(speaking in French)
- I wanna show you what I think is the best camera
in the world for taking cityscape and landscape.
It's the Fuji GFX 100S.
Now warning I am not being sponsored by Fuji
and I wish I was.
If you're working for Fuji
please contact me to sponsor me.
This I paid out of my money
and I think it's one of the best camera
if not the best camera in the world
for landscape and cityscape.
It's a 100 million pixel camera
and medium format, 102 million to be exact.
It's a medium format camera.
It's got In Body subsidization.
And to put it to the test we're here in Paris
I'm gonna be shooting so many photos
along the Santa river, golden hour, sunset blue hour.
And I'm gonna do everything by hand
because I want to test it in-body standardization.
I'm not taking a tripod.
I'm gonna be on this little thing here.
And we're gonna run through Paris
because we have an amazing night tonight
which is not often.
And we're gonna take a whole bunch of photos
and see how amazing these raw files are.
But I'm also gonna give you some
of this raw files that you can even use for your own home.
You can print them at home.
You can make huge prints.
I mean, it's the best prints in the world.
I will sell these prints
for thousands of dollars in galleries.
And I'm gonna offer three photos for you for free.
If you click the link below,
so you can see for yourself the quality.
I'm gonna show you how I retouch them.
So let's do this.
Follow me in Paris and let's take some amazing photos.
(upbeat music playing)
(camera shutters)
All right.
(speaking in French)
We are back after this incredible ride.
I was so happy.
I'm just getting this new camera and oh my gosh.
What a sunset in Paris.
So I took a lot of photos.
I'm just gonna show you a few
and I'm gonna retouch a few with you
and I wanna show you the quality.
Just before I zoom in, check this out.
This file is 11648 by 8736.
Now, for me, that's a huge deal
because I work with 85 galleries around the world
and there's a brand called yellow corner and check this out.
I mean, look at the quality.
You can almost see the smile
on people's faces like a kilometer away.
It's unbelievable.
I have never seen anything like it.
And the quality of the color science is amazing.
You'll see this in a minute.
So I'm gonna open the shadows.
I'm gonna bring down the highlights and
and there's no noise in the shadow with nothing.
It's incredible.
Then if you follow my YouTube channel
and if you don't please subscribe to my YouTube channel.
I do regular tutorials like this almost every week.
So I'm gonna hold on the option key.
I'm gonna take my black slider
and I'm gonna move it left
until I got about 2, 3% of pure black.
Okay, good.
I'm happy with that 'cause I love pure black in a photo.
Then I'm gonna hold on the option key
and I'm gonna go right.
And I am going to go to the threshold,
what you see here in white is completely blown away.
So I wanna go back to that.
Maybe add a bit of contrast.
And usually at this point,
this is when I start adjusting the white balance.
So on this one, I just want to add a bit
of more magenta because I love the look that it does.
But one thing you should know that is really cool
but Lightroom and cameras in general
that if you go here in the profile section
you can go to camera matching and camera matching is amazing
because they give you a really cool profile.
Now I'm a huge fan of shooting
medium format camera with film.
I have Hasselblad 500 CW
which is a medium format camera.
And I have a Mamiya 7ii
which I shoot a lot of landscape with.
There's a film that I use a lot called Velvia
and believe it or not
they have a Velvia a lot, which is very magenta.
I'm a very magenta that person.
So where is this lot?
You will see it's here.
Look at this, they have like bleach bypass,
which like Saving Private Ryan kind of look.
Where is my lot?
ProVia.
So you've got ProVia and Velveeta.
So look at this ProVia and Velvia.
It's just gonna make the colors really pop.
Now when I use Velvia then I don't use so much magenta
but I just love that little color tint
that it gives for sunset is really cool.
And because Velvia is a film that's very magenta.
This is where this old magenta thing started from.
Is from the film days.
And I just love it.
And so if you're using a raw file, that's not a Fuji file,
you just click here and you go to camera matching.
And in the camera matching section here
you will find the profile
like Sony or Nikon that Cannon built for you.
Fuji are honestly the best.
I'm really in love.
Okay texture.
I'm gonna add a bit of texture.
Gives a photo a little bit of minus clarity.
'Cause I don't like what clarity does on landscape.
I really don't.
I usually take it a bit out to give more natural look.
Now where's my galleries.
I work with a 16.9 format
and so I'm gonna crop this
and I think I wanna do one third
of water and two third of sky.
Well maybe, maybe not.
Maybe we just put it in the middle for once.
I don't like this spot here.
So I'm just gonna go here like that.
Yeah, it's a bit centered, but you know what?
I love it.
I think I'm gonna use some local tools
to make things a bit better.
I'm gonna click here, double click on effect.
So this is a gradient.
On my grain I'm going to add a bit of blue
and a bit of exposure.
I'm gonna lower the exposure here a little bit.
And then it was the same value
I'm gonna do the bottom of the photo here,
and make it straight if possible.
Just to focus people's attention
in the center of the photo.
Maybe you make it a bit brighter.
