ACDSee Photo Studio Home 2020 Review

By: Glenn Harper 

It’s not unusual for photo-editing software to be multifunctional. Any combination of browser, raw processor and pixel editor is normal. ACDSee Photo Studio Home 2020 offers a slightly different blend of digital asset management (DAM) and pixel editing. In this article, we’ll see what this combo can do for you.

View Mode in ACDSee Photo Studio Home 2020

What is DAM Software?

Many programs that help you organize photos are, rightly or wrongly, described as DAM software. An example of this is the now-discontinued “Picasa.”
With that popular program, you could browse photos, edit them, add metadata, assign keywords, create albums, mark photos as favorites, and so on. It was comprehensive. But was it DAM?

A defining feature of real DAM software is its ability to create a database of your photos. Lightroom does that, as does ACDSee Photo Studio Home.
These products aren’t just an extension of your OS. They record things, like the location of your photos and all the metadata attached to them. And they create thumbnails so you can fly through your collection at high speed whether you’re connected to it or not. This is what separates DAM software from fancy browsers.

First three modes for browsing and DAM

In ACDSee Photo Studio Home 2020, the first three modes are for browsing and DAM. The modes are as follows:

• Manage Mode is where you can browse folders, filter out photos, create stuff like slideshows and contact sheets, and send images to various photo platforms. You can switch between photo editors from here, too, in case you have other software with different functionality. Manage Mode is the hub of the software. You can even add geographical data to photos from here using the Map tool and reverse geocoding.
• Photos Mode is great if you want to see everything on your drive within a short space of time. Let’s say you need to root out photos without any keywords or identifying data—this is the place to do it. This mode lets you see all content at once, whether it’s in folders or subfolders, so there’s no hiding place when you’re trying to find specific pictures.
• View Mode gives you a nice big preview of your photos one-by-one, and it’s quick. This is a good place for assessing the content of your photos and grading them. (In another article, I suggest a workflow for this software). You can scrutinize the technical quality of TIFFs and JPEGs* in this mode, too. A nice feature of View Mode is the set of experimental tools it gives you, which you can apply to the picture without committing to the edit.

*Note that View Mode is not a good place for assessing critical sharpness in raw files, as the software displays the embedded JPEG to maintain speed. This JPEG looks especially poor at 100%, but it’s fine for assessing content and composition.

Photos Mode. This mode shows all images, whether in folders or subfolders.

Importing and Cataloging

When it comes to importing files into ACDSee software, you don’t need to do it at all.
The software accesses the folder system of your OS, so it’s enough just to copy and paste the files onto your hard drive. They are added to the ACDSee database automatically when you browse them later. That being said, you can import files via the software if you want and adjust filenames or add metadata while you’re doing it.
If you need to catalog lots of pictures without browsing them all first, you can do that too in Manage or Photos modes. This is especially useful when you first start using the software, though you must wait a while for the process to complete.

Getting organized

It’s all very well cataloging your photos, but there’s still a way to go before they’re genuinely searchable.
In Manage and View Modes of Photo Studio Home 2020, you can open the Properties panel to the right-hand side. It’s here that you add keywords, captions, ratings, color labels, and categories to your photos.

I advise working on keywords in the ACDSee Metadata tab, then copying and pasting them into the IPTC field if you want them to be readable elsewhere. Alas, there’s no button to make this task quicker.

You can use any or all of these features to make your photos searchable, grade them, and track them in your workflow. In a recent sponsored article, I suggested using ratings to grade the quality of your photos and color labels to mark your workflow progress. This is a common use of these tools.

Keywords

Keywords make your photos searchable using a variety of criteria. For instance, you can add different photographic techniques to keywords as well as describing the subject of the photo. How thorough you should be in keywording depends on your needs, but you can import keyword lists to avoid having to create them yourself. That’s a new feature in 2020, and it saves loads of time.

This was a raw file developed in ACDSee Photo Studio Home 2020. The conversion is fine for non-problematic images that you want to quickly get online or share without changing your camera settings.

To Tag or not to Tag

To the top left of the properties panel is a check box for “tagging” images. This is a good way to highlight your keepers and reject the rest (or vice versa).
It’d be nice if ACDSee added the ability to proactively reject photos with a dedicated reject flag. As things stand, an untagged file could be one that you’ve simply missed.

Image Baskets

A favorite ACDSee feature of mine is the image basket. This is like a virtual folder, where you can gather image files from various places without physically moving or copying them. It’s very handy for working on quick projects without cluttering up your drive with duplicate files. You can use image baskets for purposes of viewing, editing and sharing.

Face Detection and Recognition

ACDSee software is good at detecting faces, at least when they’re not obscured, and it’s impressively good at recognizing them thereafter.
Often, you only have to name a person once for the software to learn facial features. There are obvious limitations. It won’t necessarily recognize faces across several decades, for instance. But this feature is decidedly useful for cataloging pictures of friends and family.

