April 6, 2013 — Sonoma coast. November 21, 2019 — Silicon Valley
What struck me about this scene was the texture of the water below the creamy sky. It still strikes me.
What struck me about the Sony RX100 was the notion of getting exhibition-sized prints out of a pocket camera. That notion stopped striking me years ago. The sticker on the front of the camera quietly proclaims Zeiss Optics. Zeiss. That means quality. Not so much — at least not in this case. The lens exhibited glaring chromatic aberration toward the edges. It’s as if its advertising tagline was, “You can have anything you want as long as it’s magenta.”*
What I got with this shot was a file with beautiful subtle tones in the center and an ever-increasing magenta cast toward the edges. Not what I had in mind.
I’ve tried post-processing this image half a dozen times over the years with no success. The magenta refused to die without ruining the subtlety of the rest of the scene.
I just tried again with the newly released DxO PhotoLab 3.0. Success. Here’s the thing: Although it doesn’t look like it, this is a color picture. The color is subliminal, but it’s there. I could have finished this years ago if I’d wanted pure monochrome — just kill all the color — but I didn’t want monochrome. So no win. Until today.
At long last, here it is.
And now you know the rest of the story.
(Sony RX100. RAW processing in DxO PhotoLab 3.0; Editing in Adobe Photoshop.)
* The newer versions are reportedly much better. But I’ve long since switched to Canon for my pocket camera.