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  #1  
Old January 12th, 2018, 06:33 PM
Asher Kelman Asher Kelman is offline
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Default Discovering the Fuji GFX Mirrorless Camera.

Here I will post my experience with the 50MP GFX MF Digital camera.

I wont touch tech specs. Just how it works for me.

First it weighs .4 lb more than the Sony A7R and similarly can take almost any lens you throw at it with a $30 to $98 adapter for MF and $350-$550 for various electronic adapters that allow any native AF, aperture control and stabilization of the dapted lens.

I just have one lens, as the package broke my bank account at just clear of $8,000, (a special sale price at dealers that end December 31 2017, but B&H is still allowing apparently.

It fits in the hand well, the camera focuses very fast and there's a tiny paddle to move the focus point or one can use the touch screen.

I added a little fuji flash which works for casual shoots of several people together. I aklso have a more powerful Speedlight style Godox flash that either mounts on the camera or is fired by a compact trigger on the camera iinstead.

As the synch speed is just 1/125 sec, the advantage of Godoz is that they worked with Fuji to bring HSS so that we do not have that 1/125 limit.

Still I will test the camera on. my archaic but well tuned Lumedyne flash system and I will try out that 1/125 second allowable synch speed and see how it turns out.

I started, without looking at the manual. Thr camera was set to jpg and sRGB. That baffled me! When I went to correct it, I discovered that there was no Prophet RGB, just Adobe RGB 1998. So I set for that.

I turned out that not all my shots were in focus. could be that I didnt move the focus point over the target and when one is set to 50 mm equivalent of 35 mm camera, wide open, that can lead to a thin focal plane.




I have to celebrate my new Fuji GFX with its 32 to 64mm zoom with the baby size Medium Format sensor. I had to visit Holmby Park in the late morning to see how it handled with the enormous dynamic range of the shade and brightness.


I stitched 32 overlapping shots, handheld in Autopano Giga and the stitching went easilly. This could print at 300 dpi about 54" x 36".





Asher Kelman: Holmby Park Tranquility
January 2018
Fuji GFX 32-64 f4.0
Handheld 32 overlapping shots
Stitched in Autopnao Giga

This one is also added to my Holmby Park Collection.


Asher
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Last edited by Asher Kelman; January 14th, 2018 at 03:46 AM.
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  #2  
Old January 12th, 2018, 07:00 PM
Doug Kerr Doug Kerr is offline
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Hi, Asher,

Congratulations! That is an exciting machine. I knew you wouldn't be able to resist it!

I'd be interesting in seeing a shot comprising only one frame. Do you still remember how to do that?

Best regards,

Doug
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  #3  
Old January 12th, 2018, 07:06 PM
Doug Kerr Doug Kerr is offline
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Hi, Asher,

Quote:
Originally Posted by Asher Kelman View Post

I started, without looking at the manual. Thr camera was set to jpg and sRGB. That baffled me! When I went to correct it, I discovered that there was no Prophet RGB . . ."
Is that the color space that can predict the needed white balance color correction?

Or is it time for Siri to sign up for a spanking again?

Best regards,

Doug
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  #4  
Old January 12th, 2018, 07:10 PM
Asher Kelman Asher Kelman is offline
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Thanks Doug,

I now have to rent a room and sell of some gear!

I stopped a tourist from Hong Kong walking past my house and caught him in the shadows of the trees. Remember, Beverly Hills is actually a kind of forrest, they have planted so many trees!

So this fellow came out a little dark. Here is the unaltered out of the camera jpg:





Asher Kelman: Passer By From Hong Kong
Fuji GFX 32-64 mm zoom
out of the camera jpg

unprocessed



The camera is not magic! It has to have a brain behind it. In cases like this one needs fill in flash, or the patience to correct it in Photoshop et al.





Asher Kelman: Passer By From Hong Kong
Fuji GFX 32-64 mm zoom
out of the camera jpg

Corrected for exposure in Photoshop CC



Note the slight blue-fringing, which I have not bothered to face and correct yet. It is what it is! I will test another copy of that lens and see if it is present too with both shot side by side in high contrast, against the sun.

