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Herco

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  1. Like
    Herco got a reaction from SPB in Leica Monochom envy   
    I guess it depends heavily on where you are located. In all my 35+ years with Leica (I've always had one or two) I rarely had to fall back on their Customer Support. But when I did, I directly reverted to their Wetzlar office in Germany and they've always been great and swift.
    I hear similar stories from colleagues in the US re. Fujifilm Professional Service (FPS) over there, but here in Europe FPS is a bit of a joke. I have (of have had) various Fuji cameras and more than 10 lenses but the process of repair and service is tedious and costly. Even with an FPS subscription (although it is for free). And when you ask for a temp replacement, they never seem to have one... 
  2. Like
    Herco got a reaction from MarcelMartinez in Sony FE lenses on Fuji X camera?   
    Thanks Marcel, I didn't know such an adapter existed. I'm using Nikon Z in the studio here but some of my colleagues use Sony EF. I've been jealous of a few of the lenses (the Loxias and the GM135). I think I'll order one to see if it works and I'll let you know here.
  3. Thanks
    Herco reacted to MarcelMartinez in Sony FE lenses on Fuji X camera?   
    Hi Trailz! To cut to the chase, no.
    This is why...the flange distance on the sony is 18mm, for the fuji it is 17.7mm. They would have to create an adapter that is only 0.3mm thick... or (0.0118 inch) I think its too thin to create a sturdy adapter. 
    For example...I shoot Nikon Z mirrorless (and Fuji of course) and the flange distance on those is 16mm. Being 2mm difference from the sony they were able to create an adapter for it. Even with 2mm it is still really small. You can see how thin here... https://www.bhphotovideo.com/c/product/1488597-REG/techart_pro_tze01_sony_e_nikon_z.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A514&gclid=CjwKCAiAg8OBBhA8EiwAlKw3khkKhMtm6X5vdK90csUfhP5TTpJ23-FrY2XStyN46ZCg7uKJVKqfYhoCpFEQAvD_BwE
  4. Like
    Herco got a reaction from BruceBanner in Lens Reviews?   
    Although I really appreciate Jonas Rask, don't forget he's a Fuji X-Photographer. One of Fuji's requirements for that is that you exclusively shoot with Fuji. That's a bit limiting should you wish to test lenses.
    I value the views of Gordon Laing (Cameralabs) and Dustin Abbott as well as the very scientific approach of fototest.de (in German) and Lens Rentals' break-down of lenses.
    In my experience Fuji has indeed a bit more sample variation than some other brands (I compare with Nikon and Leica) but that is IME more in mechanical issues (loose aperture rings, noisy AF motors...) than in optical issues like element alignments or faults. Anyway, that should not withhold us from evaluating lenses as also 'bad copies' can get into a users hands and he/she might never know it by lack of being able to compare. That is why e.g. fototest.de tests multiple copies of a lens. 
  5. Like
    Herco got a reaction from Goonerjr in 16 or 14 lens w xpro3   
    The EVF view is essentially showing what the sensor captures. The limitations of the X-Pro3 for wide-angle and telephoto lenses are only applicable to OVF-mode, which is of course one of the main reasons for having an X-Pro camera.
    By the way, judging from the title you're looking at the 14/2.8 vs. the 16/2.8. There are some apparent differences between the lenses. The 14/2.8 is not WR and has slower (and somewhat noisier) AF. Nevertheless, I prefer the 14 by far. It has much better IQ (almost to the level of the 16/1.4). Better contrast, sharper corners, less loca...). Having said that I understand the the 16/2.8 fits nicely on an X-Pro. Don't get overly exited about the WR. It is largely a marketing item... I've had reliable non-WR lenses vs. WR-lenses that 'fell apart' after a day of steady drizzle. 
