festive spirit, and the inevitable breakdown in inhibitions as the night proceeds.

BUNNY SUIT

Don`t even Ask (Fujifilm X100s)

For you see, the trip`s premise is that we will visit and sing in most of the other pubs in the area. And professional singers these folks are not. They do know a thing or two about pubs, however.

Outside the Dorrance Inn (Fujifilm X100s)

The other local pubs are welcoming and appreciative as you might expect when 40-50 or so thirsty customers show up on a sleepy winter evening. They will often provide us with offerings of food and spirits.

At Damenti`s (Fujifilm X100)

At Damenti`s (Fujifilm X100)

 

Over the years I have utilized the X100 series to shoot the event, and they have never let me down. The combination of the fast 23mm (35mm equivalent) lens, the excellent low light capability, the quiet shutter and unobtrusive form, work perfectly. My only wish would be weather sealing, given the likelihood of a splash or spill as the night proceeds.

How Trouble Starts (Fujifilm X100s)

How Trouble Starts (Fujifilm X100s)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As with shooting any event, it pays to scout the venue(s). Knowing the bartender helps, particularly if you need to have them bump up the light level a bit. As we tend to visit the same institutions each year, I have come to know which spots in each place produce good lighting for images.

Good Santa (Fujifilm X100t)

Good Santa (Fujifilm X100t)

We have a Santa on the trip who functions as our leader, sort of. If we enter a place where there are children with families, he tends to get pressed into service, reviewing their Christmas wishes. If only they could see him later that night…

Normal Santa (Fujifilm X100)

 

 

But I digress. With the X100s and t models, I leave the camera on RAW plus Jpg, with the auto ISO set to 6400, and try to keep the aperture at f2-2.2. This seems to work well. Where mixed color temps in the setting are unappealing or the light is low, I convert the images to black and white, which people seem to really like.

The Bus in Snow (Fujifilm X 100)

The Bus in Snow (Fujifilm X 100)

At the end, we repair back to Cavanaugh’s for the last thing people need…more drinks. Billy, the owner typically arranges to have food, and live music. Things then go rapidly downhill. The camera gear is put away as ethics demand.

As the Night Proceeds (Fujifilm X100s)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As Christmas traditions go, it`s not exactly Currier and Ives.

 

It is, however, a whole lot of fun.

 

For additional images of  this and other Cavanaugh’s caroling trips throughout the years, visit my Smugmug site here

 

Baltimore by Fujifilm

Approaching the Harbor (Fujifilm X 100s)

I have just returned from a trip to Baltimore, Maryland.

Often in June, depending where it is held, I attend the American Academy Of Sleep Medicine meetings.  This year they were scheduled for Baltimore, which is a surprisingly short drive from my Northern Pennsylvania home.

I’ve had many pleasant trips to the city in the past.  Though I initially hoped that my wife would accompany me on the trip, her work schedule prevented her from joining me, and I was forced to go alone. Thus I would need something to do with my free time.

Early June is a pretty good time to visit the Chesapeake region, as often the temperatures and humidity have not risen to uncomfortable levels.  Such was the case on my trip.  I arrived Sunday, shortly before a cold front came through, which on the back side yielded bright blue skies and temperatures in the seventies.  It was cool enough, at least on the water, for a light jacket.

Fire Boat (Fujifilm X100s)

Though this was not purely a photographic trip, I knew that I would want some gear along to occupy my off hours.  I decided on the Fuji X Pro 1 with multiple lenses for more deliberative photography, and the Fujifilm X100s, as my companion for street shooting.

“20” (Fujifilm X 100s)

I pretty much carried the X100s everywhere, including into the conference.  I took a lot of images even in the product exhibition hall, before discovering there was a strict rule against this, to the point where they would threaten to eject you, and confiscate your “film”.  The problem with enforcing this is that everyone had a camera in the form of their cell phone, and I saw many people photographing new products, that perhaps they wanted to remember, or even included a presentation.  Hell, one of the exhibitors had a Nikon DSLR in hand, and appeared to be shooting a lot of images.  The X100s was wonderful in this setting because of its stealth and its low light capabilities.