Asher
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Last edited by Asher Kelman; January 14th, 2018 at 02:44 AM.
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  #5  
Old January 12th, 2018, 08:17 PM
Asher Kelman Asher Kelman is offline
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Asher Kelman: Fall in January: After The Winds
Beverly Hills California 2018
Fuji GFX 32-64mm Single shot
Out of the camera jog

(Also added to the Winter colors series)

Asher
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  #6  
Old January 13th, 2018, 01:32 AM
Dr Klaus Schmitt Dr Klaus Schmitt is offline
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Looks quite nice to me actually! Great machine!
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https://www.flickr.com/photos/kds315/ my normal photographic work
http://photographyoftheinvisibleworld.blogspot.com/ my ultraviolet (UV) work
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  #7  
Old January 13th, 2018, 02:25 PM
Asher Kelman Asher Kelman is offline
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I can't wait to get an adapter for my AF image stabilized Canon lenses with wide apertures.

In addition I have to get adapters for Leica, Bronica SQ, Pentax 6x7, Pentacon, Contax/Yashica and Canon FD.

I have my eye on a 15 mm Ultra wide angle or else the ultrawide Canob zoom, 11-24 I think it is. What I expect to get is "better gradients & colors". For just resolution, I could have stayed with the A7 seriessand a new A7RIII at half the price!

So far, it's a pleasure to use!

Asher
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  #8  
Old January 14th, 2018, 01:03 AM
Asher Kelman Asher Kelman is offline
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Default Sophistication of Fuji In Camera Processing!

Here I have processed one single RAW file to my best capability with Photoshop CC 2018. I was concerned about the need to keep the gras and leaves saturated, so I made to files: one lighter for the people, and then one darker for the grass and trees and sky.

Then I looked at the JPG produced in camera by the camera processor and firmware.



Image from RAW File



Asher Kelman: The Two Maryams
Single Shot Fuji GFX 32-64mm
From RAW with CC 2018



The sky is a nice blue, the grass and trees are fine too. The two women are of course a tad lighter, as I corrected for that by combining two layers.






Image from JPG file out of the camera only resized



Asher Kelman: The Two Maryams
Single Shot Fuji GFX 32-64mm
Straight out of Camera JPG just resized


What impressed me is how good the "out-of-camera" JPG is! Fuji, of course understands better than I do how to process its files. So it is likely to have impact on any color fringing. I must add that, I have currently no native profiles for this camera in Adobe Camera RAW.

Purple Fringing
1. Fringing can be caused by excess UV light or short wavelength violet light focussing outside of the focus plane of correctly focussed visible light.

2. Fringing can be caused by the focus being inaccurate so the different colors arrive at a different plane.

3. The camera just cannot get the light of different colors in exactly the same plane and this is seen where we shoot wide open in a high contrast area, such as dark edges against a bright sky.

Here is a cutout at 100% to show the purple finging at the edges of the dark branches.



Image from RAW File



Asher Kelman: Processed in ACR CC Photoshop 2018
Cut out to show Purple Fringing



Image from JPG file out of the camera only resized



Asher Kelman: "In Camera" Processed JPG
Cut out to show Purple Fringing


The in camera JPG processed jpg has far less purple fringing on the side of the stout branches!

I am disappointed with the appearance of obvious purple fringing seen at 100% in the image I developed from RAW using ACR in Photoshop CC 2018.


It is not especially noticeable in the complete image. I will look at a
printed version to see if the fringing, uncorrected is even noticeable.


The purple color of fine twigs, is however seemingly about the same in both my processed file and the JPG out of the camera. So the incamera engine, does not seem to be able to recognize fringing unless there is a detailed structure of some substantial thickness and then the purple color is just on the edges. That it can recognize.

My fault for shooting into the sun with a wide angle lens! Still, I think that processing the RAW file in the actual camera might be the correct workflow until Adobe gets the proper profiles.

Asher
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  #9  
Old January 15th, 2018, 06:42 AM
James Lemon James Lemon is offline
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Default

Quote:
Originally Posted by Asher Kelman View Post
Here I have processed one single RAW file to my best capability with Photoshop CC 2018. I was concerned about the need to keep the gras and leaves saturated, so I made to files: one lighter for the people, and then one darker for the grass and trees and sky.

