Friday stuff: new Capture One, new GFX...

That’s our son modeling for me. Yes, the kiddo is getting older. 

It’s an exciting week, with the launch of two products I had the opportunity to test beforehand: the GFX 50R—which is now finally available in stores— and a brand new, shiny version of Capture One Pro with their release of version 12.

I’ll be sharing about Capture One more and more on the blog...because it’s my main workhorse now, but also because using it no longer implies any sort of dark arts maneuvers (i.e GFX support). But for the time being, I’ve written a first look that’s available on the Fujifilm-X website if you’re interested.


As to the GFX 50R: I previously published a few posts, back when it was announced in September. But because I was in Germany at the time and these had all been scheduled before the camera’s official launch date, I didn’t yet have a link to the promo video we had shot for the camera. And being who I am...I simply forgot to write about it. I’m actually quite proud of the results so I figured I’d remedy the situation today—given the camera’s real launch.

Shooting the promo was part of the overall GFX 50R project—along with capturing images that would potentially be used as promotional material by Fujifilm Japan. If you’ve seen the brochure you may have noticed a double spread in there with my name on it. Kinda stoked about that one. But the most thrilling part was the creative license we were given: we weren’t told what to do or how to do it. We knew the concept of the campaign was to revolve around the word precious...and we simply did our own take on this.

I worked very closely with Fujifilm Canada’s Francis Bellefeuille: he shot the images but also edited and graded the movie. Talented fella. I wrote the words and music, did the sound design and mixing. I shot a few stills here and there as well ;)

We filmed over two days—including splashing around in that not-so-warm swimming pool for way too long. Then it all pretty much came together over a weekend while the family was away: I was sending music mixes and images, Francis was sending back edits...we tweaked and prodded until we were both satisfied. The magic of the Internet.

Then I had a beer. Ok, ok...I had TWO.
Sheesh. Video below.
Have a great weekend.

​Adobe: Gone.


UPDATE: Right. So as John helpfully points out in the comments, this is still May. Not June. May. Boy...this probably has to do with the fact that my brain is focused on nothing but June these days. So Adobe did in fact give me a month's notice and my indignation is..err...less than rightful? But: it doesn't change the fact that I was first told point blank I couldn't cancel my membership. And it actually makes it even stranger, given I was well within the window to do so. Mea Culpa...but I'm still fine with the decision.


I’ve made no secret of my distaste for Adobe. Lightroom served me quite well for several years (following Aperture’s demise) but the company itself...I was never a fan. So after a few fits and starts, I finally moved to Capture One and had every intention of canceling my Photography Plan, once its time was up. Then of course I got this one job where I turned to Lightroom—because it was there. And I thought oh well...may as well keep this around just in’s a business expense yada yada yada.

Long story short: my renewal was due this morning, June 18th, and I’d decided to basically stay put. Until I received an email—this morning, June 18th—informing me that my “...annual membership will renew automatically on 18-June-2018 (PT). The terms are outlined below...”. Oh and it included a price hike as well. With every other service I subscribe to (and there are many), a renewal notice will come days or even weeks ahead of a deadline, as a courtesy. As a way of saying hey, we hope you’ll stick around but here’s a heads up before we take your money, in case you’ve changed your mind . Not so here. At the very least Adobe could’ve respected my intelligence and sent an email informing me that my membership had ALREADY been renewed. Which know...the actual reality. I read the message and I thought: ok...enough.



So I log into my account, go to my Plans, click on Manage Plans (as it says on their help page), look for the Cancel button (as it says on their help page)...but it isn’t there. I’m on my iPad so I figure it might be an issue with mobile, so off I go to my Mac—same deal. Then I notice my CC info isn’t up to date (I switched cards recently) so I update the info just in case...and I get a thank you for your payment! message. Great. Time to chat with support. Here’s how it goes:

chat - 1.jpg

Did you get that last paragraph? I’ve hidden the agent’s name because this is clearly company policy at work and I don’t fault her/him at all. But needless to say I’m a little taken aback at this point. Here’s the rest of our exchange:

chat - 3.jpg

Offering discounts when a customer wants to walk away probably dates back to Babylonian times. Every company/seller does it. Perfectly fine. But telling me I CANNOT cancel? Telling me I HAVE to buy their product when I don’t want it? Obviously the company didn’t have a leg to stand on and the agent knew this. But the tactic says a lot about Adobe and how much they care about their customers. It’s called bullying and you know what? There’s enough of that going around these days.

