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Capture One 21 (14.1.0) released, includes Style Brushes, improved importing and more

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Capture One 21 (14.1.0) released, includes Style Brushes, improved importing and more

Capture One 21 was released this past December and its first major update is now available. Capture One 21 (14.1.0) is a feature release that contains new functionality, new camera and lens support and bug fixes.

New features added to Capture One 21 include new Style Brushes, an improved Import Viewer, additional ProStandard profiles and improvements to Live-View when shooting tethered with supported Leica cameras.

Style Brushes are a new way to work with brushes and layers. Style Brushes are designed to be more accessible and make powerful editing tools instantly available to users. Essentially, the new tool is a streamlined, easy way to make local adjustments to your images.

There are many Style Brushes (seen in the list to the left in this screenshot) in the new version of Capture One 21. You can use Style Brushes to quickly and easily make localized adjustments to your photos. You can also create your own Style Brushes and share them with other photographers.

In Capture One 21 (14.1.0), there are numerous style brushes included to adjust color, light and contrast, and make enhancements. For example, there are built-in Style Brushes for enhancing a subject’s iris in a portrait and for whitening teeth. There are Style Brushes for adjusting brightness, contrast, highlights, shadows and haze. There are also brushes for adding cooling or warmth and tweaking color saturation. You can also create your own custom Style Brushes, and users can share them with other photographers.

The Import Viewer is faster and more useful in Capture One 21 (14.1.0). In the prior version of Capture One, there isn’t a great way to evaluate the images you’re considering importing into your Capture One catalog when importing images. You can’t view an image at large enough magnification to evaluate something like focus. There is a small button at the top of the Import Viewer in the new version, which looks like a large rectangle with three smaller rectangles to its right. When you click this button, you enable a new way to view importable images. This allows you to view a selected image larger, with additional images now relegated to a scrolling area to the right. Further, you can decide which images for import using keyboard shortcuts (S to pick an image, A to unpick an image, spacebar to toggle pick/unpick). You can also deselect all images, as select all is the default setting.

With Capture One 21, ProStandard profiles were introduced. This is a new type of camera profile that renders colors more naturally. Primarily, ProStandard profiles, when compared to older profiles, retain more consistent color tones across levels of saturation and brightness. In Capture One 21 (14.1.0), many new models now include ProStandard profiles, including popular DSLR and mirrorless cameras from Canon, Nikon Olympus and Sony (including the brand-new Alpha 1). For the full list of newly-supported camera models, click here. Among the lengthy list of newly supported cameras, there are some popular older cameras included, such as the Canon 5DS, 6D II, EOS-R, Nikon D5, D800(E), and Sony A7 II, which is great news, as the ProStandard profiles represent a significant improvement in rendering.

New camera support has been added to Capture One 21, including support for Sony’s new flagship full-frame mirrorless camera, the Alpha 1.

There are also some new cameras supported in general inside Capture One 21 (14.1.0). In addition to the Sony A1, support has been added for the Fujifilm GFX 100S, Fujifilm X-E4, Canon SX70 HS, Panasonic GX800, GX850, GX880, GF10, GF90 and GF9.

While not necessarily highlight-worthy new features, Capture One has added some nice improvements with the latest update to various functions and features. The maximum zoom level in the Viewer is increased from 400% to 1600%, which should work well for users on high-resolution monitors. The Keystone Tool has an upgraded user interface. It’s easier to link Brush Settings in the latest version, and you can link Brush with Layer and Eraser with Brush.

In addition to the new Import Viewer, seen here, Capture One 21 (14.1.0) adds numerous other improvements.

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Fujifilm X100VI added to studio scene

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Fujifilm X100VI added to studio scene


As part of the work on our review of the Fujifilm X100VI, we’ve shot and processed our standard studio test images with the camera.

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Given the camera is based on a sensor we’ve seen before, there are few surprizes in terms of its performance. It produces more detail than the 26MP sensor in the X100V. Inevitably it shows more noise at the pixel level than lower-res sensors, but is comparable when viewed at the same output size, up until the very highest ISO settings.

Lens performance

The studio scene is not intended as a lens test: we typically use very high-performance lenses at an aperture that delivers high levels of cross-frame consistency with little risk of diffraction limiting the performance. However, with the X100VI, we have no choice but to use the built-in lens.

The 35mm equiv field of view means we have to move much closer to the target but this is still at over 40x focal length, so not especially close-up. An aperture value of F5.6 means we’re not being especially challenging.

And the X100VI’s lens appears to acquit itself well in these circumstances. In the JPEGs it’s comparably detailed near the center as the X-H2’s results, using our standard 56mm F1.2 R testing lens (though the X100VI is possibly having to apply more sharpening to deliver this result). Things get a little softer towards the corners and exhibit (easily corrected) lateral chromatic aberration and some vignetting in the Raw conversion, but overall the lens appears to be doing a good job in front of a high-resolution sensor.

As with all the other 40MP X-Trans cameras, the Adobe Camera Raw conversion isn’t showing the same levels of contrast or sharpening that the camera’s own JPEGs do, so it’s worth downloading the Raw files to see whether your preferred software and processing workflow produce results you’re happier with. But overall, we feel it does well.