ACDSee software asks for confirmation that this is Marcel Proust. It’s seen one picture of him at this point, so that’s pretty good going.

Edit Mode

Two-thirds of ACDSee Photo Studio Home 2020 is DAM software, aimed at getting your photos organized and being able to find them with ease. If that was all you got for your money, it’d already be good value. But there’s also an Edit Mode where you can work on rendered files (e.g. JPEGs, TIFFs) and get them looking good.

What about raw files?

You can open most types of raw files in Photo Studio Home 2020, but there’s no develop module like there is in ACDSee Ultimate, for instance, so you don’t get to choose the processing parameters.
If you want to benefit fully from shooting raw, you should link this ACDSee software to a raw editor and switch between programs. That, theoretically, would be a higher-quality workflow than having to address technical issues after conversion. And you still have the DAM side of the software for cataloging and grading your raw files.

This is why you can’t judge the technical quality of raw files in ACDSee View Mode (where they’re best viewed at low magnifications). The inset shows the same file at 100% in Edit Mode.

Edit Mode features

A bit like Photoshop Elements vs Photoshop CC, there are things missing in ACDSee Photo Studio Home 2020 that aren’t missing in ACDSee Ultimate. For instance, there’s no 16-bit color support, no layers, no perspective tool, no dehaze, no dodge and burn, and no Color EQ™. But these absent features are all forgivable since there’s a ton of stuff you do get.

Using the watermark feature in Edit Mode to place a logo (quickly created elsewhere) into the corner.

Color and Tone

For basic work on color and tone, there are the usual levels and curves tools.
In fact, these tools are nicely implemented by ACDSee, with a built-in histogram and an exposure warning that tells you when you’re losing detail with your edits. You also get a basic version of the proprietary Light EQ™ tool, which lets you adjust shadows, mid-tones, and highlights separately.
Given that many people only use the basic version of this tool anyway, this is a valuable inclusion.

The levels tool in Edit Mode. The exposure warning draws attention to blown highlights and blocked shadows.

Cloning and Healing

I should mention once more that the clone tool does not work for me in ACDSee Photo Studio Home 2020 (nor its predecessor). I just get a black screen. That seems trivial when set against everything that does work, but it’s still a tad irritating. I can use the heal tool a lot of the time instead, though its pixel-blending function is a bit different.

Creative Tools

ACDSee could be forgiven for providing the bare minimum of Editing tools, but they go beyond that. You get a cross-section of some of their most creative features. Under the “Add” filter menu, for instance, you’ll find Special Effects. And there are many of them for you to try.
I like the “Orton” effect, which smooths details for a dream-like appearance.

The Purple Haze special effect at 50% opacity. Try experimenting with blending modes to see what else you can achieve with these effects.

You can modify all edits with blending modes, opacity, gradients and the Edit Brush. This means you can adjust localized areas of your photo a bit like you can in Adobe Lightroom and other programs. What you can’t do is work on multiple edits at the same time, but this is still useful versatility.

A radial gradient placed over a black and white LUT, causing color to fade out towards the edges. You can make this kind of localized edit using gradients or the Edit Brush. (Not all LUTs are color, despite ACDSee’s nomenclature.)

The Tilt-Shift filter appears under the “Add” menu.
The temptation with this is always to dig out high-angle views and create that miniaturized effect where buildings, people, and vehicles look like toys.
However, you can try this filter out on other subjects, altering their depth of field and bokeh. It works quite well on close-ups of flowers, for example.

An atypical use of the tilt-shift tool, creating a very soft “bokeh” outside the center of this flower.

You’ll find the Convert to Black & White filter under the “Color” menu.
This lets you fine-tune your black-and-white conversions by adjusting brightness and contrast in all the colors that make up your picture. Also present here is the equivalent of Photoshop’s Channel Mixer, where you adjust the red, green, and blue (RGB) sliders to achieve your conversion, making sure the total value is at or under 100%.

Simple use of the Convert to Black and White filter. I’ve lowered brightness in greens and increased it in yellows and oranges to create pleasing contrast in this picture.

Color LUTs are found under the “Color” menu, too. These have become popular in recent years, allowing users to mimic the world of movie production by applying color grades to their pictures. The effect is often radical.
ACDSee comes with some color LUTs built in, but you can download more from various sources on the Internet.

The ACDSee “Film” color LUT adds a classic orange and teal look to pictures as well as increasing contrast. This color grading is often seen in movies or TV series.

Summing it up

Genuine DAM software, the kind that catalogs your photos, often costs well over $100. Or it’s part of a subscription plan that locks you in annually. ACDSee Photo Studio Home 2020 is appealing not only for its affordability but because it’s a great photo manager, period. On top of that, it’s a raw opener and pixel polisher with plenty of scope for creativity.

“Orton” special effect, faded towards the top using a gradient.

