Using a different converter (once they’ve updated) should solve the issue here.
The only times detail suffers if you are using a RAW converter like Lightroom in the rare situations that cause the watercolor effect to show up.
#CAPTURE ONE PRO 12 ORANGE CHECKMARK ISO#
Play Food – Fujifilm X-T10 with Fujinon XF 56mm f/1.2 f/1.4, 1/180s, ISO 2500Īs far as detail is concerned, the camera is capable of resolving plenty of detail with good lenses, which thankfully are plentiful in the Fuji X series. It is worth noting that like all the X-Trans cameras, the X-T10 does overstate ISO by about 1/3 to 1/2 stop. I rarely worry about the ISO I’m shooting with any of these cameras, as quality shots can be had at any of the native ISOs. Noise remains quite low up to ISO 1600 and very usable at ISO 32. RAW files show a little more noise than the JPEGs but also much more detail. They are the only maker that does that in 2015.
Sure, you can achieve what the camera would be doing by underexposing at ISO 6400 and bringing the exposure up in your RAW converter, but I really shouldn’t have to make that adjustment just to keep shooting in RAW. I’m not sure why they simply can’t enable RAW support for these ISOs. It’s also worth noting that Fuji still separates the expanded ISOs from the regular ISOs by making anything outside ISO 200-6400 JPEG only. Files at that ISO show visible banding and blotchy noise throughout. ISO 51,200 is frankly just a checkmark on the spec sheet, as it’s definitely a step too far. The X-T10 includes support for ISO 51,200, but in my opinion: don’t bother. The X-T10 has very good noise control, with JPEG images showing very low noise up to ISO 3200 and even somewhat usable images up to ISO 25,600. When Photo Ninja gets support for the X-T10, it’s a great converter for X-Trans conversions, as the watercolor effect is essentially absent with that converter. There is word that Adobe is working directly with Fuji to eliminate this artifact, which would be nice. Unfortunately, Adobe still is subject to interpreting the X-T10’s files with a watercolor look in certain situations. Adobe has recently improved the color rendering of Fuji files, preventing some color artifacts at certain transition points. Lightroom 6 does a good job with color on the Fuji files, however, with support for the film simulations built into the program, making it easier to match the color response from the JPEG files. Phase One hasn’t added support to Capture One Pro 8, and there is something different about the RAW encoding with the X-T10 files, since Photo Ninja couldn’t open them either. As of this review, the only major RAW conversion program (for Windows, which is what I use) that works with the X-T10’s files is Adobe Lightroom and ACR. JPEG files have among the best color of any JPEG engine in the business. RAW files tend to be muted upon import, but take adjustment extremely well. Likewise, Fuji has always excelled at color, with accurate white balance and excellent color response. Boulder Glen – Fujifilm X-T10 with Fujinon XF 10-24mm f/4 14mm, f/10, 3.7s It’s rare that a situation arises that will truly exceed the dynamic range of the sensor. The 16 megapixel sensor in the Fuji X-T10 has a very wide dynamic range, allowing you to capture plenty of detail in the highlights and shadows even in high contrast situations. Both are still excellent, even when comparing them to cameras with newer APS-C sensors. While the X-T10’s sensor is nothing new, it still definitely holds its own with regards to color response and dynamic range. As such, if you’ve used one Fuji X-Series camera, you’ve used them all with regards to image quality.ĭue to the same sensor and overall image quality, some portions of this section have been borrowed from previous X-Series reviews. The same sensor used in the X-E2, and aside from phase detect autofocus points, it’s the same sensor that was used in the original X-Pro1. There’s not a ton to talk about with regards to the X-T10’s image quality, at least not in-depth.
#CAPTURE ONE PRO 12 ORANGE CHECKMARK UPDATE#
It’s still a very good sensor, but without an update in well over 3 years, it’s also getting long in the tooth.
It’s now been almost three and a half years since the X-Pro 1 was launched, and when it did, the 16 Megapixel X-Trans sensor was remarkable for an APS-C sensor.