  6. Thanks
    Herco got a reaction from Koogart in Personal X-H1 Set Ups   
    Herewith my card with settings. I made cheat cards for the different cameras to be able to tell them apart. This one is for my X-H1 which I by the way rarely use anymore. I used the camera mostly for stills and esp. fashion portraits, so many settings are stills oriented.
    x-h1 settings.docx
  7. Like
    Herco got a reaction from Fruitshakes in Fujifilm Camera Forgets Settings   
    It's probably the built-in battery that needs replacement. Not the main one that you remove and charge, but the one built-in that powers the memory in the camera. Long periods of inactive storage with drained main batteries may affect the quality of this back-up battery. The retailer where you bought the camera should be able to replace it, or otherwise a camera repair shop.
  8. Like
    Herco got a reaction from Fruitshakes in The Forgotten XT30   
    This is precisely the issue that Fujifilm should fear with their current release policy. Welcome to the world of many X-H1 early buyers who paid a premium price for the flagship model only to find out it was undermined by Fujifilm's release policy just a few months later. No significant firmware updates anymore, topped-up by a price cut of 45% and no clear model policy going forward.
    The issue is that Fuji (unlike Sony) uses the same core technology (sensor and processor) for different camera lines. That makes it very hard to distinguish models. Now for the X-E and the X-Pro that doesn't matter as these are aimed at a very different style of shooting. But in the 'DSLR-type' of cameras we have essentially 5 lines (X-Txxx, X-Txx, X-Tx, X-Hx and now X-Sxx) more or less build for the same purpose and some varying only $100 in price. It's not only confusing buyers and cannibalizing on more expensive models (why would most users buy an X-T3 or even the 4 when the X-S10 is launched? - yeah I know the weather sealing marketing trick). It also is very expensive to manufacture and maintain and after a while alienates users because they feel tricked.
    I'm starting to like Sony's very straightforward model range. The APS-C cameras in the A6xxx line gradually building up in capabilities. No misunderstandings. Full-frame is in the A7/A9 line where each model (plain, S, R and A9) have a specific purpose and use case. Whenever the new generation comes along, you down-price the current generation until you take it out of production. An A9 wildlife photographer won't mind the price reduction of the A7RII because he or she knows it's a different camera with very different capabilities. Imagine you bought the X-T3 a year ago. By now you would have had 2 WTF-moments in that year: when the X-T4 was launched and now with the X-S10. The same for the X-T30 buyer who has seen (in 1 year) the price drops of the X-H1, the X-T3 almost to their level and now the introduction of the X-S10 for just $100 more! Or the aforementioned X-H1 buyer...?
    I really think that Fuji needs to clean up its model policy and create a more structured long-term model policy in their -T, -H and now -S line. Many will say that diversification is a valid marketing strategy, but as a former marketeer I also know that confusion leads to indecisiveness and purchase delay amongst buyers. Your outcry Nicky, is a perfect example of that.
  9. Like
    Herco got a reaction from jlmphotos in I Bought a New Fuji GFX 50r ... need a little help   
    Provia is indeed the most standard film simulation of all. When you use that as a starting point and create a custom profile dialing down all highlight, shadow and color settings to -1 or -2 you get a very flat profile in jpegs. You can also set the screen to 'Natural Live View' in the Setup>Screen Setting menu (switch it to ON). That way it will not display film simulations on screen (just monochrome and sepia when selected).
    Note that when you select a film simulation (any) that information is also stored in the RAW file. Some RAW-convertors use that for display purposes when importing the RAW file. You can easily bypass that by selecting the required ICC profile and curve. In Capture One by default the RAW image will be displayed using the selected film simulation (camera specific ICC profile and curve on AUTO). When you want to see the pure RAW image in Capture One you should select LINEAR as a curve, You can default this in the import dialogue. 