If you’re sold on the benefits of shooting and editing raw files, you could pair this software with RawTherapee or DarkTable without spending more cash. Whatever you choose to do, rest assured it’s impossible to waste money on ACDSee Photo Studio Home 2020. This software is easy to use but has a depth that far belies its price.
Have you tried this software? Share your thoughts with us in the comments section.

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Do You Really Need the Latest Greatest Gear?

By: Bobby Baker 

If you’re like me, you enjoy reading and learning about the latest photography gear as soon as it comes out. Looking each month at popular photo magazines and online sites, reading the reviews, product articles, and ads, it’s hard not to head to your local camera shop and start spending money! But, really needing that new gear can be a very different issue. Let’s take a look at what you may, or may not, truly need as tools to create your art.

Caught up in Marketing, or do you have a true need?

Yes, those big number megapixel camera bodies can be very sexy, and every month it seems that there are new, better than ever, lenses to consider. Besides photography, I also have a passion for sports cars. I have often chuckled at what a friend and I call the “horsepower wars”. Auto manufacturers stoke up the fires of desire for their cars with the ever raising horsepower number – resulting in more power than you would ever need, unless you’re a racecar driver! Camera companies, to an extent, have done likewise with megapixel marketing causing some to jump to buy because more must always be better, right? Or is it? That all depends. Ask yourself these questions:

#1 Are you happy with the results that you’re getting with your current camera body or system – for what you shoot?

If you can say yes, great! Keep shooting and growing, and you’ll know when it’s time to upgrade gear.

#2 Have you explored all settings and capabilities and understand them with your current camera?

I bet very few of us have fully explored all the capabilities of our current cameras.

#3 Do you have a clear understanding of megapixels, their size and relationship to sensors, and what that means to print sizes?

It’s best to understand this before you jump to a new body just because it has more megapixels (read this article on sensor size).

#4 Are you able to shoot the right size files for the size prints you need with consistently high quality results?

If you need to create bigger high-quality prints than you are capable of now, consider upgrading.

#5 Are you making money and growing happy customers with your current gear if you are a pro?

Then why mess with a good thing? Keep shooting and booking those gigs. Stay aware of updates and new gear. and you’ll know when you need a change.

#6 Are you comfortably ready to spend another several thousand dollars for the latest new gear?

The latest and greatest usually comes with a significant price tag. You may also need new batteries, memory cards or a computer upgrade. So factor it all in.

#7 Do you feel you need to upgrade to be taken seriously as a photographer?

Do you feel intimidated that you don’t own a “pro” body, and think that you need to in order to be a serious photographer – even though you may not really need a metal, sealed, or full-frame body?
This is the worst reason to buy more gear! Keep learning, growing, and be confident that your work comes from your eye and brain – not from how cool your new gear may be.

#8 What will the latest camera body, lens, etc., give you that you aren’t able to produce today with current gear?

If you can point to something that would definitely result in better quality work, then it is worth considering investing in better, or more gear.
If you answered: “yes, the latest, greatest new gear would make a significant difference in my work or business” then it would seem to make sense to jump in and spend what is needed to achieve that. But, if you feel the need to buy some new gear in order to feel more accomplished, or to keep up with your buddies, or think buying a new camera would be the main determinant of good work versus less than good work – or if your current gear is doing the job just fine and there are many settings/capabilities yet to explore with it, you should probably reconsider spending the money right now.

Knowing when you NEED new gear

If you just love to buy all the latest gear as soon as possible, and can afford to do so, that’s very cool, fun, and good for you – but to me it’s always been about what you see, how you see it, and how you capture it – not the gear used. Currently I own a Nikon D800, D700, and I still have my D300 (I traded my D80 and other stuff towards the D300). I was a late adopter of the D800, buying it nearly a year after it was released. I admit that all the hype and the reviews of this 36.3 megapixel marvel very nearly tempted me to immediately run out and spend the $3000 right away on the latest and greatest camera. Instead I looked at my needs, and at that time all they were served very well with my D700 – which I still love.
As my fine art photography business grew, I became in need of providing larger files to produce much larger prints than I had been doing. It was only then that I really considered the D800, and eventually bought it – because I needed that tool. With regard to my lenses, I slowly but surely worked my way to a couple of professional level lens that cost a bunch, but really made a huge difference in my work. Once again, it wasn’t about buying gear because it was new, or well-known and on magazine covers, but because I had grown to need it. I worked alongside other photographers who used the latest pro level bodies and lenses, but I stayed the course using my 12.3 megapixel D300 body and DX lenses until I grew to where I had a sincere need for better gear, and not before.