I have noticed, that compared to its predecessor the X 100, the X100s appears to have a decreased battery life.  This had been annoying to me before the trip, but I learned that if you keep the camera off (and not rely on the auto shut off feature), that the battery life was quite tolerable.  I did not need to change a battery over the three days of the trip (probably shooting 150 frames).

The Juggler ( Fujifilm X 100s)

Anyone remotely interested photography who sees the Fuji X cameras, is fascinated by them.  They often assume that I am shooting film.

I took the opportunity to travel about.  Part of this was in search of meals, as the locals I encountered would generally send me out of the “Inner Harbor” neighborhood for the best restaurants.  Perhaps they are “seafood snobs” as I did have several good meals in restaurants overlooking the Harbor, including perhaps the best mussels I’ve eaten my life.  I don’t believe I’ve never had a bad seafood meal in the Chesapeake region.

It was a modest walk from my hotel, to the Federal Hill neighborhood of the city.  There, a large park occupies a flat-topped hill overlooking the Harbor, once used as a vantage point for cannons, which would have been the final defense for the city from the British in 1812.  The neighborhood features brick row homes, of an early 19th century vintage, quite similar to my old neighborhood in the Society Hill section of Philadelphia.

Doorway in Federal Hill (Fujifilm X Pro 1, XF 18-55 f2.8)

The neighborhood was positively festooned with quaint cafes and public houses (which is never a bad thing). Having stopped in a restaurant in the neighborhood,  I was reminded by my server  that in the Chesapeake region, they were having a particularly good soft-shell crab season.  She served me an appetizer that deliciously proved her point.

Ryleighs (Fujifilm X Pro 1, XF 18-55mm f2.8)

The above image was shot inadvertently at ISO 1250 which required a shutter speed of 1/10th with the lens at f2.8.  This points out some good and bad features of the X Pro 1.  The good: that the combination of lens stabilization, and the lack of a mirror, allowed me to shoot a sharp image, at relatively slow shutter speeds.  The bad: the lack of an effective auto iso control on the X Pro 1 (as opposed to the feature on the X100s) means that I have to pay attention when switching cameras, remembering to alter the iso setting manually on the X Pro 1 as the lighting changes.

On another day, I made use of the water taxi service, both to gain another photographic vantage on the harbor, but also to visit Fort McHenry, which is preserved by the National Park System, for its role in the war of 1812.  As you may well remember, the fort served as the primary, outer perimeter defense of Baltimore Harbor.  It was the sight of the American flag being raised over the fort, after the British Fleet was sent packing that inspired Francis Scott Key, to write the Star Spangled Banner.  The fort served many purposes since that battle, including as a hospital for wounded in World War One.  Sometime in the early part of the 20th century, it was restored to a condition near to that, when the famous battle occurred.

On the Ramparts (Fujifilm X100s)

In order to get to the fort, you have to stop to change boats at Fells Point, a neighborhood of Baltimore famous in the early 1800’s for privateers: civilian ships and crews, who were sanctioned by our government to raid British shipping. This is another quaint historic neighborhood that if anything, looks a little older than that at Federal Hill.

It was also quite gentrified, again with bars, B+B’s art galleries, and quite honestly more bars.  Your water taxi ticket gives you two-for-one beer coupons for many of the establishments.  This makes it extremely important to remember that there are no “facilities” on the boat for the ride home.

On the Water Taxi (Fujifilm X100s)

As a whole , this city is a wonderful location for photography.  It is obvious that it has been developed in such a way that it is pleasant to view from the water, in a much more intimate way than for instance, New York.  There is a varied architectural themes throughout the city, all of which makes it visually stimulating, and quite interesting to photograph.  And the people are very friendly and proud of where they live.

