{"id":293022,"date":"2026-02-20T07:00:09","date_gmt":"2026-02-20T07:00:09","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/293022\/"},"modified":"2026-02-20T07:00:09","modified_gmt":"2026-02-20T07:00:09","slug":"he-mastered-editing-then-fujifilm-almost-made-him-stop","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/293022\/","title":{"rendered":"He Mastered Editing \u2014 Then Fujifilm Almost Made Him Stop"},"content":{"rendered":"

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Nicola Dongo is an Italian photographer who is also well skilled in the art of editing (Adobe & Capture One): an art refined also through dedicated courses which earned him official certifications.<\/p>\n

Well, he now published a video in which he explains why he stopped editing many of his pictures.<\/p>\n

The video is in Italian and I\u2019ll give you the translated version of the relevant parts below.<\/p>\n

for his personal and private projects, he did not want to sit on the computer and edit pictures anymore
\nit happened that those pictures ended up at the end of the \u201cto-do\u201d list in his library, forgotten for many months
\nthe problem was not taking pictures, but the idea of sitting there and edit them
\nhe solved this problem by using Fujifilm and Film Simulation Recipes
\nhe keeps shooting JPEG-RAW
\nin the overwhelming majority of cases the JEPG\u2019s are enough
\nthis way of shooting forced him to take put more thoughts in his images: pay a bit more attention at the light, at the moment and try to get the image right in camera
\nthis is something we should always do, but then with all the power you have in postprocessing, we often just try to \u201cfix it in post\u201d
\nhe then explains difference between film simulation and film simulation recipe and how to save them on your camera
\nhe shared his favorite black&white recipe, created by Anders Lindborg and you can find it also at fuji-x-weekly<\/a> (see settings here<\/a> \u2013 sample 1<\/a> \u2013 sample 2<\/a> \u2013 sample 3<\/a>)
\nhe still shoots RAW too
\nbut for when he does his private projects and documenting family, when he only wants to focus on taking pictures, he goes with film simulations<\/p>\n

I can totally relate to this.<\/p>\n

Thanks to Fujifilm\u2019s film simulations and custom recipes, I\u2019ve dramatically reduced my need for editing.<\/p>\n

And it\u2019s kind of liberating to be out with my family in a new city, like last year in spring in Paris \u2013 you can see some images in this video<\/a> \u2013 or right now in Hanoi \u2013 you can see me here<\/a> \u2013 and I just know that pressing the shutter won\u2019t necessarily mean more work later on the computer.<\/p>\n

I know I can trust Fujifilm colors. Gosh, even the most die-hard Sony shooter struggles to comprehend<\/a> how it\u2019s possible to achieve such beautiful tones straight out of camera. \ud83d\ude09<\/p>\n

And if I really want to get it even more right in camera, I can use also other tools, like the DR200\/400 feature \u2013 described in this video<\/a> \u2013 which I have assigned to an FN button for ultra-fast access.<\/p>\n

Finally, for a quick adjustment or enhancement, there\u2019s also the internal RAW converter \u2014 which you can see me using here<\/a>. There are always those little moments when I have time to review the images I\u2019ve just taken. If I want to crop a frame, try a different film simulation, or add a bit of clarity, I can do it right there in-camera.<\/p>\n

And that\u2019s the beauty of it: I come home with nothing left to edit \u2014 just ready to upload the images and enjoy them together with my wife and kids.<\/p>\n

Yes, I still shoot \u2014 and will always shoot \u2014 RAW+JPEG. There\u2019s always that one image I might want to print large, and in those cases I prefer applying the film simulation in post, dialing in the recipe with X RAW Studio, and carefully editing it to squeeze every last bit of quality out of the file.<\/p>\n

But for the most part, my images are now taken in the camera, processed in the camera, and that\u2019s it.<\/p>\n

Less time behind a screen.
More time behind the viewfinder.
More time in the moment.<\/p>\n

And I truly love this freedom.<\/p>\n

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