A while back I visited Austin, Texas on non-photography business, and knowing that my visit coincided with the SXSW event, I wanted to be sure to take a camera along. I threw my trusty ol’ D300 in my suitcase with an 18-200mm DX lens. Yes, I took my oldest, non-full frame DX body and a lens that cost a third of my favorite FX lens to shoot SXSW. And you just know that everywhere I turned that week in Austin, I saw someone shooting with the latest greatest camera. That bothered me not one bit! You can see the results of this shoot on my website in SXSW Portfolio. The images were reviewed by Shutterbug Magazine which wrote of the collection, “it makes you want to be there, an interesting link to the musical nature of Bobby Baker’s remarkable photography.” I didn’t need the latest gear to successfully capture this opportunity, just a good, solid camera (one that happened to be discontinued for more than five years) the understanding of how to use it well, and a good eye.
I am not saying that you shouldn’t buy new gear when it hits the market; what I am saying is buy the gear that you need and can afford, and don’t get caught up in marketing numbers or worse, pressure because your buddy has a mega-megapixel camera and you feel you need one to keep up. It’s about what you see, and what you create when capturing it, not what you used to shoot it. I look at other photographers work all the time, not their gear.

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4 Tips for Doing Photography on a Budget

By: Simon Ringsmuth

Several times in the past few months people have asked me how to get into photography without spending a lot of money. I must admit the idea of emptying your wallet to get all the camera bodies, lenses, flashes, tripods, and other gear you need to do some serious photography can seem quite daunting, it certainly was for me when I first got bitten by the photography bug.
The good news is you don’t really need the latest, greatest, and most expensive gear to make some stunning images thanks to the magic of modern technology. In many cases all you need to do some serious picture-taking is the camera you probably already have with you: your smartphone. However as good as modern mobiles can be, they do have some serious limitations (particularly due to their small image sensors) like limited low-light capabilities, and non-zooming lenses. If you really want to up your game and take advantage of the bigger image sensors, larger lens selection, and incredible accessories available for DSLR or mirrorless camera without breaking the bank – here are a few options to get you started.

You don’t need a lot of money to take pictures like this. A basic camera and some creativity will 

do just fine.

1. Buy used gear

New cameras sure are nice, and I can certainly understand the desire to have a model with the most megapixels, best image sensor, highest ISO, fastest autofocus, and coolest bells and whistles. But, before you rush off to drop hundreds or thousands of dollars on a brand new model though, consider this – every picture you have ever seen was taken with a camera older than one you can buy today.
Think of the most famous photographs in history: A man facing down a row of tanks in Tiananmen Square. Muhammad Ali standing triumphant over a defeated Sonny Liston. The 1984 National Geographic photograph of a young woman from Afghanistan. These were all taken on film cameras, with capabilities outmatched in almost every possible way by even the cheapest digital camera today. Certainly new cameras make the act of taking pictures easier in many ways with bright screens, easy-to-use controls, and a host of other features designed to help you get the hang of your hobby. But if you’re pressed for cash buying an older, used camera can be just as good.

Photo of a cottonwood borer beetle taken with my old Nikon D200 that is far less capable than any 

new DSLR on the market today.

To put my money where my mouth is, I take most of the pictures on my weekly 50mm photo blog not with my new Nikon D7100, but with my ten-year-old Nikon D200, which can be found used online for a fraction of what a brand new camera costs today. It’s only 10 megapixels, and doesn’t have features like wi-fi, a tilting screen, or even the ability to use live view – but it allows me to take beautiful images and that’s often the only thing that matters.
Buying a camera just a few years old can save you significant amounts of money while giving you a high-tech photographic instrument that your photographic forebears from decades gone by would only have dreamed about. Older cameras like the Canon Rebel T2i, the Nikon D80, Olympus PEN E-P2 and many others don’t stack up to modern cameras when you look at marks on a checklist of features, but all of them are capable of producing amazing images, and can be purchased used for much cheaper than any new camera today. This applies to more than just camera bodies, and you can find very good prices on accessories like lenses, flashes, tripods, and other equipment too.

My brother took this shot with a ten-year-old DSLR and a macro lens he found when cleaning out 

his basement.

I prefer buying used equipment from sites that offer some type of warranty or trade-in period if you decide you don’t like what you receive. Two of my favorites in the United States are KEH.com and Adorama Used. Other sellers like B&H offer used cameras, and you can often buy refurbished equipment directly from camera manufacturers that even come with a warranty. Some photographers I know get a lot of high quality gear for cheap on sites like eBay and Craigslist as well. Be forewarned that sites like these often make no guarantees as to the quality of what you are buying, but as long as you are careful you can find some good deals.
For some buying tips read: How to buy used camera gear 

2. Make your own gear

If you’re like me you may find yourself scrolling through websites, or flipping through catalogs, dreaming of all the camera gear that you don’t have, mostly because so much of it is too expensive. While many common photography accessories can be purchased used, you can actually make your own versions for almost no money at all. These won’t stand up the the daily rigors of a professional photography environment, but most offer similar functionality as their full-priced name-brand counterparts for far less cash. From do-it-yourself tripods to homemade lighting kits, the internet is brimming with articles, videos, and tutorials for enterprising photographers looking to fashion their own equipment to save a buck or two. The end result might look the same as a professional product, but you may be quite surprised at what you can come up with to expand your photographic horizons with a bit of searching and a willingness to try making things by yourself.
Read these dPS articles for some DIY projects:

• Creating Effective DIY Studio Lighting With Household Items
• 5 DIY Hacks to Have in Your Camera Bag
• How to Make a DIY Light Panel or Scrim
• DIY Light Modifier You Can Do With Savage Translum Material
• DIY How to Build and Use a Reflector to Take Better Portraits
• How to Make An Inexpensive Light Tent – DIY

As an example, here’s a photo of a toy train I took with my son one morning before I left for work. It required no special equipment, and took about 10 minutes to set up.

A toy train, seen in a whole new light.

You might think a photo like this would require an expensive camera, a fancy studio, and a lot of costly lighting rigs, but in truth it was quite the opposite. I shot this using my trusty D200 on our dining room table with a bit of aluminum foil taped to a board.

No fancy lighting or expensive equipment required.

This is only one case scenario out of thousands, and just goes to show that a bit of out-of-the-box thinking, and some creativity, can net incredible results without requiring a trip to the bank. While spending money on additional gear and equipment can certainly boost your capabilities as a photographer, this is just one way to take you skills to the next level without breaking the bank.

3. Learn to use the equipment you already have

Recently I was talking about cameras with a fellow photography enthusiast who was a bit frustrated with his DSLR. He wanted to shoot in Aperture Priority but have his camera also take care of setting not just the shutter speed but the ISO as well. As he told me about the new camera he was thinking about buying and pondering how he could save enough money to get it. I asked if I could look through his camera menus a bit. A minute later I found that his camera did indeed have an Auto ISO setting which did exactly what he was hoping, and saved him hundreds of dollars right there on the spot.
This is only the most recent example of a phenomenon I have encountered many times; the camera you already have can probably do a lot more than you realize. If you’ve never sat down and read the manual for your camera, you might be in for a pleasant surprise when you find out how much it can actually do. You can almost always find online tutorials dealing with your specific camera with a bit of internet searching.

The equipment I used to shoot this was not expensive (a $100 pocket camera) but I did have to 

learn about lighting, posing, focal lengths, background compression, and other aspects of photography.

If you want to seriously enhance your photography skills without buying a single piece of new gear, one of the best routes you can take is to learn from others. Most cities have photography clubs where members meet regularly to teach workshops, share tips, or just gather to talk about their favorite hobby with fellow like-minded individuals. Often these groups and clubs require nothing of new members except a passion for photography. Those that do charge a fee usually keep it reasonable and have a good motive for doing so; membership dues give the group access to better facilities, early sneak peeks at new equipment, or even a notable guest speaker.
If you don’t have one of these groups in your area there are plenty of online forums as well, such as the ones right here at Digital Photography School. Joining a community, whether face-to-face or online, is a fantastic way to learn more about the capabilities of your gear, teach yourself about the principles of photography, and make personal connections that can help you when you need it. No new equipment is required – just a willingness to meet people, stretch yourself, and try something new.

4. Get out and shoot photos!

This might sound a bit silly, which is why I’m leaving this until the very end. I often have conversation with people who want to improve their photography skills but think they can only do it by spending money. One of the best ways to improve as a photographer is to actually go out and take pictures, and if  you already have a camera this requires spending no money at all.
It’s easy to think that buying a new camera, lens, flash, tripod, or camera bag will inspire you to get your creative juices flowing and take better pictures, but after a while all that gear will usually start collecting dust just like the camera equipment you already have. Whether you have a mobile phone, a pocket camera, or a full-fledged DLSR or mirrorless model, you are in possession of equipment that is light years beyond what your forebears had only a few decades ago. The secret to improving your photography is not about spending even more money on an ever-growing cache of equipment, but simply taking what you already have, going out into the world, and using it.

Capturing the beauty of nature with an old and relatively cheap iPhone 5.

What about you? What are some of your favorite low-budget tips for improving your photography? Share your thoughts in the comments below.

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Sony A7r iii vs Fujifilm X-H1: Best Mirrorless Video Camera 2019?

Camera Comparison – The Fujifilm X-H1 Versus the Sony a7R III

By: Suzi Pratt 

Two of the hottest mirrorless cameras you can get your hands on right now are the Sony a7R III and the Fujifilm X-H1. My husband owns one and I have the other. In the past few months, we’ve been experimenting with our new cameras and have noticed quite a few similarities and differences. This is by no means a comprehensive camera comparison, but some of the main differences will be highlighted below.

The Fuji X-H1 left, and the Sony a7R III on the right.