Picnic on Federal Hill ( Fujifilm X Pro 1, XF 18-55mm f2.8)

Baltimore is a lovely place to visit.  I think the best months for a trip, might be mid to late May, and for September/October, all months when the schools are still in session, the crowds reasonable, and the temperatures moderate.

And, best of all, it’s soft-shell season.

The Perfidy of Adobe: The Photoshop “Cloud” Problem

May Morning at the Old Farm (Fujifilm X Pro1,XF18-55mmF2.8-4 R LM OIS)

Like many photographers, I’ve used Photoshop software for many years.  I think the first version I owned was Photoshop 6. I’ve consistently upgraded version by version since that release.

This was necessary in part, because I am a raw file shooter, and as we all know, Photoshop does not perpetually update Camera Raw for all new models, unless you have purchased the newest version.

I’ve accepted this, like most other photographers as the cost of doing business.  And I recognize that Photoshop is an extremely powerful program, and I’m sure quite expensive to manage and update.  So the $180 I typically pay for an upgrade roughly every two years seems justified.

Now I have no issue with companies profiting from the intellectual property they have cultivated.  But Adobe’s latest moves have me befuddled.

As many people know, Adobe has decided to forgo further Photoshop version releases.  Instead Photoshop will be a program that you’ll license, and for its use pay a monthly fee .  This new system requires that the computer where the software resides, periodically check in with the mother company for confirmation that the user has paid his tithe to Adobe.  That monthly fee for basic access to Photoshop, (after a yearlong discount) will be roughly $20.00 a month, or obviously $ 240 a year.

So instead of $180 every two years, I will be paying $480 for the same time period.

Granted, one will have use of a constantly evolving software product, with access to the newest updates.

I could understand a modest price hike to perhaps $10.00 a month, or $240 every two years.  But the current pricing is seen by many (including myself) as rapacious.

In many ways it’s an in-your-face challenge to photographers.  I think this policy has the potential to create a enough resentment, that many former users will look for a work-around, either holding onto their current version of Photoshop for as long as possible, or investigating other software.

This is especially poignant to me, as the user of Fuji cameras, and particularly the X Trans imager, for which Photoshop and camera raw are not the premier raw converter.  This fact has prompted me to purchase alternative software for raw development.

There are other software packages available for photo editing including several that are free, but not nearly as powerful as Photoshop.  However not everyone needs such feature rich software.

My style of photography for instance is more involved with the capture of the image than aggressive postproduction work.  For the most part images that I publish or sell, have had a modest amount of massaging, mainly levels adjustment, perhaps color balance or saturation changes, and then sharpening.  I occasionally use the healing brush, to remove an inconveniently located power line, or a piece of debris.  I’m not particularly enamored of high dynamic range images which always look unnatural to me.

I’ve never thought of myself as a particularly clever Photoshop user.  And it looks like I may not get a lot better now.

For now,  the raw files I produce are covered by Photoshop CS 6.  Given the relatively crappy job, Photoshop and Camera Raw do with X Trans files, I have been getting comfortable using for instance, Capture 1 in its place.  Perhaps GIMP, the somewhat Photoshop-like freeware program will be a” work around”.  Even Photoshop “Elements” May be useful.

No product or service, no matter how good and how ubiquitous, is ever essential.

I think Adobe is about to find this out.

The Gear that I Use: The Fujifilm X100s

Spring Morning Web (Fujifilm X100s)

Right now, at least from a photographic standpoint, life is pretty damn good.

It has been several weeks since my initial discussion of the brand-new Fujifilm X100s.

Fujifilm X100s (Fujifilm Marketing)

Not infrequently people are asking, “Is it worth trading up to what on the surface is an almost identical camera.  Now as I have said before, I tend to be cheap. And not all upgrades are worth the money.

So my best answer is this: my beloved X100 has found a new home somewhere in northern Minnesota, having sold on eBay for a reasonably good price, but certainly still at a loss.

Yes, the X100s is that big an improvement.