  10. Like
    Herco got a reaction from Chrisrm7 in I Bought a New Fuji GFX 50r ... need a little help   
    Provia is indeed the most standard film simulation of all. When you use that as a starting point and create a custom profile dialing down all highlight, shadow and color settings to -1 or -2 you get a very flat profile in jpegs. You can also set the screen to 'Natural Live View' in the Setup>Screen Setting menu (switch it to ON). That way it will not display film simulations on screen (just monochrome and sepia when selected).
    Note that when you select a film simulation (any) that information is also stored in the RAW file. Some RAW-convertors use that for display purposes when importing the RAW file. You can easily bypass that by selecting the required ICC profile and curve. In Capture One by default the RAW image will be displayed using the selected film simulation (camera specific ICC profile and curve on AUTO). When you want to see the pure RAW image in Capture One you should select LINEAR as a curve, You can default this in the import dialogue. 
  11. Like
    Herco got a reaction from Goonerjr in Leica Monochom envy   
    It's quite a difference. As a basis the Leica Q2 already has a very good 47Mp full-frame sensor paired with one of the best lenses ever made (a 28mm Summilux). By leaving out the color array filter on the sensor and optimizing the sensor lenses for monochrome images, you get an incredibly sharp and contrast rich monochrome image. Without the color array filter you also boost the low light performance and expand the dynamic range of the sensor by approx. 2 stops.
    In the meanwhile, I couldn't resist and purchased a Q2 Monochrome. I'm not disappointed. Though my X-Pro produces very nice Acros files, the Q2 Monochrome is a different league (also in price to be fair). I usually shoot monochrome for my personal work, but to be able to shoot at ISO25000 and have files as clean as an X-Pro at ISO1600 is amazing. At normal ISO levels, the level of detail and the tonality of the Q2 files is stunning. Both for the jpegs out-of-camera and the DNG raw files via Capture One.
  12. Like
    Herco got a reaction from Choccy in Should I trade the 16-80mm for the 56mm 1.2   
    There are portraits and there are portraits... Meaning to say there are a lot of different setups that may requires different lenses.  The 16-80 is definitely capable of some fine portraits when used correctly. When you wish to keep the flexibility of a zoom lens, but require some more distinct bokeh and a shallower depth of field, consider exchanging it for the 16-55/2.8. It's the classic reporter zoom lens, but wide open at 55mm it doubles as a very capable portrait lens. Should you wish to hold on to the 16-80 you might want to look at the 50-140/2.8. Part of the trinity reporter lenses, but very well suited for all kinds of portraits.
    In the Fuji line-up there are a few specialist portrait lenses like the two versions of the 56/1.2, the 50/1.0 and the 90/2.0. Only when you do a lot of (paid and/or studio) portrait work it makes sense in buying these. Outdoors in regular lighting you usually have to stop down anyway...
    For occasional portrait work there are a few generic lenses that can be used for portraits, such as the 35 (both the 1.4 and the 2.0) for wider portraits and half-body shots and the 50/2.0 and the 60/2.4 for head shots. The 23 (1.4 and 2.0) works well for full body shots and environmental portraits where you wish to show some of the surroundings/context of the subject. Your 16-80/4.0 and the 18-55/2.8-4 also fit well into this category.
    Finally, unless you plan to work in very harsh conditions, WR doesn't mean a lot. When I was using Fuji professionally, I had a favourite 23/1.4 (non-WR) that outlived a few WR lenses. With some common sense, WR doesn't make any difference. Most amateurs I know are meticulous with their gear and don't get into situations where it could make a difference.
  13. Like
    Herco got a reaction from K PRETHVIRAJ in JPEG post options   
    CaptureOne (C1) has the Fujifilm film simulations build-in into the software. So when developing the RAW and exporting to JPEG you can use these film simulations incl. all the other editing that C1 allows you to do. This gives you a much better result than using the out-of-camera JPEGs and edit them for exposure in C1, PS or other software. A JPEG is best to use as an end result. The quality of the C1 Fujifilm film simulations is at least as good as the in-camera film simulations as it was developed in close cooperation with Fujifilm. In my experience they're even a bit better as they offer more flexibility in terms of grain structure and shadow detailing.
