ACROS To The Rescue

Light is everything and some times it is just too much. This statue in the China Store at Epcot presented some real color balance challenges. There was enough light it just was of several different color temperatures.

Calm Fujifilm X-T2 XF 16-55mmf2.8 R LM WR f8 1/125 seconds ISO 3200 31.5mm

The original capture was quite warm with the statue being almost orange. After sampling several different areas this was about the best I could do.  I think there was incandescent lights, probably some hot halogen spots and from behind me an open doorway bringing in daylight. As you can see there a a blue cast to most of the statue while the midsection is orange. And then there is the magenta cast on the shoulders. There wasn’t one color temperature that covered all the lights.  But is this a throw away image? Nope, time for black and white.

Calm Fujifilm X-T2 XF 16-55mmf2.8 R LM WR f8 1/125 seconds ISO 3200 31.5mm

Because this raw file came from a Fujifilm X-T2 I had access to the all the Fujifilm ACROS2 Film Simulation profiles from within Lightroom.  For the conversion I used the Acros+G filter simulation.

I have to admit I love color images but sometimes I just have to surrender to the black and white muse. The Fujifilm ACROS simulations are just stunning. The tonal ranges are so mellow. Images you can eat off of.

I applied the ACROS+G simulation right over the above image.  I then moved the image into Photoshop as a smart object where I applied Google’s Nik Color Effects Pro 4 to the image for Pro and Tonal Contrast1. Just works.

Images shot with Fujifilm X-T2 and XF 16-55mm F/2.8 R LM WR


1 I got the Pro and Tonal Contrast Recipe from a KelbyOne class on processing aviation images by Moose Peterson. While Moose uses the recipe for bringing out detail on aircraft, it seems to work on just about any image.
2I couldn’t decide if ACROS was supposed to be all caps or not. In lightroom it is so I updated the post to ACROS.

That Rule Against Bald Skies

Lots of landscape photographers will tell you not to shoot when the sky is bare.  Cloudless skies make for boring images. Moose Peterson calls them bald skies.   And most of the time the rule holds up.  Still that rule like all the others are meant to be broken.  If I followed the rules I probably should have just left my camera at home last Saturday. There wasn’t a cloud in the sky ( Florida in February, 83 degrees and lots of sun ).

Still my eye caught the completely still water of the pond at Epcot. When you see something of interest you shoot now and ask questions later. Later like when you have the image open in Lightroom.

Still Life – Fujifilm X-T2 XF 16-55mm F/2.8 R LM WR

For me this image works because there are no clouds in the sky. Several reasons why. I think the dark blue at the top and bottom of the image holds the eye in the image where you then have time to see all the colorful things going on between the Monorail track and it’s reflection. Also Spaceship Earth, the big dome, might have gotten lost in the clouds had the been there.

Don’t try to stick to much to the rules. Shoot the shots.

Although I like the color image with no clouds, converting it to black and white does not work at all for me. Since the center section has no color the eye doesn’t go there. So the rule works, or it doesn’t.

Images shot with Fujifilm X-T2 and XF 16-55mm F/2.8 R LM WR