Because there was no one was due to be at my home during the week the camera was to be delivered, I shifted to delivery my father‘s address nearby, where there would be someone available to sign for the package.  I stopped off at the end of the day, and opened the camera in his den.  I inserted a battery, and an SD card.

Now, it should be said that my father is somewhat bemused by my interest in photographic equipment. The whole “unboxing” thing is lost on him (which means he’s not crazy like his son).

I was fairly familiar already with the camera and quickly set it up to my preferred configuration, composed an image involving my father, and snapped a picture.  The camera selected iso 3200 and then opened the shutter.

When I finally got home and download the memory card, I realized that X 100s. was probably going to work out pretty well.

Dad in his Den (Fujifilm X100s)

So what are the real differences between this camera and its predecessor?  So far, for my use I’ve noticed several real improvements.

The first change that I noticed, right off the bat,  had to do with start-up speed.  The previous camera was extremely unpredictable in this regard.  Sometimes I would turn the camera on, and it would be ready instantly.  Other times (like when I would see a great shot and tried to grab it quickly) the camera would fail to activate until after the moment had passed. I cannot tell you how frustrating that was (note to Fuji: I forgive you, but just this once).

With X 100s, on means ON, and right now.  So far I have not missed any shots because of the delay in “boot up”.  For a professional user, this alone is probably worth the cost of the upgrade.

Probably the most important upgrade for my style of shooting has  to do with the operation of the auto focus.  Finally there is an X-body where selection of the auto focus point can be done with one’s eye to the viewfinder.  This was accomplished by moving the  AF button to the top of the multidirectional control, where he can be easily accessed by your right thumb.  Once selected, you can then use to control to move the square throughout the frame.  This is a huge improvement for those of us who rely on  auto focus.  This is the way it should have been designed originally.  I wish my X Pro-1 had the same feature.

Flox and Lamp Post (Fujifilm X100s)

The auto focus also does seem faster.  Before I sold my  X100 I did compare the 2 cameras side-by-side, and it did seem that the newer camera was more capable of locking onto poorly lit objects, and was somewhat faster.  I really didn’t mind the old system however.  None of these cameras focus like a good DSLR, but given what I use them for they don’t really have to.

Manual focus too has finally been perfected.  The focus ring finally moves the point of focus fast enough to be useful, and the new focus aids include a split screen function, and focus peaking.  I find that the former feature is more difficult to use.  Focus peaking however is extremely useful and seems very accurate.

It is true that the exposure compensation dial seems to be less prone to inadvertent changes.  I also like having the “Q” button available on the back of the camera.  I grown to find this feature useful in my X Pro-1 and is nice to have it here.

Spring Porch on Franklin Street (Fujifilm X100s)

The lens is essentially the same as the X100.  As I understand it can focus closer than on the old camera but otherwise to my eye it looks the same.  Like its predecessor the lens is fairly sharp wide open, but really gets interesting at f4.0 and beyond.  And the leaf shutter is just as silent as before.

In terms of image quality, basically it’s an X Pro-1 with a 23 mm lens (35 mm equivalent).  That is to say that the files are very good, with wonderful Fuji color, and excellent dynamic range (I can easily recover the highlights in the window behind my father).  There is lots of resolution for big prints.

It is somewhat vexing that as of this writing, Capture 1 does not support the X100s files, but I’m sure they will soon.  In the meantime ACR and Raw File Converter can both be used to convert the X100s raw files.  I’ve come to realize that for detailed landscape images, Raw File Converter is preferable because of the superior detail that it can reveal. I prefer ACR for a high ISO images and portraits, where it has a very nice smoothing effect on skin, and grainy images.

Bike and Mailbox (Fujifilm X100s)

The camera definitely has better low light capability than its predecessor:  enough that I now set the auto-ISO control on ISO 6400 (rather than 3200 on the X 100).