    The workflow for PS (with the .psd file) is a workaround workflow. PS doesn't recognize raw files and it uses Lightroom or Camera Raw for that. However, to maintain the layers and editing done in LR, you shouldn't exchange JPEG or TIFF files between LR and PS, but .psd files. It's a sort of exchange format for images between different software components of your workflow. We only use it for editing stuff that cannot be (easily) done in C1 and requires PS as an editor. In our experience this is less and less as C1 improves clone stamps and eraser capabilities. What remains in PS is the image manipulation like creating fuller lips, wider eyes or accentuating bodylines of models. Something that is also less and less done (fortunately). That requires PS or Affinity Photo as you have to dive into pixel level to cleanly remove all pixels and replace them with the ones you want. In those situations we use the 'edit with' and 'open with' menu option in C1 to open the file with PS. In the background that creates a temporary .psd file. 
    Converting a JPEG into a .psd and than again create a JPEG is a very cumbersome path with loss of quality. Esp. if you already have the raw-file. Best to avoid that where possible.
     
  14. Like
    Herco got a reaction from MrEnke in Leica Monochom envy   
    maxmax.com converts many Fujifilm cameras to monochrome. It's quite expensive, but probably not more than when Fujifilm would launch a monochrome themselves. Previously, Fujifilm managers stated that a monochrome is not to be expected any time.
    As a former Leica owner (those film days) every time I pick up a Leica I'm tempted again. The Q2 monochrome will probably not be an exception. It's not made for people looking for features or value-for-money (though it holds fantastic value in the second-hand market) and in that respect its hard to compare with other brands. It's just like cars: you don't need a BMW to be happy, but it sure helps 😉 (for those who like cars)
  15. Like
    Herco got a reaction from F/8 in Fujifilm Camera Forgets Settings   
    It's probably the built-in battery that needs replacement. Not the main one that you remove and charge, but the one built-in that powers the memory in the camera. Long periods of inactive storage with drained main batteries may affect the quality of this back-up battery. The retailer where you bought the camera should be able to replace it, or otherwise a camera repair shop.
  16. Like
    Herco got a reaction from teaandcake in The Forgotten XT30   
    This is precisely the issue that Fujifilm should fear with their current release policy. Welcome to the world of many X-H1 early buyers who paid a premium price for the flagship model only to find out it was undermined by Fujifilm's release policy just a few months later. No significant firmware updates anymore, topped-up by a price cut of 45% and no clear model policy going forward.
    The issue is that Fuji (unlike Sony) uses the same core technology (sensor and processor) for different camera lines. That makes it very hard to distinguish models. Now for the X-E and the X-Pro that doesn't matter as these are aimed at a very different style of shooting. But in the 'DSLR-type' of cameras we have essentially 5 lines (X-Txxx, X-Txx, X-Tx, X-Hx and now X-Sxx) more or less build for the same purpose and some varying only $100 in price. It's not only confusing buyers and cannibalizing on more expensive models (why would most users buy an X-T3 or even the 4 when the X-S10 is launched? - yeah I know the weather sealing marketing trick). It also is very expensive to manufacture and maintain and after a while alienates users because they feel tricked.
    I'm starting to like Sony's very straightforward model range. The APS-C cameras in the A6xxx line gradually building up in capabilities. No misunderstandings. Full-frame is in the A7/A9 line where each model (plain, S, R and A9) have a specific purpose and use case. Whenever the new generation comes along, you down-price the current generation until you take it out of production. An A9 wildlife photographer won't mind the price reduction of the A7RII because he or she knows it's a different camera with very different capabilities. Imagine you bought the X-T3 a year ago. By now you would have had 2 WTF-moments in that year: when the X-T4 was launched and now with the X-S10. The same for the X-T30 buyer who has seen (in 1 year) the price drops of the X-H1, the X-T3 almost to their level and now the introduction of the X-S10 for just $100 more! Or the aforementioned X-H1 buyer...?
