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dward

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  1. Like
    dward reacted to Marco Amaro in Update 12/2018: Which Fuji X cameras do you use?   
    Still rocking X-T2 !!!!!!!!!!!!!!!!!!!!!!!
    Very solid and reliable camera with good dinamic range, controled high iso noise, image quality and colors!!!!
    Same day i will buy a X-T5 for the ibis, batery and af speed and accuracy, but keep my X-T2!!!!!!!
  2. Like
    dward reacted to Robert Mole in X-Pro 3 permanently under exposing by 1.5 to 2 stops   
    YEAHHHH. Your wise and patient input has sorted my problem.
    A big thanks
  3. Like
    dward reacted to FX Admin in Fuji X-T5: Full Performance with Classic Handling   
    With the Fuji X-T5, Fujifilm introduces the fifth generation of the most successful Fuji X class. It is already the third top model to be introduced this year after Fuji X-H2s and X-H2.
    Even though positioning and price are not decisively different from the X-H2, most Fuji X photographers will know directly which model they will choose. While the X-H series is more similar to the operating concept of other manufacturers, the Fuji X-T5 is aimed at photographers who want maximum quality with a classic, tactile operating concept.
    The FUJIFILM X-T5 will be available in silver and black from November 17, 2022 at a price of 1,999 € in stores.
    Fuji X-T5 chrome available for pre-order at:
    B&H | Adorama | Amazon US Fuji X-T5 black available for pre-order at:
    B&H | Adorama | Amazon US The Fujifilm X-T5 at a glance
    40.2 megapixel X-Trans CMOS 5 HR (BSI CMOS) X-Processor 5 IBIS with compensation up to 7 EV Electronic viewfinder, 0.8x, 24mm eye point, 3.69 MP, 100 fps Tiltable 3" LCD monitor Continuous shooting 15 fps (mechanical) / 20 fps (electronic) Mechanical shutter 1/8000 sec Electronic shutter 1/180,000 sec. Dual UHS-II slot 6K/30P, Apple ProRes RAW via HDMI Battery life: approx. 740 images with NP-W235 Weatherproof  
    Fujifilm launches mirrorless digital camera “FUJIFILM X-T5”
    Featuring the latest 40.2MP sensor and image processing engine to deliver superior image quality and fast AF Equipped with three dials on the top panel and a three-way tilting LCD monitor despite being lightweight and compact TOKYO, November 2, 2022 – FUJIFILM Corporation (President and CEO, Representative Director: Teiichi Goto) announces that it will launch of the mirrorless digital camera “FUJIFILM X-T5” (X-T5) sequentially after the middle of November, 2022. It is the latest addition to the X Series of mirrorless digital cameras known for their compact and lightweight body and superior image quality based on the company’s proprietary color reproduction technology.
    X-T5 features the fifth-generation devices, i.e. the back-illuminated 40.2MP sensor “X-Trans™ CMOS 5 HR”*1 and the high-speed image processing engine “X-Processor 5.” Its superior image quality and high mobility make it a perfect choice for still photography. The compact camera body, weighing just 557g*2, is equipped with advanced features including the five-axis in-body image stabilization (IBIS) of up to 7.0 stops*3, as well as AI-based subject-detection AF and high-speed AF. Other features include three dials: ISO, shutter speed and exposure compensation, and three-way tilting LCD monitor delivering greater comfort in photo shooting. The X-T5 will be a perfect companion to cover a wide variety of photographic genres from snapshots / documentary photography, in which its portability is a major asset, to landscape photography and portraiture, which demands superior image quality.
    The X-T5 also features the back-illuminated 40.2MP sensor “X-Trans™ CMOS 5 HR” and the high-speed image processing engine “X-Processor 5.” Superior image quality is made possible thanks to the Smooth Skin Effect, in which human skin tone is automatically re-touched, and AI-based high-precision auto white balance. The ability to use ISO125 as standard sensitivity and the high shutter speed of up to 1/180000 seconds provides diverse photographic expressions. The X-T5 boasts a compact body weighing approximately 557g, about 50g lighter than the previous model*4. Other features that facilitate high mobility include the five-axis IBIS of up to 7.0-stops, the AI-based subject detection AF for maintaining a focus on animals and birds, and high-speed AF to attain focus on a subject in as fast as 0.02 seconds.