I've not even touched up the vibrance and saturation.
It's still very vibrant because that light is so vibrant
and it was a very vibrant night.
It was crazy.
I mean, you've seen the behind the scene
then I'm going to use a little brush here,
a little brush and double-click on effect.
And I'm gonna add a bit of exposure.
Now when you use a brush, make sure that your feather
to 100% and you flow into S and DS and the 70%.
I'm gonna relight just a little bit here and here
because I find it's a bit dark and I love this shot.
I really love it.
Backslash key.
This is the before and this is the after.
Incredible show.
I mean, look at the details.
Look at the detail.
It's crazy.
Now, great news.
I'm gonna give you this photo
and two other ones, including the last one
which is from far the nicest to download.
So you can see the quality of the raw files for yourself.
Again, I'm not being sponsored by Fuji.
And if you do work for Fuji, please contact me immediately.
But you can follow along
do the same retouching or your own retouching.
You can even print them out.
If you print them
you will get the best prints that this planet can provide.
102 million pixel.
It's gonna blow people's mind even to come to your home.
This is all free for you.
All I'm asking you is not to resale this.
This is just for training purposes or your personal use.
You can also post it on social media
and follow along with interaction.
Tag me as a photographer.
And if you want to boost your Instagram a little bit
post it as a story and show me your retouching
tag me at add photo surge.
Therefore I can see it on my story
and I will republish it to 122,000 people.
So that's just a little game I'm making for you.
Now, the best one is at the end.
So stay until the end.
Now, usually I always shoot manual
so I shoot manual.
So whatever settings I have now, which is a 100 per second
6.4 ISO 160 was supposed to be ISO 100.
I'm gonna try to keep it as much as possible.
So for the next photo
I'm just gonna press command shift C
and I'm going to make sure everything is checked
except brush.
I don't want to copy brush
but that means everything that we've done so far
I'm gonna copy it, including the crop
because I'm working for my galleries right now
and I want everything to be 16 by 9.
I'm gonna go to the next photo
and I'm gonna press Command V
and wait for it, wait for it.
And it's gonna basically copy
and paste all the retouching that we've done
including the profile.
Now this one is too strong.
It's too blue.
So first of all, I'm gonna hold
on the option key and check out my blacks.
Yeah, my black's a little too strong.
I like to get about 1, 2%.
That was a little too strong.
So I'm going to back it down.
I'm gonna check my white
and I'm going to go until it blows away
which is here and I'm gonna back it down.
So yeah, I'm making it way brighter.
And yeah I think it's even too saturated.
I mean, I even didn't use vibrant and saturation.
I'm going to lower the vibrance a tad, but I love it.
You see how fast it goes when you're working manually
you can just copy and base what you did.
The only thing you cannot do is copy and paste a brush.
I'm gonna take a brush and I'm gonna
relight a little bit here as a (speaking in French)
It's probably one of the best
(speaking in French) photo I ever took.
I got so lucky to get such a great great sunset
for my first shot of the Fuji.
Now real;y quick, this one is the Eiffel Tower.
I wanna show you this photo here first.
Let me reset it.
And I'm gonna copy and paste what we just did here.
I'm gonna take the crop tool
and I'm gonna just going to reset this.
I shouldn't have copied the crop tool for that.
And then I'm gonna check my black point
as usual holding on the option key.
It's too strong.
And then yeah, I'm liking this.
Most of it is done, but check this up.
I shot this by hand (speaking in French)
at 125th of a second.
F 4 because the widest I could use on my lens at 3,200 ISO.
The whole challenge is to not use a tripod.
I hate using tripods.
I like to go fast, especially on such a night
and look at this.
There's hardly any noise, 3200 ISO.
And it's really sharp.
I mean this is a revolution to me.
To get such a quality photos
without a tripod by night by hand, it's crazy.
Last but not least, the main course is here.
An old dream of mine is I've always
wanted to shoot the department store of Le Pantoine.
It's an amazing department store
and I had this incredible light shining
on this art deco facade.
The thing is I was a 24 millimeter
and 24 millimeter is not wide enough.
So I had this idea cause I already shot this
with was a wide angle before
and I didn't like it.
Was to do a panel instead
because it respects a lot more the lines and the distortion.
So what I did is I took 1, 2, 3, 4
and then I went up 1, 2, I went back 3, 4.
So I covered the whole thing.
And I shot this at 1600 ISO F 4 123rd
of a second in-body stabilization by hand, I was so happy.
I'm gonna select all this.
And I'm gonna right-click photo merge, Panorama.
Here we are.
I'm gonna use the cylindrical stitching
because I find that was the best of this photo
and I'm gonna use fill edge.
Not fill edge is gonna filling all the edge.
And then I'm not going to pick merge
'cause it's gonna take forever.
I've already done this for you guys.
Let me reset it, it's here,
and check it out the resulting file is crazy.
It's 26,443 is probably like a 300 million pixel file.
It's crazy.
So I'm gonna crop it 16 by 9.