Our Background

My husband and I are both photographers who have always been in opposite brand camps. We were Nikon versus Canon during the height of the DSLR. Now in the mirrorless world, we are Fujifilm versus Sony. I’m a full-time photographer specializing mainly in food and architecture photography, while my husband is a part-time assistant photographer.
Our differing photo needs and styles have partially dictated our camera brand loyalty. I prefer Sony for its higher megapixel count for architecture photos and also its more flexible lens selection. Meanwhile, my husband loves Fujifilm for their rangefinder design and film simulations.
One thing we can agree on is that we both have an interest in making more videos. That is why we specifically choose the Sony a7R III and Fujifilm X-H1 as our new cameras. Note that at the time, the Sony a7R III was the newest camera on the market–there wasn’t yet a Sony A7III or a Sony a7S III, both of which are arguably better cameras for video.

Fuji versus Sony

Common Features

Before we talk about differences, the Sony a7R III and Fujifilm X-H1 do have many features in common. First, both cameras have enhanced, on-par video recording capabilities. They shoot in 4K and 120 fps slow motion video, and both cameras offer in-camera image stabilization (IBIS). Built-in Wi-Fi and Bluetooth are available on both cameras to facilitate quick transfers to cell phones or tablets.
Physically, both cameras have dual SD card slots for more storage flexibility. There’s also focus peaking to help highlight areas that are in focus, which is especially helpful when using manual-focus lenses. Finally, there are tiltable touchscreens on both cameras. However, touchscreen capabilities are quite limited and you can’t perform full camera operation with them.
Here is the same scene, shot with both cameras for comparison.

Fujifilm X-H1

Sony A7rIII

Common Weaknesses

In terms of things that neither camera offer, the list isn’t terribly long. But ideally, both cameras would offer a more flexible tilt and swivel screen. Built-in GPS for geotagging photos is also missing.
Finally, both cameras come with hot-shoe mounts for attaching an external flash. However, neither camera comes with a built-in flash.

Sony a7R III

Sony a7R III Benefits

Larger Sensor, More Megapixels

The biggest difference exists in the cameras’ sensors. There’s a full-frame, 42.4-megapixel sensor on the Sony, while the Fujifilm has an APS-C 24.3-megapixel sensor. Currently, Fujifilm does not make any full-frame mirrorless cameras, although that will change when the X-T3 comes out in late 2018.
Depending on your photography style, more megapixels is a generally a good thing. Although, it does require using SD cards and hard drives with significantly more storage space for those large file sizes.

Super High-Resolution Composite (Pixel Shift)

Speaking of resolution, there’s a new feature on the Sony a7R III called Pixel Shift. In short, this increases image resolution by 4 times. You still have to shoot individual images and stitch them together in post-production using the included software. The result is a super high-res image that’s great for shooting landscapes or buildings.

A photo that was taken with Pixel Shift.

Longer Battery Life

Mirrorless cameras have long been criticized for having poor battery life. Luckily, Sony responded positively by putting a new Z-battery in the a7R III. This battery isn’t cheap, but it offers a much longer battery life than the X-H1 at 650 shots versus 310 shots.

Hyperlapse Filming Mode

One thing many Sony shooters miss from the a7R II is the PlayMemories App that added built-in features such as time-lapse shooting. However, time-lapse can still be taken on the a7R III if you use the S&Q setting.
This allows for shooting slow motion or fast (hyper-lapse). If you do the latter, this is essentially a hyper-lapse that is taken in camera. Just be sure to adjust the settings in the camera, as S&Q can be set to shoot slow motion or hyper-lapse videos.

Headphone Jack

Since recording accurate sound is a big part of video-making, it’s essential to have a headphone jack. This is present on the Sony a7R III but is oddly missing from the Fuji X-H1.

Fuji left, Sony right.

Bigger Buffer for JPGs

The X-H1 is a faster camera when it comes to shutter speed and frames per second (more on that below). But the Sony has a leg up when it comes to JPG buffering, or how many more JPGs you can shoot before waiting in burst mode. It’s 82 shots on the Sony a7R III compared to 40 shots on the Fuji X-H1.

Higher ISO

Sony – The Sony a7R III has a native ISO sensitivity range of 100 to 51,200. When extended, the Sony can reach ISO 50 to 204,800 for stills, or 102,400 for video.
Fuji – Meanwhile, the X-H1 has a slightly smaller range of ISO 200 to 12,800 or an extended ISO range of 100 to 51,200 for stills or 25,600 for video.

Bigger Lens Selection

When it comes to lenses, Sony has a wider array of choices compared to Fujifilm. If you need traditional focal lengths such as the 16-35mm, 24-70mm, or 70-200mm, you’ll want to go with Sony.

Fujifilm X-H1 Benefits

Top LCD Display

The X-H1 takes on the look of a DSLR camera, departing a bit from Fujifilm’s more classic rangefinder design. Part of the DSLR look includes a top LCD display where you can easily see your camera settings. In practice, that may or may not be helpful since the pop-out LCD can also show your camera settings.