    The X-T5 inherits X-T Series’ signature Center Viewfinder style and dial operation. A 1.84-million-dot three-way tilting LCD monitor is equipped, which makes the shooting in vertical position or at waist level*5 more comfortable. Other features that add comfort to users’ experiences include the ability to record 10-bit 4:2:2 video at 6.2K/30P, the viewfinder magnification of 0.8x, 3.69-million-dot EVF and dual SD-card slots, catering to a wide range of user needs.
    Fujifilm has taken the X Series into the fifth generation, introducing the X-H2S (in July this year) and the X-H2 (in September this year) featuring the new image sensor and the high-speed image processing engine. They are positioned as Fujifilm’s double-flagship models and marketed globally. By adding X-T5 which pursues high level of image quality and portability and is optimized for stills, the company continues to broaden the appeals of the X Series further.
    *1 X-Trans is a trademark or registered trademark of FUJIFILM Corporation.
    *2 Including battery and memory card.
    *3 When mounted with the FUJINON Lens XF35mmF1.4 R.
    *4 Mirrorless digital camera “FUJIFILM X-T4”.
    *5 A shooting style in which the camera is held at waist.
    1. Product features
    (1) Carrying X Series’ fifth generation sensor “X-Trans™ CMOS 5 HR” to deliver superior image quality
    The X-T5 carries X Series’ fifth generation sensor, the back-illuminated 40.2MP “X-Trans™ CMOS 5 HR.” The use of an improved image processing algorithm delivers advanced image resolution without compromising the S/N ratio. The new sensor can take in more light efficiently thanks to its improved pixel structure, which means ISO125 is available as a standard sensitivity. Exposure time is controlled in high precision, allowing users to set the electronic shutter speed as fast as 1/180000 seconds. This means large-aperture lenses can be used wide open in a greater variety of conditions. The Smooth Skin Effect, which automatically smooths the skin tone, is also featured, reducing post-processing workload required in portrait photography, etc., so that images can be finished at a high degree of perfection much quicker than ever before. The X-T5 features Auto White Balance based on the Deep Learning technology. The AI technology accurately identifies warm light-bulb color cast to adjust white balance for improved accuracy. The X-T5 comes with 19 Film Simulation modes, including “Nostalgic Neg.,” characterized by high saturation and soft tonality. Users can use Film Simulation presets, designed for various subject types and scenes, as if they are choosing photographic films to suit the subject or situations. This camera features the Pixel Shift Multi-Shot function, which quadruples image resolution and produces accurate color reproduction. The IBIS mechanism is used to shift the image sensor at high precision to carry out automatic shooting of 20 frames in a single click of the shutter. The dedicated software “Pixel Shift Combiner” processes the captured frames to generate an image containing some 160 million pixels, ideal for commercial photography and digital archiving of cultural assets. The camera supports the HEIF format, which enables recording images with a rich 10-bit color depth despite being approximately 70% of the size of an equivalent JPEG file. It can store high-quality image data more efficiently. (2) High-performance AF to accurately attain focus on the subject
    The X-T5 can autofocus in as fast as 0.02 seconds, ensuring to capture a decisive photo opportunity. The subject-detection AF, developed with Deep Learning technology, is capable of detecting animals, birds, cars, motorcycles, airplanes and trains with AI technology. The system automatically tracks a subject while maintaining focus, so that users can concentrate on shutter opportunities and framing. The X-Trans™ CMOS 5 HR sensor has a greater number of phase detection pixels than the previous model, resulting in an improved ability to attain AF-S6 focus on a subject with high-frequency such as animal furs and fine leaves, enabling accurate focusing in landscape photography and portraiture. The use of an improved AF prediction algorithm offers stable focusing also in the AF-C mode7. *6 AF-S autofocuses on a subject when the shutter button is half-pressed, and keeps it locked once the focus is attained. *7 AF-C continuously maintains focus on a subject within the focus area while the shutter button is half-pressed. (3) Hardware and design that delivers operational comfort to provide powerful support to users’ content creation