Good. Riddance.
Now Phase One: can you just bite the bullet and support my GFX already? Pretty please?


Happier news: we’re heading into a long weekend in Canada—sort of the official kickoff to “summer”. Héloïse has 3 ballet recitals lined up so we’ll be busy. And if you’re looking for inspiration/reading: our new KAGE issue is out.

Have a great one all :)

​The Process: Toning for Mood


Colour is tough. When processing black and white images, contrast and density make up the bulk of our vocabulary; with colour the dictionary explodes. And where a monochrome process will automatically unify a series of photographs without much effort, colour can easily make an awful mess of things. Over saturation, unnatural tones, unwanted colour casts...all these elements—unless intentional and part of the narrative—can diminish the strength of what we’re attempting to communicate.

I tend to believe in a less is more approach but this doesn’t mean we can’t experiment and push boundaries: as always, we just need to build on what already exists in the photograph. Extending as opposed to imposing. Simply put, it’s always about making sense. With this in mind, let’s take a look at colour not as the main focus but as a “mood enhancer”.

We feel colour before we see it. It’s a physical response based on how we decode, based on our environment and the spectrum of the world around us—night and day, summer and winter, hot and cold. Movie posters use this extensively to very quickly communicate a film’s “personality”: if it’s blue/green and slightly desaturated, chances are we won’t be expecting a romantic comedy. At the subconscious level we know what certain colours represent, regardless of cultural differences.

Cornucopia: Curves, Levels, Wheels and Split Toning

Boy that’s a lot of options. When it comes to manipulating colour, there’s no dearth of tools at our disposal these days. And although each requires its own approach, they‘re all based on the same concept: targeting a colour channel along an exposure axis, from shadows to highlights. So let’s first look at the most common and visual one of all: the humble RGB curve. In Adobe parlance this would be the Tone Curve but set to RGB mode, not the default sliders. The great thing about this tool is its ubiquity: most apps offer a version in one shape or another. Which means all of the following tips can be applied regardless of the software we’re using—it’s the fishing rod as opposed to the free bucket of fish. Here’s how it looks in three well-known desktop apps (Lightroom, Capture One and Luminar 2018):

And mobile apps (Snapseed and Adobe Lightroom CC Classic Mobile):

In each case the principle is the same: the top of the curve represents the highlights, the bottom represents the shadows. Points can be added anywhere along the line to manipulate all values in-between by raising or lowering each point. In full RGB mode this will affect contrast because we’re processing all colour channels at once—I’ve previously written about this here if you’re interested. But if we switch to an individual channel—red for instance—then any control point will now affect the amount of this very specific the shadows, highlights or everything in-between. The curve still represents the same thing but we’re manipulating colour instead of contrast/exposure. Let’s look at example to make this a bit clearer. In the following image I’ve selected the blue channel but there’s no curve applied yet.


Now, let’s say we wish to affect only the deep shadows in the image. To accomplish this we add two points to our blue channel curve. Why two? Because with the top and bottom points this gives us an equal distribution across the curve. Think of each point as a lock in this case: we’re making sure our curve will remain linear everywhere except in those shadows we’re targeting.


Right, so let’s raise the lower point and see what happens.


By raising the blue channel in the lowest portion of the curve, we’ve added a blue tint to the shadows of the image.

Now, from this point on anything is possible: the same principle can be applied to any colour channel and any point on the curve.

If we look at levels in C1 for instance (no such thing in LR), the concept is similar but instead of an infinite number of possible control points we get three main controls across the histogram: shadows, midtones and highlights.


The difficulty with curves or levels however, is that affecting only a single channel at a time (red, blue or green)—while precise—can sometimes make it awfully hard to achieve a specific overall tone: lower the red and blue gets punched up, raise green and you now have’s a whack-a-mole three-way balancing act, with each value immediately impacting the others. It’s often more complex than what we really need. In most cases, I turn to Colour Balance (C1) or Split Toning (LR).