Faster JPG and RAW Shooting

Interestingly, the Fujifilm X-H1 is quite a bit faster than the Sony a7R III. The X-H1’s shutter is faster at 1/32,000th versus 1/8000th when shooting wide open in bright light. Also, the X-H1 has faster RAW and JPG shooting in burst mode (14 FPS for the Fuji as compared to 9 FPS on the Sony).

Longer Exposure

Despite being a crop sensor camera, the X-H1 is set up better for taking night photos. It has a long exposure of up to 900 seconds (15 minutes – in M and S shooting modes), compared to 30 seconds on the Sony a7R III.

Built-In Film Simulations

Fujifilm has been mastering color profiles long before digital cameras even existed. Many color profiles from film days have been added into digital cameras in the form of built-in film simulations. Six have existed until the X-H1 which saw the addition of the brand new Eterna film simulation. If you’re a fan of Fujifilm colors, this could be a big selling point.

Lower Price

Finally, the Fuji X-H1 is significantly less expensive coming in at $1,899 compared to $3,198 for the Sony a7R III.

Both the Fujifilm X-H1 and Sony a7R III are fantastic digital photography tools that offer lots of features for those looking to up their photo or video game. Which is best for you depends largely on your photography style. What do you like to shoot, and what are the basic tools of the trade that you need to make that happen?
As a commercial architecture, food, and event photographer, I need the extra megapixels, ISO range, and lens choices offered by Sony. However, these features aren’t as critical to my husband, an editorial photographer who values the physical aesthetic and experience of shooting with a Fujifilm camera as much as the image quality.
Here are some more images of the same scene for comparison:

Fujifilm X-H1

Sony A7rIII

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Your Guide to the Fujifilm JPG Film Simulations (with Sample Images)

By: Matt Murray   

When I first bought a Fujifilm Finepix X100 in 2012, I was absolutely stunned by the quality of the images it produced. As the first iteration in Fujifilm’s lineup of excellent fixed-lens compact cameras, it paved the way for the rest of the X-series lineup with its excellent optics and fantastic usability.
What impressed me the most, perhaps, was the quality of the JPGs that the camera produced – they were lightyears ahead of anything I’d seen with other camera systems.
In this article, I will introduce you to the commonly available Fujifilm JPG film simulations, including the characteristics of each one and when you might like to use them.

I still have an X100 – but this is the latest iteration in the series, the X100F.

Fujifilm history of film

Fujifilm has been a leader in the photographic industry for decades. Not only are they world leaders in optics, but they are also the biggest producer of instant film and cameras left in the market.
In the heyday of film, they were also one of the leading brands for the production of 35mm and 120 films, making film emulsions loved by photographers everywhere. Some of these famous film stocks (Acros and Fuji Pro 400 H) still exist.
Fujifilm took their color science know-how from the film days and created a range of film simulations for their digital cameras that feature a very high level of color accuracy and reproduction.

You can easily choose the Fujifilm film simulations via a button on the back of X-Series camera 

bodies.

Do all cameras have all Fujifilm JPG film simulations?

No, the Fujifilm JPG film simulations available to your X-Series camera depend on the model and the firmware updates you have applied. Although the number of film simulations has grown over the years with the release of new generations of cameras and sensors, new film simulations don’t always roll out to older model cameras.
For example, it is rumored that the newest film simulation launched with the X-Pro 3 – Classic Negative – will be rolled out to cameras, including the X-T3 and X-T30, very soon via a firmware update.
This is part of Fujifilm’s ongoing improvements they make to their cameras and lenses.

How can I shoot with Fujifilm JPG film simulations?

First of all, you’ll need an X-Series camera body. Next, you need to set it up to shoot JPGs.
When you do this, the default setting to shoot with is the Provia film simulation. This setting will be applied to all the JPGs produced until you change it. You can easily do that via a button on the back of your camera body, where you can cycle through all available options.
It’s fun to change the film simulations to see what different effects they give you. Another reason why I love mirrorless cameras is that you can even see the effect each film simulation will have through the viewfinder and on the LCD screen – very helpful.
Can I change the film simulation after I’ve shot a JPG?
No, once you shoot the JPG with that film simulation, you can’t change it. So if you’re only shooting JPGs, make sure you’ve selected one that will complement your subject, or shoot JPG+RAW.

You can even convert RAW images to JPG with Fujifilm JPG film simulations in-camera, but that’s 

a topic for another day.

Can I apply a Fujifilm JPG film simulation if I shoot RAW?

Yes, there are a couple of different ways you can do this after you have taken an image. The first is using software such as Adobe Photoshop Lightroom. The second is by applying the simulation to a RAW file in the camera after you’ve taken it. This is something that often surprises X-Series users. Yes, you can actually process your RAW files as different film simulations in-camera.