    The X-T5 features a five-axis IBIS of up to 7.0-stops. Users can shoot hand-held even in low light conditions such as nightscape photography. The X-T5 features three dials on the top panel for controlling ISO, shutter speed and exposure compensation. Users can check and change camera settings even before turning it on, bringing operational comfort. The 1.84-million-dot three-way tilting LCD monitor is newly equipped allowing the shooting in vertical position or at the waist level, frequently used when shooting stills. The camera is equipped with a high-magnification 3.69-million-dot EVF with 0.8x magnification. The viewfinder provides stellar visibility thanks to the improved suppression of parallax and distortion, which typically occurs when an eye position becomes displaced while using the viewfinder. Lightening the parts of IBIS and EVF has resulted in a compact body that weighs just 557g. This is coupled with the camera’s weather-resistant structure and ability to operate at temperatures as low as -10℃ to allow users to take the X-T5 into any conditions with peace of mind. (4) Extensive video features including 6.2K/30P capability
    The X-T5 can record 10-bit 4:2:2 video at 6.2K/30P on an SD card inserted in the camera. It features the 4K HQ mode, which uses 6.2K over-sampling to produce high-quality 4K video. The dual memory card slots for SD cards is also featured to deliver video in superior image resolution. The X-T5 features F-Log2 for recording video in enriched tonality, adding freedom in post-production creativity. Combined with a compatible HDMI recording device, ATMOS NINJA V+8 or Blackmagic Design’s Video Assist 12G9, 12-bit RAW video output from X-T5 can be recorded as Apple ProRes RAW*10 or Blackmagic RAW at resolutions and frame rates of up to 6K and 30 frames per second. *8 An integrated monitor and recorder by ATOMOS. *9 An integrated monitor and recorder by Blackmagic Design. *10 Apple ProRes is a trademark of Apple Inc., registered in the United States and other countries. 2. Optional accessories
    Hand grip “MHG-XT5” (for X-T5)
    This grip substantially improves users’ ability to hand-hold the camera even when a large-aperture lens is mounted, thereby reducing motion blur. The hand grip does not have to be removed to change a battery or SD card. The base can be used as a plate compatible with the Arca-Swiss quick release system.
  4. Like
    dward reacted to Fujiron in About Black & White Photography   
    On The Beach In Fog. X-H2s, 70-300+1.4TC, Acros+R, slight grain added.
     

  5. Like
    dward reacted to Fujiron in Fuji Birds   
    Great Blue Heron, X-H2s, 70-300+1.4TC. As a rule I don't like bird photos in B&W but this Oregon coast day was so gray and dreary very little color showed up so I went with B&W minimalism.
     

  6. Like
    dward got a reaction from jerryy in X-T4 JPEG plus RAW exposure problems   
    I think you are using the HDR setting for your JPEG output, especially since this diminishes at lower ISO values.
    HDR usage requires a higher ISO value to be set (640). The camera exposes at a lower value (160) to protect highlights, and the camera’s JPEG process then boosts the lower mid tones and shadows to the “higher” ISO value set (640). Thus you end up with a JPEG with good highlights and shadows. (In this example an HDR 400 setting is modeled).
    The RAW file would not be affected by the JPEG process, so it would display in a RAW program as the ISO 160 image (i.e. underexposed by two stops). Still useful as your highlights are protected and you can recover the shadows and mid tones as you like in your RAW processing program.
    I haven’t used the HDR setting in a long time so I can’t recall if the JPEG preview  included with the RAW includes the “boost” or not (suspect it does). 
    Hope that helps,
    Dave
  7. Like
    dward reacted to Jon Erdmann in Eagle perched in tree   
    We were driving by and observed a majestic bald eagle perched in a dead tree.  I only had the 50-230mm on my X-T2 at the time,
    Image is cropped for effect.

  8. Like
    dward reacted to Herco in Stick with LR or switch to Capture One?   
    A few thoughts on the differences between LR and C1 as we've experienced it. We moved to C1 5 years ago, though we still have LR expertise and updates as well.
    Whether C1 gives you an 'adjusted file' to start with or not is a matter of configuration. You can start with the pure RAW file (standard or linear response) or with the jpeg settings (film simulations etc.) applied. By the way, in my field (fashion and beauty) I don't know anyone who uses the film simulations (either Fuji, Nikon or whatever brand) as a starting point for raw editing. Most of us use a predefined Style that is applied at import. What LR calls Presets, C1 refers to as Styles. 