Then I looked at the JPG produced in camera by the camera processor and firmware.



Image from RAW File



Asher Kelman: The Two Maryams
Single Shot Fuji GFX 32-64mm
From RAW with CC 2018



The sky is a nice blue, the grass and trees are fine too. The two women are of course a tad lighter, as I corrected for that by combining two layers.






Image from JPG file out of the camera only resized



Asher Kelman: The Two Maryams
Single Shot Fuji GFX 32-64mm
Straight out of Camera JPG just resized


What impressed me is how good the "out-of-camera" JPG is! Fuji, of course understands better than I do how to process its files. So it is likely to have impact on any color fringing. I must add that, I have currently no native profiles for this camera in Adobe Camera RAW.

Purple Fringing
1. Fringing can be caused by excess UV light or short wavelength violet light focussing outside of the focus plane of correctly focussed visible light.

2. Fringing can be caused by the focus being inaccurate so the different colors arrive at a different plane.

3. The camera just cannot get the light of different colors in exactly the same plane and this is seen where we shoot wide open in a high contrast area, such as dark edges against a bright sky.

Here is a cutout at 100% to show the purple finging at the edges of the dark branches.



Image from RAW File



Asher Kelman: Processed in ACR CC Photoshop 2018
Cut out to show Purple Fringing



Image from JPG file out of the camera only resized



Asher Kelman: "In Camera" Processed JPG
Cut out to show Purple Fringing


The in camera JPG processed jpg has far less purple fringing on the side of the stout branches!

I am disappointed with the appearance of obvious purple fringing seen at 100% in the image I developed from RAW using ACR in Photoshop CC 2018.


It is not especially noticeable in the complete image. I will look at a
printed version to see if the fringing, uncorrected is even noticeable.


The purple color of fine twigs, is however seemingly about the same in both my processed file and the JPG out of the camera. So the incamera engine, does not seem to be able to recognize fringing unless there is a detailed structure of some substantial thickness and then the purple color is just on the edges. That it can recognize.

My fault for shooting into the sun with a wide angle lens! Still, I think that processing the RAW file in the actual camera might be the correct workflow until Adobe gets the proper profiles.

Asher
Asher

This can be expected from sharp lenses and detailed sensors. Not a big deal and others have found ways to correct the problem. Should not be to difficult to find a solution.

James
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  #10  
Old January 15th, 2018, 09:58 AM
Asher Kelman Asher Kelman is offline
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Quote:
Originally Posted by James Lemon View Post
Asher

This can be expected from sharp lenses and detailed sensors. Not a big deal and others have found ways to correct the problem. Should not be to difficult to find a solution.

James
Some Leica lenses are so well corrected that these aberrations are almost completely avoided.

Asher
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Our purpose is getting to an impressive photograph. So we encourage browsing and then feedback. Consider a link to your galleries annotated, C&C welcomed. Images posted within OPF are assumed to be for Comment & Critique, unless otherwise designated.
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  #11  
Old January 15th, 2018, 10:35 AM
James Lemon James Lemon is offline
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Quote:
Originally Posted by Asher Kelman View Post
Some Leica lenses are so well corrected that these aberrations are almost completely avoided.

Asher
Asher

It still happens with the best of Leica glass. Especially when shooting wide open and into the light. Have a look at the link below and it will tell you how to get rid of it in Lightroom

http://www.overgaard.dk/leica-50mm-A... get rid of it


James
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  #12  
Old January 15th, 2018, 10:45 AM
Asher Kelman Asher Kelman is offline
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Quote:
Originally Posted by James Lemon View Post
Asher

It still happens with the best of Leica glass. Especially when shooting wide open and into the light. Have a look at the link below and it will tell you how to get rid of it in Lightroom

http://www.overgaard.dk/leica-50mm-A... get rid of it


James
I hope for more with Leica glass, LOL. I am pretty sure they are far better than most at thesexaberrations. As to corrections it has been in Photoshop for years and I have always used it with the Canon 50mm1.2L! I just expected Fuji to be at a higher level. Still they are the most brilliant lenses I have used!

Asher
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