![\"Image\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2018\/11\/captureone_patrick-laroque_20181121_02.jpg\")
<\/a><\/p>\n<\/div>\nFor Fujifilm shooters however, the standout feature is undoubtedly the added RAW support for the company\u2019s famous in-camera Film Simulations: this means we can now emulate the look of Fujifilm SOOC JPEGs. In the Base Characteristics tool, the curve panel now offers a drop-down list containing everything from PROVIA, to CLASSIC CHROME, ACROS and even the new ETERNA simulation (available options vary based on the camera that was used). This is similar to Lightroom\u2019s profiles, but entirely new to Capture One and a welcome addition.<\/p>\n
What\u2019s more important however are the results: the abstract image below was shot in RAW+Super Fine, using film simulation bracketing. The tonal similarities between the in-camera JPEG and its raw counterpart (using the appropriate simulation curve) are\u2014in my opinion\u2014striking. Notice the blues and yellows in particular.<\/p>\n
<\/a><\/p>\n<\/div>\nAn impromptue portrait session<\/h2>\n
This faithfulness opens up great possibilities. I\u2019ve always loved PRO Neg. Std for portraiture: before ETERNA came along, this was by far the most subtle color Film Simulation available in the system. Combined with the almost fragile beauty of GFX images, I always found this to be a perfect starting point…but using it meant either working from JPEG or converting to TIFF (using FUJIFILM X RAW Studio); neither of which was necessarily an ideal solution, depending on the job at hand. With this new version, there\u2019s no need to compromise anymore.<\/p>\n
I had very little time for testing the software in a studio environment, so on a recent Sunday afternoon I enrolled the services of Jacob\u2014our son\u2014who recently turned fifteen. We spent a couple of hours, just the two of us, trying various setups, playing with light, exploring. I used a single strobe and grid for most of the images, at times supplemented with a small handheld flash. The GFX 50S was tethered to an iMac 5K and I had Capture Pilot (Phase One\u2019s mobile app) running on an iPad Pro, sitting on a table next to me. This was a powerful setup: it allowed me to zoom in and check focus on images within seconds, without having to go to the computer and break the flow and intimacy of the session. I could make micro adjustments on the fly and immediately assess the results on the iPad\u2019s 12.9 inch screen.<\/p>\n
<\/a><\/p>\n<\/div>\nCapture Pilot is a free download, but during the session I ended up purchasing the camera control add-on: with this option unlocked, I was able to use my iPhone to also trigger the shutter while aiming the flash at various angles. Quite useful when you don\u2019t have an assistant handy.<\/p>\n
I used several of my own styles on the pictures, depending on the mood I sensed from looking at them at the editing stage. All these RAW files were processed and retouched entirely in Capture One Pro 12, using PRO Neg. Std as the Film Simulation for color images, ACROS for black and white.<\/p>\n
<\/a><\/p>\n<\/div>\nThe images I live for: the GFX 50S + Capture One Pro 12 with PRO Neg. Std and the software\u2019s brilliant Film Grain tool.<\/p>\n
<\/a><\/p>\n<\/div>\nA radial mask was applied to slightly lift Jacob\u2019s eye and accentuate the painterly effect of the image.<\/p>\n
<\/a><\/p>\n<\/div>\n<\/a><\/p>\n<\/div>\n<\/a><\/p>\n<\/div>\n