I wrote about colour wheels way back in the Aperture days so switching to Capture One and its Colour Balance tool really felt like coming home. The big difference with wheels, compared to the tools we just discussed, lies in how colour is affected: as a whole as opposed to per channel. So for instance, pushing midtones towards green doesn’t push the green channel—it actually makes midtones green. Period. The mathematics are different. It’s more like applying a tint. Capture One offers three wheels: All, Shadows, Midtones and Highlights. I use this tool enough that I’ve created a tab in my workspace where I can see each individual wheel at a glance.


With colour wheels we can very quickly add or subtract warmth, tint the shadows or highlights, all individually. Capture One also provides individual sliders for saturation and brightness making it very easy to pinpoint the intended effect. It’s extremely powerful.

Lightroom doesn’t offer anything close. But Split Toning—a tool usually reserved for emulating tinting processes in monochrome—can provide surprising results when looking to simply tweak the mood of a colour image. Try experimenting with very subtle values using the shadow slider (tinted highlights tend to be less natural and more obvious to the eye).

Shaping colour this way, altering or skewing the tones, can be a very effective way of creating visual continuity across a series of pictures. The following essay from May 2017 is a good example of this: tinting was used to intensify the feeling of heat and warmth that was already present in the images but not as obvious out of camera.

Two versions: processed and unprocessed (note: I used my Soft Classic Chrome in-camera preset + warm white balance as a starting point). 

Two versions: processed and unprocessed (note: I used my Soft Classic Chrome in-camera preset + warm white balance as a starting point). 

The colour balance settings.

The colour balance settings.

In my March 2018 KAGE essay the approach is similar but the effect is diametrically opposed: less saturation and much colder tones result in a very different mood. Yes, I know lighting and subject are part of it as well...don’t get smart with me guys. You understand the point I’m trying to make here ;)

Again, colour balance settings. Really subtle but still visible.

Again, colour balance settings. Really subtle but still visible.


I love the power and intensity of black and white images. I love how immuable they are, how timeless. Colour photography will always be a challenge because it moves with the times in a way monochrome never will; probably because the latter is not actually part of our reality—our only frame of reference for monochromatic images is photography itself. As I said, colour is tough. But beyond purely naturalistic renditions, the prize is a second, third and fourth layer to play with.

The trick is in finding the right mix...and convey the proper message.

P.S If you’re interested in continuing the analysis, I touched on several of these points (using a “real-world” situation) in the following post: All the Green We Wanted | A technical Follow-Up

Five & the Update Cornucopia

Man...We’re going to need an entire week just to get up to speed. I’ve rarely seen such an avalanche of releases back to back—new versions, new apps, firmware updates, the works. But before we take a look at all of it, I need to mention one little thing: KAGE is five years old.


Hard to believe this project began in 2012 but here we are. We’ve seen ups and downs, lived through internal changes but what an adventure it’s been so far. I’m incredibly proud of every moment with current and past photographers. Our new issue is out today and I invite you to come hang out for a bit.

Right. On with the newness...


There’s a new version of Capture One every year. And every year the company raises the bar—with actually useful features. By that I mean stuff most of us will use on a daily basis. With recent releases, the contrast in philosophy between Lightroom and C1 has never been clearer: on one hand we have little more than a standstill, a trickle of improvements combined with, at best, a deeply confused message (don’t get me started again). On the other, an update that kicks serious $ss. I’ve gone all in with Capture One and I’m not turning back—not to Lightroom anyway. But the app’s speed was never it’s forte and it was one of those things I’d simply come to accept. Version 9 had promised improvements on this front, version 10 had renewed the claim…neither ever made much of a difference on my end. Capture One 11 however, changes everything. Browsing, editing, previewing and applying styles, switching views and workspaces, all operations are monumentally faster. Enough that it makes my iMac suddenly feel like a new machine. In Adobe land that would’ve been the big achievement—here it’s essentially a by-product of the upgrade.

