Three years ago—April 9, 2019—I visited SNCF’s Gare_de_Lille-Flanders (France).
It was a damp day with dark leaden skies and well suited for photography beneath a train shed.
I made this view using my old Fuji XT1 fitted with a 28mm Fujinon pancake lens.
Below are two interpretations. One is derived from the Fuji Raw by Lightroom, the other was first converted using Iridient and then adjusted (using the same color profile settings) in Lightroom. Compare the roof of the train shed in the two versions.
Going back over my Fuji digital files from 2015, I’ve selected this image of a VR Group Stadler railcar working the then-new Helsinki Airport train at Leinelá, Finland.
Below are three interpretations of the same image exposed using my FujiFilm XT1. The first is the In-camera JPG without color correction or alteration except for scaling and watermark.
The second is the Fuji RAW file imported and adjusted strictly using Lightroom.
The third is the Fuji RAW file first converted using Iridient X-Transformer and then imported into Lightroom where I implemented the same color and contrast corrections.
One minor difference with this Iridient interpretation is that I turned off the the feature that automatically corrects for lens distortion, chromatic aberration, and vignetting. So this gives a slightly less invasive digital interpretation and a truer sense of the visual information as recorded by the sensor.
The ability to improve my interpretation of Fuji RAW files using Iridient X-Transformer made me curious to re-examine some of my Fuji photos from years gone by.
I selected a photo that I made on trip to Switzerland with photographer Denis McCabe in April 2017. This image was made at the Champery terminus of a TPC branch that extends into the Alps from Aigle.
Here I’ve presented a comparison between the Lightroom interpreted RAW (scaled and converted to JPG for internet presentation) and the same file converted into a DNG file using Iridient X-Transformer. Since it is difficult to appreciate the improved sharpness when viewed on a small scale, I’ve enlarged a portion of each image that focuses on the LED lamps and rivets on the then new Stadler railcar.
The final image was derived from the Iridient converted DNG and involved nominal adjustments to color balance, color temperature, contrast and saturation that are aimed a making a more pleasing final photograph.
Yesterday, October 15, 2020, I made a late season foliage photo of Conway Scenic Railroad’s Mountaineer descending from Crawfords at milepost 79 near the Arethusa Falls grade crossing.
Working with my FujiFilm XT1 and 90mm prime telephoto, I set the ISO to 1000. I needed relatively high sensitivity because I was working in the shadows of the trees and mountain side and wanted a sufficiently fast shutter speed to freeze the motion of the train, while using a smaller aperture to minimize headlight bleed.
Then I imported the Fuji RAW files directly into Adobe Lightroom for processing, while making a comparison set of files by importing them first into Iridient X-Transformer which converts the files to a DNG format and then imported these into Lightroom.
As previously described on Tracking the Light, the Iridient software does a superior job of interpreting the Fuji RAW files.
Since 1983, I’ve been photographing EMD GP’s in the Guilford gray, white and orange.
A few weeks ago, when Kris Sabbatino and I went to chase Pan Am’s SAPPI locals on the old Maine Central Hinckley Branch, I was looking forward to catching Pan Am blue locomotives in Maine.
Yet, at this late date, finding a vintage Guilford engine on the move is a novelty. How many remain?
I made this view using my FujiFilm XT1 with 12mm Zeiss Touit at Shawmut, Maine. I converted the Fuji Raw file using Iridient software, which does a superior job of interpreting the Fuji data. I then imported into Lightroom for final processing.
Last Sunday, September 27, 2020, while following Pan Am Railway’s SAPPI-3 with Kris Sabbatino, I made this close-up view of the train led by GP40 345 on the Hinckley Branch near Waterville, Maine.
I was working with my FujiFilm XT1 with 12mm Zeiss Touit. For post-processing, I imported the camera RAW in to Iridient to produce a DNG file, which I then imported into Adobe Lightroom for adjustment.
As previously explained on Tracking the Light, Iridient software has a superior means of interpreting the Fuji RAW files for adjustment. However, the difference is very subtle and can be best noticed on extreme enlargement.
Which leads to a photographic quandary: is there really value in making image of superior quality if only a handful of viewers can appreciate the difference?
Today, I am posting three variations of the same image file.
This is from Sunday’s chase of Pan Am Railway’s SAPPI-3 and pictures the freight crossing Martin Stream near Hinckley, Maine.
The bucolic setting was side lit–a condition that presents a contrast challenge. I made the image using my FujiFilm XT1 with 28mm pancake lens.
Recently, and on the advice of my old pal TSH, I purchased Iridient software, which offers a different interpretation of the FujiFilm RAW files.
Below are examples of the in-camera FujiFilm JPG (using Velvia color profile), a DNG file converted from the Fuji RAW by Adobe Lightroom, and a comparison DNG file converted from RAW using the Iridient software.
All were then scaled and exported using Lightroom. I made identical color and contrast corrections to the two DNG files. (My interpretation, not Fuji’s)
My intent is to compare the Iridient processing with Adobe’s. The Camera JPG is a third reference.
Since this is one of my first experiments with the Iridient software, I cannot claim to be a master of working with it.