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.