Introduction to the Fujifilm JPG film simulations

Provia

Provia was the name of Fujifilm’s most popular color transparency (slide) film. With its medium contrast and saturation, this is the most neutral film simulation and is suited to most genres of photography. It’s the default film simulation on X-Series cameras and is also labeled as “standard” in the menu.

Left: Isle of Wight RAW file. Right: Provia JPG. There are some noticeable differences over the 

RAW file, such as higher contrast and more saturation.

Top: Kids in a filed RAW file. Bottom: Provia JPG.

Velvia

Velvia was the nature photographer’s go-to film back in the film heyday. It’s bold colors brought to life the natural world. Velvia’s high contrast and high saturation make it a winning formula for wildlife and landscapes, though it’s one to avoid for portraits.

Left: Isle of Wight RAW file. Right: Velvia JPG. Velvia is showing its rich colors here, with both the 

greens and the blues highly saturated.

Top: Kids in a filed RAW file. Bottom: Velvia JPG. Skin tones look too saturated and unnatural, so 

this is best avoided for portraits.

Astia

This is another simulation named after a slide film, in this case, the film that was very popular among portrait and fashion photographers. Astia is known for its softer colors and contrast, giving a more subdued look overall with beautiful tones. I quite often use this simulation for shooting portraits.

Left: Isle of Wight RAW file. Right: Astia JPG. Great tones and colors, though slightly subdued.

Top: Kids in a filed RAW file. Bottom: Asita JPG. Lovely colors and tones, though they are not over 

the top.

Classic Chrome

This Fujifilm JPG film simulation is not based on a classic film emulsion. Instead, Fujifilm developed it to emulate the look of classic documentary-style photography.
Classic Chrome has lower color saturation and full-bodied tones, giving it a distinctive look. Skies look different with this simulation, as it removes magenta. Reds and greens also appear quite unique.
Many street photographers seem to use this film simulation if they are shooting color for a raw, edgier look.

Left: Isle of Wight RAW file. Right: Classic Chrome JPG. Look at the difference between the sky and 

the grass in these shots.

Top: Kids in a filed RAW file. Bottom: Classic Chrome JPG.

Pro Neg Hi

Pro Neg Hi is ideal for portraits with slightly enhanced contrast, especially when contrasted against Pro Neg Standard. Modeled after Fujifilm’s most popular print film for portraits, Fuji Pro 400H, it’s the film simulation I most use for portraits (alongside Astia).

Left: Isle of Wight RAW file. Right: Pro Neg High JPG.

Top: Kids in a filed RAW file. Bottom: Pro Neg Hi JPG. I love the colors, contrast, and tones of this 

film simulation.

Pro Neg Std

This is another of the Fujifilm JPG film simulations that is ideal for portraits. It simulates NS160, a professional color negative film for studio portraiture. It has softer graduations and skin tones, especially when compared to Pro Neg High.
For best results, use it with creative lighting choices, or you may end up with a flat, boring-looking image.

Left: Isle of Wight RAW file. Right: Pro Neg Standard JPG. The tonality of this image is quite soft 

compared to others.

Top: Kids in a filed RAW file. Bottom: Pro Neg Std JPG. Out of the box, it produces a flatter file with 

softer colors and tonality.

Acros

Fujifilm’s classic black and white emulsion brought to life digitally with rich details and excellent sharpness. Fujifilm claims that this film simulation matches the tonal range and even the film grain of its analog offering, which is quite impressive.
You even have the ability with the Acros film simulation to apply yellow, red, and green filters in-camera.
The red filter gives more contrast and a dramatic feel. The yellow filter seems more subtle. The green filters seem to work best when photographing people.

Left: Isle of Wight RAW file. Right: Acros JPG.

Top: Kids in a filed RAW file. Bottom: Acros JPG.

Left: Isle of Wight RAW file. Right: Acros JPG with the red filter. Red filters have long been used in 

black and white photography to increase contrast and make images look more dramatic.

Left: Isle of Wight RAW file. Right: Acros JPG with the green filter.

Monochrome

This was the original black and white Fujifilm JPG film simulation on X-Series cameras until Acros came along. Many people bypass it completely, choosing to create black and white images in post.
As with Acros, there are three variants for this mode; you can add a red, yellow, or green filter.

Isle of Wight RAW file. Right: Monochrome JPG.

Sepia

Sepia gives your image a reddish-brown look to mimic the feel of a vintage photo. I’m not sure why anyone would use this filter, but each to their own.

Left: Isle of Wight RAW file. Right: Sepia JPG.

I hope you have enjoyed this introduction to the world of Fujifilm JPG film simulations. Fujifilm produces the best straight-out-of-camera JPGs from any camera manufacturer. The ability to choose a Fujifilm JPG film simulation, many based on classic film emulsions, is the icing on the cake.
I’ve loved playing around with different looks to my images over the years. The ability to see through the viewfinder or LCD is incredible.
Which is your favorite of the Fujifilm JPG film simulations? Share with us in the comments.

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