I didn’t think that the orange color was more tame-able, but again I was wrong. I did not think the skin colours of my ginger kids could get any better than what I got in Lightroom, but Capture One proved me wrong. Before switching to Capture One, I did not know that I needed finer color controls, but having worked with CO10 makes me realise that I actually do. I know that program better than I know my own back pocket! But from having used Capture One 10 for about 5 months now, I know that I had probably reached the ceiling in Lightroom. I had certainly developed into a Lightroom expert. And you know what? I was completely smitten with the program. And I forced myself to really get into doing things in a different way, but still trying to achieve a look that I could call mine. I never loaded a single file into Lightroom. So for the duration of the 30 day trial I really went all in. To go down that road, and see if it really would make a difference to me, and finally shut down that voice in my head! But, I think I just felt the need to scratch that itch. It certainly wasn’t because I suddenly had more time to do such a transition, this winter has been busier than ever. I can not tell you why I suddenly felt that it was time to dive in to Capture One Pro, because I simply don’t know. I ran some images through it, and then I opted out because it was simply too different from my regular approach, and I couldn’t be bothered going through that entire switching-thing again, as I had years back with Aperture. I really liked what I saw, but in the busy confines of my daily life I really didn’t give it that extra time needed to really switch over to the software. So I installed Capture One versions on trial basis. With advices and reasons for switching coming in from left and right, I have always stood up for Lightroom, since I always had a feeling that it was “good enough for me” – But during the last 18 months, I really started having a little nagging voice in my head saying “What if it isn’t good enough anymore?” It isn’t something that you can quick fix, since it is at the very core of decoding and treating the Fujifilm RAF files. Over the course of the last few years, as Fujifilm has gained a larger audience, and knowledge sharing has taken off, it has become apparent to many, including myself, that there is something in the way that Lightroom treats the RAF files that isn’t entirely optimal. But over the years as my photographic knowledge and skill reached new levels, I really started noticing some shortcomings within the Lightroom system. I found my way within the functions of Lightroom, and I grew very fond of that software. I didn’t think much about file-rendering as such back then, I wasn’t even interested in nor did I know about differences in handling RAW files among converters. So I started migrating to an entirely new platform. The way I saw it, it was either Lightroom or nothing. If I had a choice back then, I didn’t know it. Unfortunately it was discontinued within a couple of years of me starting up photography. Back when Apple actually cared about photographers that didn’t shoot with an iPhone, they made a great software offering with that program. We’re going back and expanding our earlier releases with free Advanced updates adding new profile-based looks – next up will be the Pro 400 pack (we’re currently shooting test rolls), followed by Portra 400.It all started with Apple Aperture for me. This method is powerful but less flexible, so we also create ‘classic’ adjustment-based styles too, giving you the best of both worlds. Our latest Advanced series styles use custom ICC colour profiles based on our test scans shooting the real film, to get the most accurate colours possible. However, we don’t go barging in messing up all your settings – our styles avoid adjusting the main sliders as much as possible. Our current lineup goes deep, leveraging Capture One’s most advanced features to simulate the look of scanned film realistically. Lightroom has some advantages for developers, for sure, with its robust Creative Presets system, but Capture One dominates when it comes to deep control, image quality and realistic film grain. We started with Capture One and it continues to be our raw editor of choice for professional photography work. Expensive packages that released without even supporting basic layer compatibility. The result? Inconsistent, messy styles, which pulling kinds of crazy slider tricks making it hard to adjust further. But in the last year or two, a lot of preset companies have realised it’s an expanding market and rushed to get their products ported over to it. Capture One users have never had the same rich third-party ecosystem as Lightroom, sadly.
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