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Switching from Fuji to Sony is a movement from 1990's film look to the more accurate and neutral color space found in motion picture production.


pm-r

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Fuji's colors are informed by their past making films that were not true to life. Their Velvia film is the best example of this but their good old RDP film, that I shot thousands of roles of also exhibited pumped up and oversaturated colors. In the past, when I shot big assignments for tile companies or when I shot furniture, I always had to buy Kodak films that were more neutral and true to color.

On the other hand, Sony's color space is informed by their obvious interest and history in motion picture production where multiple cameras are always employed. When you have four cameras rolling on even a simple scene, the priority is making each camera neutral so that they can all be edited together without seeming to be shot with different cameras and lenses. Sony's color space is therefore more calmed down and neutral. When photographers switch from Fuji to Sony they are accustomed to oversaturated color in their images and many struggle with toning their images in post, trying to make them more like they were used to in Fuji.  Switching from the most pumped up color with Fuji and going to the neutral color of Sony is drastic and requires spending time playing with the saturation and vivid sliders in their preferred editing application.

The question these new Sony shooters might ask is, "should you?" Color is always tricky as it is up to each of us as photographer's to decide what is right for us and more importantly, what is best for our clients.  "Color science" is a complicated issue, and especially so coming from Fuji into Sony.  In switching to Sony from Fuji photographers have doubled their sensor size, increased low light sensitivity, and are now shooting with lenses made for the sensors and your color is now more true to life. 

People coming from Nikon and Canon also experience some of this issue as well but not like coming from Fuji.

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