There are tons of big and small improvements (a new colour engine for one), but the tent pole feature IMHO is an overhaul of local adjustments—which are now called layers. All editing tools can now be applied to layers, adding levels, colour balance and all the modes of the clarity and structure sliders. Not only that: styles can be applied to a layer AND all layers now include an opacity slider. Think about that for a second; yup, it’s huge. It means an entire set of adjustments can be throttled up or down in seconds. I definitely need to write a more in-depth look at this software.

If you’re already using Capture One check out the demo. I think it’s killer.


I moved away from Photoshop a few years ago—basically before I signed up for the CC photography plan. And when I did I chose Pixelmator as my replacement. Honestly, although it was much more powerful, moving back to Photoshop after that stint (had to justify the monthly expense) was painful. Not that the app couldn’t do the job—it obviously could—but the UI made me feel like I was going back 5 or 6 years in time.

The new Pixelmator Pro makes Photoshop look like Windows 98.

I wrote about this not so long ago but it still impresses me: what all these new, small companies have in common is a deep understanding of the API’s Apple has built into MacOS. They’re leveraging Metal 2 and machine learning and Coreeverything in ways that allow them to focus not only on features, but also on re-imagining how we interact with software. This is profoundly changing the landscape and the tools we now have at our disposal. Little guys can now hang with big guys. Take something like Adobe’s highly touted repair tools for instance (magic a few short years ago): initial repair tests with Pixelmator Pro were not only on par, in most cases they did a better job of it than Photoshop. That’s a serious leveraging of the playing field. Of course Photoshop is still a beast: if you’re working in CMYK or in need of any of its highly targeted tools, chances are this won’t work as a replacement. But in my case it does.

I’m not 100% sold on all the UI decisions in Pixelmator Pro but I have little doubt they’ve laid a foundation that holds a heck of a lot of promise.


These had been announced already so no surprise here. For most cameras we’re looking at compatibility with the new 80mm lens (update released on Nov 21). The Nov 30 updates feature support for third-party flashes (think Profoto and Elinchrom triggers), as well as the new Fujifilm X RAW Studio app. They also add functionalities on the X-T2 (new AF tracking algorithms) and the X-T20 (touch panel operation). If you have a GFX 50S the V2.00 also fixes an exposure compensation bug (it’s not listed but I can attest that the bug is gone). A similar X-Pro2 update is scheduled for mid-December. All of these are (or will be) available here.


Which brings us to the brand new baby I just mentioned: Fujifilm X Raw Studio. This is an interesting and quite novel piece of software—I’m not aware of any other camera manufacturer doing anything similar. It’s basically a desktop version of Fujifilm’s raw conversion function found in both X-series and GFX cameras. For those who’ve never used it: this allows a raw file to be re-baked in-camera by using custom settings tools and film simulations. On the X-series it results in a new JPEG file; on the GFX there’s a choice of either JPEG or TIFF. The big deal here is that the app can do batch conversions (a much faster process) AND it uses the camera’s processor to do its thing: a camera needs to be tethered via USB in order for the software to work. Strange? Definitely. Quirky interface? Totally. But…I’ve fiddle with the app very briefly and I’ve already identified an important aspect to it: for anyone at all interested in creating in-camera custom settings, ladies and gents this is our new playground. I really wasn’t expecting it, but this is a great tool to understand how the Fuji processor works, how it affects the images we shoot. When using X Raw Studio we’re seeing the camera work in real time—we’re seeing the curves being applied, the effects of one simulation next to another, all of it. You can even compare Adobe RGB to SRGB in various scenarios, or see the effects of Lens Modulation, Colour Chrome Effect (on the GFX 50S) etc.

So while I doubt I’ll use this to convert images, what I intend to do is input all my custom settings into the app and experiment with various tweaks to see how it all reacts. As far as I’m concerned this is like a free course in X-processing.

As I said earlier: there’s a lot here to digest. If you share any of my geek tendencies however, it’s like an early Christmas. Speaking of which: it’s donut baking time this weekend. Let the season begin...

Have a great one :)

Forward | No Sadness.

I’ve cried wolf before, I know. Except this time it’s really over: I’ve left Lightroom for Capture One.