    C1 also provides you with the Fuji film simulations to choose from and these are configured in close cooperation with Fujifilm. They're much more similar to the 'official' in-camera film simulations than the LR 'Fuji film simulations', because they don't rely on the generic sliders only. By the way, the digital Fuji in-camera film simulations don't really resemble the analogue film look they're named after. In fact, there are C1 Styles available that have a closer resemblance to the different Fujifilm analogue film looks. So, when you prefer e.g. the Velvia or Astia film look, you might be better off with these specialized Styles. 
    For tethering C1 is indeed the standard. Together with the Live feature I can tether my shooting sessions and have an art director viewing and rating the images in real time. Even when they're located at the other side of the world. Great feature.
    In terms of color management C1 is vastly superior to LR. The color editor is by far the best I know of. It is much more geared to professional use. For example, the sliders in C1 in general have less reach (less extremes) than LR, but are way more controllable.
    As for DAM (Digital Asset Management) LR's Catalogue has more options for tagging and searching. The C1 catalogue is a bit more basic, though for many users that's enough. However, most professional photographers that I know, don't use Catalogues, but the C1 Sessions feature. It fits the workflow way better. Unfortunately LR doesn't have that at all. For the best DAM, many professionals use Photo Mechanic as a specialized tool for keeping track of 100k's or even millions of images.
    In terms of costs, I think C1 is a bit more expensive if you want to stay up-to-date. Esp. if you also need Photoshop. When we moved to the Apple M1 platforms, we switched to Affinity Photo instead of Photoshop. Our two in-house editors prefer that now, though it is harder to find people with expertise on AP externally (though when you know PS, learning AP is a matter of a few days). 
     
  9. Like
    dward got a reaction from jerryy in Fall pictures   
    Looks familiar, taken in the Smoky Mountains? Nice series of shots.
  10. Like
    dward got a reaction from RossJ in Film Simulation Custom Settings   
    Plus adds more of whatever you are adjusting and minus reduces whatever you are adjusting.
    + shadows adds deeper shadows, + highlights adds brighter highlights 
    - shadows lightens shadows, - highlights darkens highlights 
    David
  11. Thanks
    dward reacted to jlmphotos in When can we expect X-T5 or X-T40?   
    Seriously?  Why?
     
  12. Thanks
    dward reacted to Herco in Looking to jump into the Fuji system   
    Welcome @dgeorge959. Both are excellent cameras and depending on the lens you're using, they should be very suitable for landscapes too. Image quality is the same. I've had both and I've also used them professionally for a while. Just a short list of the most significant differences that I can recall.
    - There's obviously quite a difference in the form factor of the camera. The H1 has a deep grip and is a bit less 'retro-styled'. For long handheld shoots I prefer the H1, but you can also mount a grip to the T2 to reach more or less similar. However, mounting a grip on the T2 doesn't change the position of the shutter release button and that is again a way better experience with the H1 for long handheld shooting. Of course this is all moot, when you use a tripod;
    - The H1 is a bit more robust built and has slightly better weather-sealing. It is more aimed at 'pro-use'. The outer coating is more resistant to scratches and markings. The mount is more robust to better handle large lenses like the 200mm and the 100-400 zoom. The result is that the H1 is a bit bigger and heavier, but compared to your 5D still small;
    - The H1 has an annoying bug in some series: occasionally you get read/write errors when writing to the SD Cards. The only way out is to switch off and on the camera. Always use the Fuji recommended SD cards, insert/eject with care (camera switched off) and format the cards in the camera (every time after transferring the files). But even then... I've had 3 H1's over 3 years time and 2 of them had the recurring issue. Fuji wasn't able to fix it. I never heard of T2's with the similar recurring issue, but the T3 has it as well. Many Fuji-users have never experienced it, but it's an annoying issue for a small group; 
    - Obviously the H1 has IBIS (in-body image stabilization) but that is less relevant for landscape shooting. However, even when you turn it off, the H1 uses noticeable more battery power than the T2. So, while they use the same battery, you really want at least 1 or 2 spare batteries with the H1;
    - The H1 has the top sub-LCD which I always found very handy. However, this comes at the expense of the exposure compensation dial on the T2 top plate. The H1 has a button combined with the front- or rear dial for Exp. Comp. It's a matter of preference and getting used to;