Well, actually I'm not going to crop it 16 by 9
because it didn't really work for me.
I'm gonna see what my galleries, how we can print this.
but I'm going to basically cut here, cut there.
I wanna get some skies and there, but wait for it.
Wait for it.
Let's see if I were to go 16 by 9.
Well, let's go 4:3.
4:3 sometimes works with my gallery.
Nah 4:3 doesn't work on this one.
Nope.
I'm unfortunately going to have to do some fancy print
on this one because if I go 16 by 9
the problem why I don't like it is because it's too squeeze.
I want the antenna to be in full
and I wanna give a bit of space there.
So that's not gonna work.
I'm gonna have to figure things out
but let me show you how I like it.
I like it this way.
And then I'm going to press command V to copy
all the things we've been doing so far.
All the retouching, it changed my cropping again,
which is fine.
It's actually not so bad in 16 by 9.
Oh, it's actually not so bad to do it that way.
But now we have this issue here.
We have some weird stuff from the, let's see here.
Let's see.
Yeah, let me go back to what I was trying to do.
I want that, let's see here.
Let's see if we can squeeze in 16 by 9
then taking a bit of time this.
Yeah 16 by 9 can actually work
but I'm getting some of that building
which can give like an anchor point and whatnot.
You know what? I don't like it.
That's not how you did it.
I'm just gonna go like that.
Okay, good.
And then I'm just gonna make it brighter.
I'm gonna check my black points.
Good.
My white point I think it can make it brighter.
Yeah.
So when it's come to see light
I don't care to burn like the inside of a lamp.
That's okay.
I wouldn't go that far, but this is okay.
It's actually too much.
And I was like, I love the shot.
I really do.
I really love the shots.
The best I ever got of a La Pantone.
Let me show you the before, after
but I'm like, okay, you know what?
It's time to do some sky replacement
because I wanna make it epic.
So the problem is that it's a huge resolution photo.
It's like like 200 million pixel.
So you need like incredible skies.
Well, I just came out with my Florida sky collection
which is 50 million pixel skies
shot on the medium format wizard, GFX 50R.
And you have the link below
if you want to get a whole collection for $47.
It's probably worth $800.
You can get four $47, 100 skies.
The quality is amazing.
You've got golden hour.
You have blue hour?
Or you have dramatic.
You have sunset.
And I'm gonna show you.
I'm just gonna do a really quick sky replacement
here in Photoshop.
So it took a while to load because it's such a huge file.
So what I'm gonna do
and if you don't have a very fast computer
like I'm on my MacBook pro right now, it's a little hard.
I'm gonna go image shies
and you see it's 20,000 pixel one.
I'm going to make it 9,000
just because I wanted this tutorial to go fast.
But for my galleries, I will redo this
on my Mac pro and I'll do it
at 21,000 pixel because it's gonna be crazy
and that's gonna make it smaller
but it's still 9,000 pixels, which is still like super big.
It's just a little trick.
Okay just really fast
I'm gonna go to edit sky replacement.
And this is one of my Florida sky.
That's the one I'm gonna give you.
so you can see the quantity of it and check this out.
So by default it always uses the last one that you use.
So if you wanna use the sky that you can download
from the link below
and by the way to download the raw files
all you have to do is put in your first name
last make sure we put in the right email,
you gonna create an account
on photo search.com and there is going to be your sky
and the raw files and you for free, you can download
it's gonna get you on my daily newsletter.
I have an amazing daily newsletter
with so many cool discounts
and free tips that you can get and voila.
So basically the way it works is you click here.
and if you wanna add one of your own sky
one of my sky, you see, I have already added three.
I mean, I love how fast Photoshop can see.
I mean, these are like medium format sky
look how fast you can switch them.
And just so you know
the medium format sky works on any cameras.
It's not because they are huge
that they won't work on your photo.
It's just they will give you an incredible quality.
So to add one, you just click here on plus
and wherever you have located the file
you just click on it and it's gonna be there
in Photoshop for ever for you to use and the voila.
And that's all I did.
And then I just quit Photoshop.
I just close and save it of course
and it's gonna bring it back into Lightroom.
So we're back in Lightroom.
I just want to do a little great engineer
on a scotch to make it a little darker here on top.
Just a tad.
Maybe not that much, just a tad
and maybe, I don't know, I feel like I wanna take a brush,
same one, a bit of exposure, like .74
Making sure the flow and density in the 70s.
Very important.
Otherwise people are gonna see
I just want to make this shine a little more
because that's the star
of the photo would look at this facade
this art deco facade shift M L L to make it black.
And that's the final result.
Again, I'm giving you all the raw files,
all eight raw files to create this photo
with the sky that goes with it.
This is one of my best photo I ever took of Paris.
So is a Fuji GFX 100S the best camera in the world?
I swear as far as I'm concerned for landscape and cityscape,
I wanna say, I've not tried all the cameras
but it's from far the best I've ever had.
I am not returning it.
I'm keeping it and I'm loving it.
Well, I hope you enjoyed this tutorial.
See you in the next one.