    I really think that Fuji needs to clean up its model policy and create a more structured long-term model policy in their -T, -H and now -S line. Many will say that diversification is a valid marketing strategy, but as a former marketeer I also know that confusion leads to indecisiveness and purchase delay amongst buyers. Your outcry Nicky, is a perfect example of that.
  17. Like
    Herco got a reaction from teaandcake in If you could choose only 2 lenses for the Fuji X System, What would you choose?   
    Without knowing your shooting preferences and style it's a hard question to respond to. In case you look for something longer than the 23mm (35mm FF equiv.), the 35, 50 or 56 are all great lenses. Depends on how much longer you need. The 56 has by the way the same filter thread as the 23 which can be convenient. If you really need 'long' then the 55-200  or the 50-140 are good additions that won't make your 23 redundant. The 50-140 however is well-over $1000, but you can look at used ones.
    In case you want something wider, the 16 or even better the 14 or the 12mm Zeiss are great additions to your 23. Esp. the 14 pairs nicely since it has the same manual focus clutch as the 23 (in case you focus manually at all). The 16/f1.4 also has that, but might be too close in focal length to the 23.
    As for zoom lenses, I guess you bought the 23 for a reason. The issue with buying a standard zoom next to it (like the 16-55 or the 18-55) is that you probably leave that on and might not use the 23 that much anymore. That is a pity since in terms of IQ it is one of Fuji's best lenses. Adding the 10-24 (which is on sale) is perhaps a better alternative as the long end (24) of that lens isn't the best part of that lens, which keeps the 23 a good extension.
  18. Thanks
    Herco got a reaction from teaandcake in Stick with LR or switch to Capture One?   
    DAM stands for Digital Asset Management and is indeed the Library/Catalogue function in LR and C1. LR has indeed some advantages here for users who seek very detailed filter and keyword features.
    However, C1 comes pretty close for most users. You can migrate your LR catalogues to C1 and it retains all keyword and album functions. For the very large catalogues and advanced filter options Photo Mechanic is a very good addition.
    When you work in projects (like most professionals do) C1 has another option which is called Sessions. I suggest to view the online C1 tutorial Catalogues vs. Sessions first before setting up C1. That should give you an idea which one to go for. You can also use both depending your workflow. For my personal work I use Catalogues (coming from LR). My paid work is in Sessions (incl. mostly tethered shooting).
  19. Thanks
    Herco got a reaction from Yee in Best Buy has brand new X-Pro2 on sale at $999   
    It's a very good deal actually. The X-Pro2 is my personal favourite Fuji camera. I've used the X-Pro3 for a couple of days but decided not to switch for a few reasons. First, there's no visible improvement in image quality. The new sensor/processor are mainly an improvement in continuous AF whereas I mostly use single AF for my personal work with the X-Pro2.
    Secondly, the OVF is a bit brighter and larger on the X-Pro3, but it lacks the dual magnification of the X-Pro2. Therefore, you can't actually use the OVF with lenses shorter than 23mm or longer than 50mm. The EVF of the X-Pro3 is better though with its 3.69mp vs. the 2.36mp of the X-Pro2. However, one of the reasons to use an X-Pro is the OVF capabilities.
    Finally, the LCD is only nice for waist level shooting, but otherwise a pain in the a*s. To use the menu you either have to flip down the LCD or use the EVF/OVF in combination with the joystick. When wearing glasses and left-eye dominant (like me) this is useless as you're constantly make stains on your own glasses. I'd rather have an X-Pro with the articulating LCD of the X100V. The sub screen on the back is just a gimmick. Because it lacks backlighting, it becomes useless in less than perfect light.
    When you're really set to 'Classic Neg' film simulation on an X-Pro2, try this: https://fujixweekly.com/2019/11/07/my-fujifilm-classic-negative-film-simulation-recipe-for-x-trans-iii/. 