    - The H1 has a touch screen as LCD. Fortunately you can switch it off entirely, because it's not a very good one (slow, lagging and sometimes non-responsive). It takes up battery life as well. In landscape photography it can be a nice feature to select focus points (when on tripod) and release the shutter, but most users I know, switch it off anyway;
    - The H1 has Bluetooth connectivity to the Fuji app (the T2 only Wifi). Bluetooth works way better, but the Fuji app is still 'crap' so you might not need it. A real significant difference though is the EVF. The H1 has a visibly much better EVF with higher resolution but also, more importantly. a higher refresh rate resulting in smoother movements and less noise in low-light situations;
    - The AF is more or less the same, but the H1 was designed for high speed action/sports. In my experience the AF of the H1 reacts a bit quicker when a subject is moving (less threshold) but the result is that specifically with eye-AF the H1 can sometimes erratically switch between eyes with only the slightest movement. The T2 is a bit more 'relaxed' and as a result sometimes works better in AF-C mode. However, with landscape this might not interest you at all;
    - More important is that the H1 allows you to change the behavior of the manual focus ring on the lens. Not only the direction, but also the response (linear vs. non-linear). When you work with MF (like many do in landscape photography) linear MF allows you to control the ring way better. The focus shift isn't depending anymore on the speed with which you move the ring (like it is with non-linear). The T2 only supports non-linear. Some of the Fujinon lenses have a focus clutch with hard stops on the lens (the 14/2.8, the 16/1.4 and the old 23/1.4. For those lenses it doesn't make a difference. 
    - Both cameras a popular on the second-hand market, but the H1 a bit more. So, expect to pay a premium for an H1 in very good condition. The difference is easily $200-300 between comparable T2's and H1's.
    I hope this has helped you a bit to make a choice 
  13. Like
    dward got a reaction from HaithamXT4Lover in Dark view/screen when I switch to video recording on XT4   
    Your exposure indicator on the left side of the screen shows several stops underexposed. If you’re using a manual exposure try to adjust your settings. 
    It is also possible that you have accidentally adjusted the exposure compensation dial and have it set to under expose by a few stops. I noticed it is under the cage and could have been adjusted without you realizing it.
    Hope this helps,
    David
  14. Like
    dward reacted to Frank2 in Manual exposure in video mode and auto ISO, lowest ISO is 640   
    The problem is solved. I performed a setup-reset and now it is working.
  15. Thanks
    dward got a reaction from Peter Hicks in Capture 1 fuji express + Affinity Photo, or Capture 1 fuji?   
    Yes. Capture One Pro for Fuji adds a lot of functionality verse the Express version specifically around local adjustments and layers. I reserve Affinity for things C1 can’t do like panorama stitching and focus bracketing. For those items, I still process the RAW in C1, then export as TIFFs for blending in Affinity.
    If you are unsure it is worth it for your anticipated use, watch some of the tutorials that C1 has on their website. That should help you evaluate the potential benefits.
    David
  16. Thanks
    dward reacted to CatsAreGods in New to Fuji   
    I also have an X-S10. You cannot depress either dial, but I definitely have it set up with front dial=aperture and rear=shutter speed. I have auto ISO and the left dial set to exposure compensation. So it CAN be done!
  17. Thanks
    dward reacted to jerryy in New to Fuji   
    What happens when you turn the aperture ring to the A position and then use the front dial to make adjustments?
  18. Thanks
    dward reacted to stefanocps in auto exposure mode in still   
    i have discovered the trick. The iso shown on the display don't reflect the effective iso used. When hal pressing the shutter, the real used ISO is shown. But only in that moment!
  19. Like
    dward reacted to NHKeith in Auto ISO question   
    Thanks David - you are right! I had DR set to AUTO and changing it to 100 lets Auto ISO select 200.
    That made me confused about what the DR setting is actually doing, The manual says to use higher values to reduce loss of detail in highlights and shadows. i.e. high values give greater dynamic range. Increasing ISO should reduce dynamic range so why would the DR option to increase dynamic range require high ISO? I found this description of what Fujifilm DR settings are doing: https://www.dpreview.com/articles/5426898916/ins-and-outs-of-iso-where-iso-gets-complex. What is surprising is this suggests that the greatest dynamic range comes from DR 400 and ISO 800. i.e. there is more dynamic range as ISO increases from 200 to 800.
  20. Thanks
    dward reacted to mrPeter in Fuji X-T3 SS (Shutter Shift) Keeps Overriding Manual Shutter Speed Settings   
    I had a similar experience with my X-T4, switching off D-range priority fixed it for me.