Now more than ever the camera is an ideal companion to one of its interchangeable lens brethren.  I love to shoot with the X pro-1 mounted with the 60 mm f2.4 lens, in the bag along with X 100s.  These cameras are very complementary to each other, with similar controls and essentially identical image quality.  And remember, the very useful X100s. focal length is currently unavailable in the XF lens catalogue(at least at f2.0).

Apple Tree, Dennison Farm (Fujifilm X100s)

All of this has made me very happy.  I wish I thought the auto focus button placement on the X Pro-1 could be upgraded through firmware, but so far there is no sign of this happening so far.  I imagine an X Pro 2 with the X100s focus improvements, and perhaps an even more improved sensor and I find myself salivating like a Pavlovian dog.

eBay I think, has not seen the last of me.

On the Gosnell Media Blackout.

Here’s an editorial published in the Wilkes-Barre  Times Leader on the Kermit Gosnell trial.

Commentary: Dr. Henry F. Smith Jr.

April 17. 2013 10:28PM

The national news media seems to cover every detail of seemingly inane events. We are bathed in coverage of the latest regarding Kim Kardashian’s pregnancy, or Tiger Woods’ latest romance. It’s a lead story in the national press when a Republican senator’s campaign staff is caught saying insensitive things about a potential political opponent on an illegal recording. But at the same time, the press is unwilling to cover apparently monstrous crimes that have taken place in our midst. We need to be asking why.

In Philadelphia right now there’s a trial underway involving gross misconduct of a physician (always good fodder for the news media). There are lurid details of dead bodies stored in rooms, dismembered corpses kept as trophies, underage untrained people performing gruesome medical procedures. The details are so graphic and so startling, that properly exploited, they would surely grow huge ratings in media outlets such as Court TV. But short of very select media coverage, there is an almost total press blackout of this story. The reason: the medical procedure this trial involves is abortion and the victims are babies.

Kermit Gosnell is a physician who ran a clinic called the “Woman’s Medical Center” in West Philadelphia. Apparently a major service there was performing abortions by the thousands each year. Dr. Gosnell, allegedly, would play fast and loose, with the gestational age of the fetuses he was paid to dispose of, allowing a woman the option of a later-term abortion than might actually be illegal.

When inconveniently, such an infant would have the temerity to be born alive, Dr. Gosnell according to testimony, had a solution. He would take a set of sharp scissors, open them, stab the points into the back of the baby’s neck, and then “snip” the baby’s spinal cord, killing it. Included in testimony, are very graphic descriptions of a baby’s typical reaction to this.

Workers at the clinic have described conditions as “raining fetuses”. The clinic has been described as filthy, with blood spatters on the wall. There has been testimony from underage workers, and workers with no formal training, who performed the ultrasounds used to determine the fetal age. After all… No point in being too accurate about that sort of thing.

Apparently Dr. Gosnell was happy in his work. He cheerfully described one particular late-term fetus that he dispatched as being “big enough to walk me to the bus stop”. He allegedly kept body parts of his victims in jars.

And from the press: The sound of crickets, chirping.

At some sadistically twisted level, it is possible to feel a degree of sympathy for Dr. Gosnell. After all, he was just trying to give good and complete value for the fees he charged. His “clients” had one request, that their pregnancy be terminated, and that no living baby would survive. And remember, he practices in a litigious society, where a patient actually sues her abortionist when she ends up with a live healthy baby rather than a jar full of parts.

What’s the difference whether the vivisection occurred in the vaginal canal or on the operating table a few minutes later? Quite honestly, in a society that permits the slaughter of innocents, such nuances should be inconsequential. Hey, our own president has supported legislation in Illinois, that would have allowed fetuses born alive, to expire without medical care.

Ann Coulter has written that abortion is the “sacrament” of liberalism. On a first read, I thought she was just being provocative. Watching the news media boycott this trial, an event that, given its sensationalism could be a huge driver for network ratings and profits, is chilling. Clearly burying the details of this gruesome court proceeding, which could cause harm to the institution of abortion, trumps all other concerns.

