The Last Word – Visuals of GFX 100 strobe profile differences
All come from the DPR Studio Scene for the GFX 100, so the subject matter will be familiar to many of you. I boosted the brightness a bit using the Exposure tool in Lightroom. All of the images got the same boost, except for the LumaRiver reproduction style profile, which needed more than a stop extra. I white balanced to the bottom of the gray square in the middle of the image.
The Last Word – Camera differences in color profile making
I expected the reproduction profiles to be distinctly more accurate than the other profiles. in all cases. That didn’t happen in the case of the GXF 100, where the reproduction profiles were a small improvement in accuracy over ACP and ASP.
The Last Word – Chromaticity shifts with the a7RIV, Z7, and GFX 100
In the yellows, blues, and cyans, the GFX shifts take their general direction the same way as the Z7, but the shifts are more pronounced for the Fuji.
The Last Word – Designing color profiles for strobe lighting
If you are a seasoned color pro, this will be all that you need. If you’re not, don’t worry. You don’t have to understand it all. I’ll be going through the most significant data and giving you explanations if you scroll down further.
The Last Word – CC24 vs CCSG CIELab values
But today I discovered that, even with the same 45/0 lighting and a spectrophotometer, the CC24 patches on the CCSG target don’t match the CC24 patches on the actual CC24 target.
The Last Word – Profiling a GFX 100 with X-rite CC calibration, part 2
Yesterday I posted about my experiences using the X-Rite CC24 and CCSG targets and X-Rite’s Color Checker Camera Calibration program in diffuse illumination. Before that test, I made a profile with the CCSG target in direct sunlight at a 45-degree angle to the target. The colors were overly chromatic.
The Last Word – Profiling a GFX 100 with X-rite CC camera calibration
That also shows what’s going on. Adobe makes errors in both desaturated and more-saturated directions, but the X-rite program seems to go for more saturation almost all the time.
It looks like the X-rite profile making program is not trying to be accurate, but is going for a “look” they think you’ll like.
The Last Word – Field Curvature on the Fuji 45-100/4
The prime is better.
I am amazed at how well the 45-100 did in comparison tot he 45/2.8 in this test.
The Last Word – Fuji 45-100/4 vs 24-70/2.8 Nikkor S, Siemens star, part 3
This is part 3 of a comparison of he Fuji 45-100/4 on the GFX 100 with the 24-70/2.8 Nikkor S on the Z7 at 45mm, 63 mm, and 100mm for the Fuji lens, and 35mm, 50mm, and 70mm for the Nikkor. This post will look at the 70/100mm shots.
The Last Word – Fuji 45-100/4 vs 24-70/2.8 Nikkor S, Siemens star, part 2
This is part 2 of a comparison of he Fuji 45-100/4 on the GFX 100 with the 24-70/2.8 Nikkor S on the Z7 at 45mm, 63 mm, and 100mm for the Fuji lens, and 35mm, 50mm, and 70mm for the Nikkor. This post will look at the 50/63mm shots.
The Last Word – Fuji 45-100/4 vs 24-70/2.8 Nikkor S, Siemens star, part 1
The Fuji 45-100/4 that I’ve been testing for the last week is an incredible zoom. It is running very close to, and may surpass, the Fuji 32-64/4, which is the second-best zoom I’ve ever tested. The 24-70/2.8 Nikkor S is the best 24-70 full frame zoom I’ve tested. It seems natural to pit them against each other, even if the resolution of the Z7 is only about 70% of that of the GFX 100. I suppose I could test the new Fuji zoom on a GFX 50S, but since I’ve been using the GFX 100, I don’t have much interest in that camera.
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Fujifilm GFX100: B&H Photo / Amazon / Adorama
Fujifilm GFX50R: B&H Photo / Amazon / Adorama
Fujifilm GFX 50S: B&H Photo / Amazon / Adorama
GF100-200mmF5.6 R LM OIS WR: B&H Photo / Amazon / Adorama
GF45-100mm f/4 R LM OIS WR: B&H Photo / Amazon /Adorama
GF110mm F2 R LM WR: B&H Photo / Amazon / Adorama
GF63mm F2.8 R WR: B&H Photo / Amazon / Adorama
GF50mm f/3.5 (Save $500): B&H Photo / Amazon / Adorama