  20. Like
    Herco got a reaction from Paul Schmidt in Switching to Fuji from Nikon   
    The D7500 is quite a recent model and certainly one of the best APS-C DSLRs on the market. In terms of image quality for stills it can match any Fuji  X-camera (given good Nikkor lenses). Next to the reduced battery life and the EVF (which is an ‘older’ 2.36 million dots model in the X-S10) you will probably notice a slower AF-C performance, as the D7500 is blazing fast esp. in very low light. Only when you plan to shoot video, the X-S10 would make a lot of sense. The IBIS is of course nice to have, but the VR in most Nikkor lenses is also quite good.
  21. Like
    Herco got a reaction from George_P in JPEG post options   
    Also bear in mind that C1 (but LR too) can be automated to a high degree. When importing, you apply the presets or styles you prefer. On top of that I have defined user styles that automatically apply the required sharpening and noise reduction for the type of camera. From there it is just 1-2 minutes work to PP an image.
    For personal work I shoot RAW+JPEG. The JPEGs are stored separately for archiving. I never edit these except for some cropping if I really want to use the JPEG for sharing in social media. I will quickly cull through the RAW files to separate the keepers. The rest I throw away. I only spend more than 1-2 minutes on an image for those RAWs that will be printed. Edit just the ones you need to use (for an album, print or sharing). 
    As for the romantic idea of just shooting and accepting the jpeg outcome as if it was film: imagine how long we used to spend in darkrooms to develop and print films... There was a whole lot of editing involved in that process as well to get to a really good print.
  22. Like
    Herco got a reaction from George_P in JPEG post options   
    CaptureOne (C1) has the Fujifilm film simulations build-in into the software. So when developing the RAW and exporting to JPEG you can use these film simulations incl. all the other editing that C1 allows you to do. This gives you a much better result than using the out-of-camera JPEGs and edit them for exposure in C1, PS or other software. A JPEG is best to use as an end result. The quality of the C1 Fujifilm film simulations is at least as good as the in-camera film simulations as it was developed in close cooperation with Fujifilm. In my experience they're even a bit better as they offer more flexibility in terms of grain structure and shadow detailing.
    The workflow for PS (with the .psd file) is a workaround workflow. PS doesn't recognize raw files and it uses Lightroom or Camera Raw for that. However, to maintain the layers and editing done in LR, you shouldn't exchange JPEG or TIFF files between LR and PS, but .psd files. It's a sort of exchange format for images between different software components of your workflow. We only use it for editing stuff that cannot be (easily) done in C1 and requires PS as an editor. In our experience this is less and less as C1 improves clone stamps and eraser capabilities. What remains in PS is the image manipulation like creating fuller lips, wider eyes or accentuating bodylines of models. Something that is also less and less done (fortunately). That requires PS or Affinity Photo as you have to dive into pixel level to cleanly remove all pixels and replace them with the ones you want. In those situations we use the 'edit with' and 'open with' menu option in C1 to open the file with PS. In the background that creates a temporary .psd file. 
    Converting a JPEG into a .psd and than again create a JPEG is a very cumbersome path with loss of quality. Esp. if you already have the raw-file. Best to avoid that where possible.
     
  23. Thanks
    Herco got a reaction from Raisku56 in newbie requiring help   
    Hi and welcome to Fuji 😉
    I'm not so sure about the D750 being outdated and so... It is still a great camera used by lots of professionals as well. To be really honest even today's best mirrorless cameras re. auto-focus like Sony's A7RIV and A9II are still not as good in AF as the best DSLRs (among which I also count the D750 and D810).
    Fuji's AF has become quite good in the latest generations but there are a few caveats. First, your 16-80 lens is a recent design with fast AF performance. The 55-200 however, is a bit older and is fine at best re. AF. So, your best results will probably be with the 16-80. The f4 limitation of that lens however, will limit the low light AF performance of the X-T4 a bit.