To liberals in the press, or put another way, to the entire media complex, this case is radioactive. It threatens to demonstrate that we can truly not rationalize the moral choices we’ve made — the “devil’s bargain” that we have struck, to permit legalized abortion. The arbitrary age limits, and the limits we place on the procedure, and particularly when and where the killing may occur, are indefensible morally, and logically. Dr Gosnell’s true crime was to violate the self-righteous boundaries we have placed on this brutality, so we may delude ourselves that we remain a moral society.

If he is guilty of the crimes for which he is charged, Kermit Gosnell is indeed a monster. But that barbarity in part, would extend from actions defended as a cornerstone of liberal ideology. He allegedly just took it to the next logical step.

That’s why they don’t want us to know about him.

Dr. Henry F. Smith Jr. is a pulmonary and sleep physician from Fairview Township.

More on Fujifilm X Trans Raw Conversion

Those of us who shoot the interchangeable lens Fuji cameras such as the X Pro 1, and XE 1, have had much to enjoy.

But as we discussed in an earlier posting, the novel configuration of the new Fuji sensor in these bodies, has apparently made it somewhat difficult for imaging software companies to come up with the appropriate software to translate the raw files into images, particularly given the potential of the sensor and the camera body.  Adobe in particular have struggled with this.  There has been two problems with Adobe Camera Raw, and Lightroom conversions of the Fuji files.  Number one there has been a smearing affect in areas of images, weather is for instance white lettering on a darker background.

There is also an obvious lack of detail in the Adobe conversions, relative to those done with Fuji’s bundled Silkypix-based conversion software, and Capture One 7, not to mention the in-camera raw conversions.

This week, Adobe made available a of quotes “release candidate”  raw conversion software for Photoshop and Lightroom that is said to among other things, address the weaknesses in  X Trans raw processing.  I wanted to see if it represented a significant improvement.

DPreview has done an evaluation of the new raw processing software.  Their images when compared to earlier raw conversions, do tend to suggest that the “smearing” problem has been somewhat successfully dealt with.  It did appear however on their images, that reproduction of fine detail may still be an issue.

To find out, I ran a picture of the hemlock trunk I’ve used in earlier articles through the newer Adobe converter and then compared it to images converted with other software.

I actually did additional sharpening, on the files converted with a newer Adobe plug in.

Hemlock Trunk, ACR 7.4

Hemlock 100% (Raw File Converter)

Hemlock 100% (Capture 1v.7)

To my eye, at least on this image, the fine detail/watercolor issue continues to be a slight problem, though less so than before  (the differences are more pronounced when viewing the on uncompressed Tiff files).  Files converted with the Fuji Software, and Capture 1 version 7 continue to be  slightly superior in terms of apparent resolution but it’s closer than before.

But  then I converted some other image files I have recently taken with Capture One Express 7.0 and Adobe Camera Raw.  This particular  file which was fairly typical, I reconverted multiple times, to make sure I hadn’t made any mistakes.

Late Winter at Berger’s

 

Here’s the 100% images

Late winter at Berger’s( Capture 1)

Late Winter at Berger’s(ACR)

To my eye, there remains a significant difference in detail retention with a strong advantage to Capture One (and believe me, I worked hard with the Adobe file).   Given this, I think Adobe still has a way to go.  For now I will  be using Capture One, or Fuji Raw File Converter, for detailed landscapes.

On a related note, Capture 1 has released version 7 of its Express Software which is less well featured on the pro version, but should still be useful for  the X Trans raw files.  I shall probably acquire that software as I do not require all of the capabilities of the more expensive version.

I suppose the good news here is that there are now several excellent choices for the conversion of Fuji X Trans raw files.  This would certainly be important to Fujifilm, who is about to come out with two more cameras (the X100s, and the X20) that use the same sensor technology.

Though Adobe conversions are still not optimal, they are improved and in many cases may now be adequate.