    Hope this helps for you too.
    Henk
  21. Like
    dward reacted to JeroenB in Program AE: how??   
    Dave, that worked! I wasn't aware of that trick, thanks a million! 👍
  22. Like
    dward reacted to VictorM in What Fujifilm body to suit my needs?   
    I got X-E3 and 16mm F/1.4 today. 
    I tested on my favorite model.  Even on F/1.4 the lens is sharp enough for portraits, although 16mm is not very portrait-friendly focal length. 
    Im thinking to get 27mm F/2.8 "pancake" for people shots and street/travel shooting. 


  23. Like
    dward got a reaction from Klaus Armitter in What do you use to manage photos?   
    Probably inadequate but I just use my windows file structure. I use the pictures folder and have it synced to OneDrive for cloud storage. Inside the pictures folder, I set up a folders by year and then a level down a folder with whatever description for the folder makes sense (baby shower, Asheville trip, etc). I run them all through C1 so they are cataloged by it also. Like I started with, probably inadequate but it actually works out fine for me.
     
    Dave
  24. Like
    dward got a reaction from mcewena in What do you use to manage photos?   
    Probably inadequate but I just use my windows file structure. I use the pictures folder and have it synced to OneDrive for cloud storage. Inside the pictures folder, I set up a folders by year and then a level down a folder with whatever description for the folder makes sense (baby shower, Asheville trip, etc). I run them all through C1 so they are cataloged by it also. Like I started with, probably inadequate but it actually works out fine for me.
     
    Dave
  25. Like
    dward reacted to Herco in Post-Processing Backlog   
    I think this is very recognizable for a lot of enthusiasts. What I notice in workshops and talking to photographers is that they view every image as important and spend roughly the same amount of time on every image. Let me give some of my thoughts on this. For my professional work I have a different workflow compared to my personal work. 
    Professionally I shoot mostly tethered in the studio. With Hasselblad to Phocus software or with Nikon Z to Capture One (C1) in Sessions. C1 is setup to automatically apply the Style and some other editing tasks like Curve, Camera, Lens and sharpening/noise reduction. During the shoot we'll mark the images as 'keep/delete/don't know'. After the shoot the Art Director will make a final selection. Sometimes out of a 1000 images we only keep 4 or 5 for further processing. The editor or designer will work on those images remote. First the basics in C1, then the details in Photoshop. Each end shot easily takes 30-60 min of work.
    For my personal work I do all the culling, editing and exporting myself. The import/culling process is the most important. Here you define how much work you'll end up with. I notice that amateurs rarely are selective enough. They tend to keep most of the images even though they have multiple shots of the same scene. You don't have to throw them away, just don't import everything. Be very selective. I often import only 5% of the images. Sometimes because they're technically not good enough, but mostly because they're lacking artistic quality. Of course you shoot for your own enjoyment, but while culling your images think: "what would a viewer think of this? Is it worth looking at?". If not, don't import.
    At importing I use the Camera Profile, Lens Correction, Curve and Style that I want, so I don't need to revisit that. Then I'll revisit the images one-by-one and decide which ones I want to further work on. That is again a subset of what is imported. I only work on the images that will be exported for print or publish in my portfolio. The rest will stay there un-edited. When editing start with keystone corrections, cropping and white balance (WB can often be done in batch mode). Then I move to overall exposure, contrast and color and then the work that needs to be done in layers (like dodge and burn, color editing, vignettes and cleaning). Finally I have export recipes in C1 that almost automatically create the files for print or publishing. I rarely do a lot of sharpening and noise reduction. That is taken care of by the defaults in C1. Only the occasional NR for high-ISO images. Most of the work takes me about 30 sec per image unless I go into 'layer-work'. That may take 5-10 mins per image. It saves you a lot of time when you know what you want to do with an image and have a workflow. Moving the sliders back-and-forth takes a lot of time and isn't very useful unless you have a goal in mind. So, take some time to look at an image without adjusting. After editing, step away and if needed revisit a few days later. Just staring and trying usually doesn't make it better. 
    There are excellent resources online to help you develop your own workflow. Scott Detweiler, Scott Davenport, Thomas Fitzgerald, Hudson Henry and Anthony Morganti to name a few. And of course the YT channel of your favorite raw editor.
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