    The X-T4 offers various tweaks to adjust AF to the circumstances. This is a bit cumbersome as it is not really good in auto detecting the required setting. You will have to do that for the camera. You can designate some options to function buttons on the camera for future quick access.
    Here's my recommendation:
    Set the AF mode to AF-C (front of camera). In the menu 'SHOOTING' and sub-menu 'AF/MF Settings' select mode 5 in the AF-C Custom Settings. This is for erratically moving subjects. This sets the tracking sensitivity to a locked-on mode, the tracking speed to the quickest and the zone area to auto (as the dogs move back and forth). It is a good starting point for further tweaking. Once you've find the best setting you can store that under custom AF-C mode (mode 6). Then make sure that the number of focus points is set at 425 for the widest coverage of focus points unless you follow the dogs with the camera and keep them center-frame. Switch Pre-AF on. This speeds up the focusing process when you half-press the shutter release button. Unfortunately the X-T4 doesn't recognize animal eyes, so face-AF and eye-AF doesn't help here. Best to switch that off and prevent the camera from scanning for faces/eyes. I've seen the X-T3/4 recognizing faces while they were not there (in shapes of leafs and so). You may also want to test release/focus priority. With focus priority usually you have the best hit rate for in-focus shots, however, it may also result to your camera when losing track of the subject instead refocus on a different subject. I'd recommend release priority in that case. You may have more shots out-of-focus, but at least more to choose from as well.
  24. Thanks
    Herco reacted to Nicky in The Forgotten XT30   
    Have Fuji forgotten the XT30? The XT3 got an update that allowed it to be used as a web cam, its just had another update to upgrade its focus performance to XT4  levels. I'm beginning to wish I'd stayed with Nikon or gone for a Sony. Having said that, Fuji's own XS-10 looks great. Why would anyone buy an XT30 now? it seems suddenly very old and unattractive.
  25. Like
    Herco got a reaction from George_P in RAF underexposed in Affinty Photo   
    Rico Pfirstinger wrote some books on Fuji X-cameras incl. a few pages on DR. It's in all of his X-pert Tips books. Furthermore, cambridgeincolour.com has extensive explanation pages on all sorts of photographic topics. Just search on their site for dynamic range. The key is that you cannot correct blown-out highlights but it is easy to correct deep shadows in post processing. Cameras have two ways of addressing this: either an HDR-feature or an extended DR feature. 
    The extended DR-setting on the camera works for jpegs. It typically underexposes your raw file by 1 or 2 stops and than with the in-camera raw conversion to jpeg it leaves the highlights as is and amplifies only the midtones and shadows to produce a jpeg with detailed highlights (because under exposed) and nice blacks and greys (corrected in camera). Effectively its 1 extra stop of DR in practice.
    The HDR feature actually creates multiple images with an exposure bracket and combines these images into one, using the highlights of the underexposed image and the shadows and midtones of the other images. HDR can also be used for raw images in post.
    As for your typical situation, you only use raw-files and no jpeg I believe. Best approach IMO is to leave the DR setting to 100% and do the exposure correction in Affinity Photo. In order to do that you should set the live view function on to see the effect of the exposure on screen and switch on the histogram. Than set the exposure in such a way that the highlights (right part of the histogram) do not blow out. So stay within the border of the histogram at the right. The shadows might get blocked and the midtones way darker than you want, but that is easily corrected in post with the Shadow and Midtone sliders.
    By using this method you can use the base ISO of the camera (ISO100 in case of the GFX50R) which is always preferable in landscape photography. The fact that below ISO320 the camera limits you to DR 200% is because it needs 'room' to do the corrections.  From 320 to 2 stops down is ISO80 which the camera cannot handle (ISO100 is the lowest) without trics like extended low ISO which you should only use as a last resort. 
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