To be fair I went through the same on again/off again period before switching from Aperture to Lightroom, so it’s pretty much par for the course. The truth is, these moves are incredibly hard in terms of logistics, the amount of time involved etc. You need a strategy that makes sense, you need to figure out the best workflow for the new setup, get a handle on the’s just a huge undertaking.

I already had a foot in the door thanks to the master catalog solution I wrote about last year, so all I needed was a final nudge...and Adobe obliged with Lightroom CC Classic.

Are you f#&@ kidding me???

I’m ok with subscriptions. I don’t love them and it does force me to take a long hard look at any piece of software that chooses this route...but I’m not opposed to the basic principle of it. When Ulysses announced their switch to a subscription model, I experienced about four seconds of doubt before hitting purchase—even though I was given a loyalty grace period. That’s because Ulysses is an app that 1) delights me on a daily basis and 2) makes my work so much easier that it unquestionably pays for itself. And as far as I’m concerned they’ve already fulfilled their promise of ongoing development with a couple of absolutely stellar updates in a short amount of time. Seriously, the last update for iOS 11 is a game changer for me. When Adobe introduced CC they also touted how the change would allow this non-stop flurry of continuous improvements. We would win. So much winning. I bought into it, eventually.
What a load of BS.

Instead of innovation that matters, we got zilch, missteps and bugs. Now, adding insult to injury, we have Lightroom CC. No, not that Lightroom CC, a brand NEW one. has machine learning...but no curves. Who needs curves right? Photographers? Pfff. And then we have Lightroom CC Mobile...which a) used to just be known as Lightroom Mobile, b) is the exact same app as before and c) has none of the machine learning stuff. Adobe just likes labeling anything CC. Lightroom CC is now of course Lightroom CC Classic—because that makes total sense and because classic is such a historically great moniker for ANY product: right off the bat it inspires confidence and positively screams FUTURE!

Seriously, what crazy intern was promoted to head of marketing on this one?

And to top it all off, Lightroom CC (the new one, not the old one) sends all our files to Adobe servers. Not a culled selection mind you but all of ‘em, no opting out. Storage space you say? Bah...don’t you worry your purty little head now darlin’. We’ll make you a deal. Don’t sweat’s all goooood.

Right. I know this is all old news by now—but for me it was the final straw. I was in a blur of magazine editing, finalizing a conference on the side but I looked up from the fog that morning and thought: nope. I never liked Adobe and now I absolutely do not trust them one. single. bit. The fact that Lightroom Classic actually IS way faster...well, that’s almost an insult in my book. Because they could’ve done it before but didn’t. Because they’d much rather figure out a way to eek out more money from users. Because who the hell calls a supposedly active product Classic??? Call it Desktop for god’s sake. Ceding the official app name to a glorified version of Photos is telling. I don’t care how they spin it.


The technology landscape is thriving. We’re seeing small companies blowing away what huge behemoths barely manage to accomplish—Affinity Photo on iOS (I haven’t tried the Mac version) puts Adobe to shame. I’m waiting with bated breath for the upcoming Pixelmator Pro—its UI alone makes Photoshop look like a Model T (and if features work as All These new companies are leveraging built-in APIs Adobe doesn’t even appear to be aware of—and it shows. Luminar 2018...OnOne Photo Raw...the barbarians are at the gates and it’s exciting.

What now?

I’ve exported all my edited images and moved all work to C1. I was already comfortable with the app but I watched a bunch of webinars, learned some new tricks, took some notes and revisited my entire environment to fine-tune any outstanding issues. I’ll be purchasing Pixelmator Pro when it’s released on November 29 to replace Photoshop (I’ve done it before and actually miss it); if I’m not satisfied Affinity is another option. Because that’s the takeaway: we have options.

Will these moves simplify my workflow? Not really. It’s actually making everything slightly more complex—GFX files alone require a measure of voodoo magic for C1. The truth is I could keep on using Lightroom without a hitch...I just don’t want to anymore. Simple as that.

Five years ago I wrote an official “I’m leaving Aperture for Lightroom” post entitled Forward | Sadness. Excitement. Moving On. Today I do it again.
Minus the sadness.