Lately I’ve been shooting quite a bit with the Helios 44-2 and other old vintage m42 manual focus lenses from the 80’s. While shooting with manual lenses takes more time and isn’t always as precise, it’s much more rewarding and you feel like you have complete control of every shot you take.
With the introduction of Aurora HDR into my workflow, editing is getting pretty cool and a lot quicker, but it now means I have to use three different programs (Lightroom,
A detailed look at some of the great features of Macphuns Aurora HDR photo editing software. In my opinion, the best HDR software I’ve ever used and so much more.
You can spend hundreds, or even thousands on landscape photography tutorials, or . . . you can just shoot with Fujifilm.
Here is all I did to get these results.
Remember when the Sony A7rII was released and we didn’t have the option for uncompressed RAW and the Internet almost exploded with nerd rage?
Almost immediately Sony responded and gave us uncompressed RAW and a new trend was born, the option to pick between lossless and uncompressed.
When Fujifilm released the X-Pro 2 and the X-T2, they hoped on the trend train and gave the option between lossless and uncompressed right out of the gate.
So now that we have the option to choose with the X-T2 and X-Pro 2, uncompressed vs. lossless, the question arises, does shooting with one versus the other actually make a difference?
Do you ever wonder if you’re using the most time efficient workflow?
If you’re a Fujifilm shooter and want to use Iridient Developer as your primary photo processing software, or even if you want to use it as a RAW converter, then have a solid and consistent workflow is not only going to save you a lot of time, but it will also make your photo editing process a lot simpler.
In this guide I want to share with you the way I use Iridient Developer to process my Fujifilm RAW files and a file structure to help you stay organized.
A relatively new trend has emerged in the online photography communities over the last few years that involves shooting into the sun or other bright light sources so that the bright light creates star points around it. Also known as sunstars.
I run across a lot of tutorials and tips of people explaining how to do it. Typical they all say about the same thing, shoot high apertures, anywhere from f16 to f22.
While this does usually work, it’s not always the best practice. I find that shooting at higher apertures on many of our high megapixel cameras has a massive impact on overall image quality due to diffraction.
If you’re a Fuji shooter you may have heard of this RAW converter called Iridient Developer. If you haven’t, it’s definitely something worth checking out.
I’ve been using Iridient for the last few months with my Fuji X100T and have been so blow away by the difference it makes when converting my Fuji RAW files, that I decided to do a detailed comparison between Iridient and Lightroom to show you just how much better it can be at processing Fuji X-Trans files.
And the results turned out a lot better than I was expecting.
Out of curiosity I wanted to see how the FujiX100T manipulated images between JPEG and RAW when using the new Classic Chrome color profile.
At first I would have thought that they would be almost indistinguishable or at least extremely close. After all, why would a JPEG image look any different than the RAW with Classic Chrome? The profile is built by the same company using the same curves. But the results are actually very surprising.
Looking for ways of improving your HDR photography? Are you wondering where in your HDR workflow you are making mistakes?
Chances are there are a few steps you’re completely overlooking, and there happening before you even start.
I’ve compiled a list of four techniques you need to do to every HDR photo before tone mapping.
Here they are: