[Aaron28]

If 99% of what you're seeing was all captured at the time and edited only in camera then I think that carries the spirit and intent of SOOC.

i am one with the spirit and the spirit is one with me

[MrB1]

During a stroll to the local park I came across this scene - the air ambulance departing after attending an incident there.
[Pentax K-70 and DA 18-135; image SOOC after in-camera cropping.]

Philip

[aslyfox]

giraffe statue Topeka Zoo and Conservation Center

SOOC

K 3 II + SMC Pentax-DA 55mm F14 SDM

[Aaron28]

K-50...soligor 35/f2.8 m42

[ChristianRock]

Do share your results. My extent to SOOCs is really a love for Film Reversal on the K-1, I have tried a few muted shots but I don't think I have quite landed on a scenario where it has worked well.

Like you I also love the Reversal Film setting, when it works well it does things I can't even do with PP. But to me the biggest drawback to it is that it doesn't adjust WB to the scene, the only way you can change WB is by going and changing it manually. It doesn't work in Auto-WB, it will have a "daylight" setting in Auto-WB.

So what I meant with my "muted" preset is that I don't really use it for muted, but I found a very realistic yet slide-film-like setting with it that I have been experimenting with. I haven't used it yet on a family outing to see how everything turns out but all my tests so far have been very positive! It tames the greens and reds and basically gets rid of any excess yellow, and allowing the slide-film like contrast some of us love(*) - while still using auto-WB fully.

(*others hate because it reduces shadow detail but hey, to me if it's in the shadows, it's shadows, who cares what's hidden there... it's a distraction to me if there's too much detail in shadows, usually)

Anyway, here's my "muted"-based setting:



For a comparison, here's what I captured with other JPEG settings:

Reversal Film


Bright:


Vibrant:


Portrait:


Now Portrait and Bright have my changes to look more K10D-like and I think they look closest to reality - but not nearly what my "muted"-based setting does. My red guitar is actually orange-burst - the center needs to look more orange, exactly like the first picture - not yellowish, not brownish (and I put "mute" in quotes because now it's no longer muted at all!). Everything else is just too yellow.

Here's what this "muted" setting was changed to:
Saturation: +1 (In lower ISO I use +2)
Toning: Off
High/Low Key: 0
Contrast: +4
Sharpening: here I used -2 but I usually use +1 Fine Sharpening.

Try these settings and let me know what you think of them

[ChristianRock]

Outdoors with saturation +2...

[BruceBanner]

Like you I also love the Reversal Film setting, when it works well it does things I can't even do with PP. But to me the biggest drawback to it is that it doesn't adjust WB to the scene, the only way you can change WB is by going and changing it manually. It doesn't work in Auto-WB, it will have a "daylight" setting in Auto-WB.

So what I meant with my "muted" preset is that I don't really use it for muted, but I found a very realistic yet slide-film-like setting with it that I have been experimenting with. I haven't used it yet on a family outing to see how everything turns out but all my tests so far have been very positive! It tames the greens and reds and basically gets rid of any excess yellow, and allowing the slide-film like contrast some of us love(*) - while still using auto-WB fully.

(*others hate because it reduces shadow detail but hey, to me if it's in the shadows, it's shadows, who cares what's hidden there... it's a distraction to me if there's too much detail in shadows, usually)

Anyway, here's my "muted"-based setting:



For a comparison, here's what I captured with other JPEG settings:

Reversal Film


Bright:


Vibrant:


Portrait:


Now Portrait and Bright have my changes to look more K10D-like and I think they look closest to reality - but not nearly what my "muted"-based setting does. My red guitar is actually orange-burst - the center needs to look more orange, exactly like the first picture - not yellowish, not brownish (and I put "mute" in quotes because now it's no longer muted at all!). Everything else is just too yellow.

Here's what this "muted" setting was changed to:
Saturation: +1 (In lower ISO I use +2)
Toning: Off
High/Low Key: 0
Contrast: +4
Sharpening: here I used -2 but I usually use +1 Fine Sharpening.

Try these settings and let me know what you think of them

That's excellent result, no.. I really mean it! I use a lot of film simulation packages/presets for my work flow so to get what you've managed from in camera is great, all you need now is to shoot ISO 400 or 800 always for grain ahahaha

I didn't know about Film Reversal being locked to Daylight WB, that's interesting. It could be that my messing about with it has never revealed this fact to me because I live in sunny Australia where 5000k (daylight) is often the correct WB anyway and what AWB would push me towards. I realised something interesting was up with it however because you cannot edit it further like the other presets...

And about the shadows... couldn't agree more. Let me share one of my favourite youtube videos I have ever seen;

Youtu.be

Youtu.be

I shall indeed tinker and try some of your settings, watch this space.

Currently I am not brave enough to shoot Jpg exclusively, I still shoot RAW 90% of the time, toggling over to Jpg only sometimes when really needed (higher buffers etc). But as you know you can shoot RAW and tinker with the Jpg stuff and it keeps the Jpg Preview of what settings used, so if it looks good enough on the back of the camera screen then I sometimes just extract that Jpg out of the RAW file through the Raw Development in camera and use/edit that shot further.

As I get more competent I feel like shooting Jpgs all the time (or 90%) is something worth aiming towards, you hold an entirely different camera in terms of fps, buffer restrictions and all that if you can make do with Jpg. It's just I do paid work and feel really nervy about shooting weddings or christenings in Jpg, everything must be right such as WB etc, so yeah... this info about Film Reversal is really important, thanks for bringing it up.

[ChristianRock]

That's excellent result, no.. I really mean it! I use a lot of film simulation packages/presets for my work flow so to get what you've managed from in camera is great, all you need now is to shoot ISO 400 or 800 always for grain ahahaha

Thank you
Interestingly enough, I used this last weekend on my son's soccer game and the results were interesting, more diffferent than I would have thought. It definitely gave it a "tone splitting" kind of look but I like it.
I think I might have tweaked the settings a bit too much here, I can't remember exactly where I had them... but here I have my M 200 f4 wide open by mistake, but I like the end result:

I didn't know about Film Reversal being locked to Daylight WB, that's interesting. It could be that my messing about with it has never revealed this fact to me because I live in sunny Australia where 5000k (daylight) is often the correct WB anyway and what AWB would push me towards. I realised something interesting was up with it however because you cannot edit it further like the other presets...

This holds true to my K-50 and K-S1 (and the K-r before that). Try to take a picture indoors with artificial warm light using the Reversal Film... everything looks yellow! Now manually set your WB to the artificial light in the room and everything is ok again.
Maybe they changed that in the K-1? I'm interested in knowing.

And about the shadows... couldn't agree more. Let me share one of my favourite youtube videos I have ever seen;

CHIAROSCURO ? The Dynamic Range Mistake - YouTube

I loved that video and it makes a lot of sense. I don't need to think I'm different for liking my shadows dark anymore And there's even a name for this... Chiaroscuro

I shall indeed tinker and try some of your settings, watch this space.

Looking forward to seeing your results

Currently I am not brave enough to shoot Jpg exclusively, I still shoot RAW 90% of the time, toggling over to Jpg only sometimes when really needed (higher buffers etc). But as you know you can shoot RAW and tinker with the Jpg stuff and it keeps the Jpg Preview of what settings used, so if it looks good enough on the back of the camera screen then I sometimes just extract that Jpg out of the RAW file through the Raw Development in camera and use/edit that shot further.

As I get more competent I feel like shooting Jpgs all the time (or 90%) is something worth aiming towards, you hold an entirely different camera in terms of fps, buffer restrictions and all that if you can make do with Jpg. It's just I do paid work and feel really nervy about shooting weddings or christenings in Jpg, everything must be right such as WB etc, so yeah... this info about Film Reversal is really important, thanks for bringing it up.

If I were doing a paid shot I would use RAW+, no question about it.
Recently I did a kids birthday as a favor to a friend (his photographer cancelled on him at the last minute) and I'm glad I shot RAW+ because on some pictures, the best results were from the JPEGs. In fact, the JPEGS were really good 95% of the time.
But there's still that 5% when you really need RAW...

But for the most part, since a lot of what I do is just for fun or when out with the family, I shoot JPEG a lot. If I'm having a "photo walk" by myself I shoot just RAW with my K10D. But if I'm with family I use my CMOS cameras and just shoot JPEG most of the time, and if I think I need the dynamic range it's easy enough to save a RAW for that picture

[aslyfox]

the Big Boy

UP's 4014 in Topeka Kansas today

Big Boy No. 4014 was delivered to Union Pacific in December 1941. The locomotive was retired in December 1961, having traveled 1,031,205 miles in its 20 years in service. Union Pacific reacquired No. 4014 from the RailGiants Museum in Pomona, California, in 2013, and relocated it back to Cheyenne to begin a multi-year restoration process. It returned to service in May 2019 to celebrate the 150th Anniversary of the Transcontinental Railroad's Completion.

- UP: UP No. 4014 - The Big Boy

SOOC

[Aaron28]

K-3ii.....40/f2.8XS.....believe I have migrated from 'natural' to 'bright'.....the film reversal thing sounds and looks neat....hadn't really played with that stuff much....color extract is something I use on occasion

[BruceBanner]

Thank you
Interestingly enough, I used this last weekend on my son's soccer game and the results were interesting, more diffferent than I would have thought. It definitely gave it a "tone splitting" kind of look but I like it.
I think I might have tweaked the settings a bit too much here, I can't remember exactly where I had them... but here I have my M 200 f4 wide open by mistake, but I like the end result:




This holds true to my K-50 and K-S1 (and the K-r before that). Try to take a picture indoors with artificial warm light using the Reversal Film... everything looks yellow! Now manually set your WB to the artificial light in the room and everything is ok again.
Maybe they changed that in the K-1? I'm interested in knowing.



I loved that video and it makes a lot of sense. I don't need to think I'm different for liking my shadows dark anymore And there's even a name for this... Chiaroscuro



Looking forward to seeing your results



If I were doing a paid shot I would use RAW+, no question about it.
Recently I did a kids birthday as a favor to a friend (his photographer cancelled on him at the last minute) and I'm glad I shot RAW+ because on some pictures, the best results were from the JPEGs. In fact, the JPEGS were really good 95% of the time.
But there's still that 5% when you really need RAW...

But for the most part, since a lot of what I do is just for fun or when out with the family, I shoot JPEG a lot. If I'm having a "photo walk" by myself I shoot just RAW with my K10D. But if I'm with family I use my CMOS cameras and just shoot JPEG most of the time, and if I think I need the dynamic range it's easy enough to save a RAW for that picture

I just uploaded a video that showed that WB changed in Film Reversal mode, however I realise I am a doofus and didn't read your post properly. However... I do have a solution. One of the things that threw me off about all this is actually the fact that I don't use AWB that much at all, I far prefer to use Multi Auto White Balance, and in this mode it actually does make Film Reversal behave and adjust accordingly. I can for instance stand under a tungsten light, have Film Reversal on, have Live View up so I can see the WB that AWB gives, quickly toggle across to Daylight and can verify that you are indeed quite correct in that it doesn't change at all, AWB is behaving like Daylight in this mode. However, panning from AWB to Multi Auto WB and it changes and is no longer Daylight, so that would be your workaround.

I shoot a lot of events under mixed lighting and find Multi Auto WB to being superior. The way I had it explained to me is that divides the frame into segments, (9 sections as shown) and does a AWB for each segment independent of the other, or something, and what this leads to is an overall better colour accuracy for mixed lighting scenes. I am not sure if it works for RAW, or is a Jpg only thing, I quite often mess with WB for a lot of my images in PP anyway, but for those Jpgers out there this could be very handy info. But really... WB is a critical part of photography, especially Jpg shooters and should be something on the forefront of shooting sessions, relying on Auto is not just lazy but also going to leave for some disappointments (such as Autumn shots where AWB just falls flat every time). So even if Film Reversal in AWB is giving Daylight and forcing you to think about changing the WB I don't think that's totally a terrible thing hehe. For the user modes I have where I do shoot Jpg I make sure I am never in AWB for those shots, before the session or scene I test shot a few off and pick a WB from the preset pack that looks best and gives better skin tones. You can also get lens caps that have a transparent grey front that are useful to get a semi accurate WB as well, handy at times.

Well here is a SOOC, Film Reversal with Multi AWB, gives it cooler tones than what it would have given if I had selected AWB;

[Aaron28]

K-3ii.....40XS

[ChristianRock]

I just uploaded a video that showed that WB changed in Film Reversal mode, however I realise I am a doofus and didn't read your post properly. However... I do have a solution. One of the things that threw me off about all this is actually the fact that I don't use AWB that much at all, I far prefer to use Multi Auto White Balance, and in this mode it actually does make Film Reversal behave and adjust accordingly.

They must have introduced that with the K-1/K-70 because my K-S1 has Multi AWB but doesn't change the WB when using the Reversal Film.

But it's good to know newer models have that, because eventually I will upgrade

[Aaron28]

accura supertel 200/f3.8 t-mount preset....K-50

[ggascay]

How do I show an image I posted for the Nov contest here? It doesn't let me upload it again...