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iOS app mood.camera aims to recreate the experience of shooting film

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iOS app mood.camera aims to recreate the experience of shooting film


Image: mood.camera

A new camera app that wants to offer a film-like experience is now available. The mood.camera app (iOS only) targets fans of analog photography and consists of 14 film-like filters. I was given early access to the app to test it out and see if it offers anything different from similar apps on the market.

There’s been a resurgence in analog photography recently. Though many desire the look of film, they don’t necessarily enjoy the process (and time) of using analog cameras. mood.camera aims to bridge the gap between film and digital by offering filters that emulate film stocks such as Kodak Portra, CineStill and Chrome.

Inside the app, users can imitate a change in ISO (ranging from 100 to 3200) and will notice less detail and more grain the higher you go. There’s also a digital tonal range dial that impacts the amount of contrast and saturation in an image.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

This isn’t the first app trying to emulate the look of film photography. Other apps, such as 1998 Vintage Camera and VSCO, offer filters that provide a classic look, as does Hipstamatic, one of the first smartphone apps within this niche.

What sets mood.camera apart is how it provides an analog-esque process to image making. Whereas other apps provide a live preview of filters and simulations, mood.camera doesn’t.

The app’s developer said the intention was to “mirror the classic film camera experience.” To see how the images turn out, you must view the photos in Apple’s Photos app.

Image: Dan Ginn (made with mood.camera). Filter: Portra

Some obvious features are missing in the app. There’s no portrait mode, which the developer says is because “Apple does not let you capture ProRaw and depth data.” There’s no night mode either, which the developer claims is possible to add but isn’t interested in doing so at this time.

Image: Dan Ginn (made with mood.camera). Filter: Chrome

Having used the app for a week, it did bring a new sense of enjoyment to mobile photography. I liked not having a live preview of my images. Its absence allowed me to worry less about the outcome and focus more on the process of creating photographs.

There was a distinct difference in each of the filters, and while they’ll never be 100 percent like stock film, they’re close. Unlike some apps I have tried before, I found it easy to navigate through the different filters in mood.camera, and the app itself was quick and responsive.

Image: Dan Ginn (made with mood.camera). Filter: Cine

If you want to adapt your smartphone photography workflow and like the classic look, then mood.camera is worth trying. There’s a seven-day free trial available before committing to a paid subscription.

mood. camera is now available on the App Store and costs $1.99 per month or $14.99 as a one-time purchase. A free trial is available to evaluate the app.



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Tamron developing 11-20mm F2.8 Di III-A RXD for Canon RF mount

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Tamron developing 11-20mm F2.8 Di III-A RXD for Canon RF mount


Image: Tamron

Tamron has announced it’s developing a version of its 11-20mm F2.8 Di III-A RXD fast wide-angle zoom lens for Canon RF-mount APS-C cameras.

The 11-20mm F2.8, which is already available for Sony E-mount, will offer an 18-32mm equivalent range on Canon’s 1.6x crop cameras.

The lens, released under license from Canon, was announced simultaneously with SIgma’s announcement that it will offer six of its DC DN range of APS-C lenses for the same mount. Notably all seven lenses are for the smaller format RF-mount models.

The company says the 11-20mm will be available before the end of 2024. No details of pricing has been given.

TAMRON announces development of first CANON RF mount lens

April 23, 2024, 12AM ET / April 22, 2024, 9PM PT, Commack, NY – Tamron Co., Ltd. (President & CEO: Shogo Sakuraba; Headquarters: Saitama City, Japan; “TAMRON”), a leading manufacturer of optics for diverse applications, announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A[1] RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. The lens is expected to launch within 2024.

TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount under a license agreement.

The 11-20mm F2.8 is a fast-aperture zoom lens covering a focal length range from ultra wide-angle 11mm to 20mm[2], with a maximum aperture of F2.8 across its full range of focal lengths. With a surprisingly compact and lightweight design for a fast, ultra wide-angle zoom lens, the lens feels well balanced when attached to a compact APS-C mirrorless camera body, making it ideal for regular use. Despite its small, lightweight design, it also delivers high-level imaging power with an uncompromising optical design. Wide macro shooting is possible at 11mm with an MOD (Minimum Object Distance) of 0.15m (5.9”) and maximum magnification ratio of 1:4, and its stunning close-range shooting performance enables creative use of perspective at the wide end. The lens also incorporates an AF drive system with an RXD (Rapid-eXtra-silent stepping Drive) stepping motor unit that is remarkably quiet. The lens accurately captures not only still images but also video. It is also highly practical, with Moisture-Resistant Construction, Fluorine Coating, and other features designed for outdoor shooting, enabling users to easily enjoy the high image quality of this ultra wide-angle large-aperture F2.8 lens under a range of conditions.

Product Features

  1. Fast-aperture ultra wide-angle zoom lens
  2. Compact and light weight
  3. Outstanding optical performance
  4. MOD of 0.15m (5.9”) and maximum magnification ratio of 1:4
  5. High performance autofocus RXD stepping motor for both still and video use

[1] Di III-A: For APS-C format mirrorless interchangeable-lens cameras

[2] The full-frame equivalent of 17.6-32mm.



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