(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 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. 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.
