Then there’s the new Working Color Space, DxO Wide Gamut, that now supplements Classic (Legacy) and will no doubt soon overtake it. This is just a quick first look at our most essential, most relied-upon software, DxO PhotoLab and DxO ViewPoint, and there are a few other new features that are promising if not exciting such as enhanced project support and the Repair tool morphing into ReTouch. Key modules like Exposure Compensation and Smart Lighting are still not fully functional for Fujifilm X-Trans raw files compared to Bayer raw files.Īnd, oddly, Split Toning doesn’t activate for Fujifilm X-Trans raw files right now so I had to rely on dialled-down Gold toning to communicate the cold and grey La Niña weather that’s plunged us back into winter. Most noticeably, DeepPRIME XD demosaicing and denoising is not activated when processing X-Trans files though it works beautifully even on lower megapixels raw files older Panasonic cameras like the GH4. There are currently more missing bits in its support for Fujifilm X-Trans raw files than for, for example, Bayer raw files from our Panasonic M43 cameras. In common with past DxO software updates, this first version of DxO PhotoLab 6 has some missing bits that will be worked on over the coming weeks. DxO PhotoLab 6 Elite, DxO FilmPack 6 Elite & DxO ViewPoint 4

One is about a person against a background while the other is about a person located in an environment.

One is equivalent to 84mm in the 35mm sensor format while the other is equivalent to 75mm, almost 10mm difference and enough to give them a very different character to each other. The Fujinon XF 50mm f/2.0 R WR renders out of focus areas as soft but they still contain enough information to support the main object of the photograph or as counterfoils.Īlthough the lenses’ focal lengths seem similar with just 6mm between them, their 35mm equivalents better indicate their key difference. Made with Fujifilm X-Pro2 and Fujinon XF 50mm f/2.0 R WR then Fujifilm X-Trans raw file processed in DxO PhotoLab 6 Elite, DxO FilmPack 6 Elite and DxO ViewPoint 4.īoth lenses were set at their maximum apertures and as expected the Fujinon 56mm f/1.2 R’s out of focus rendering was soft and an extreme contrast against its sharply focused areas.Īs a documentary lens it’s best suited for isolating details against a background containing little no useful information. Photograph © copyright Karin Gottschalk 2022.

Dx0 photolab 4