![]() I received a number of comments on my YouTube video reviews of DxO PureRAW that referenced Topaz Denoise AI and/or Topaz Sharpen AI. If you have some time and want to really get into how I evaluated DxO PureRAW for my own varied style of nature photography, grab a drink and settle in! As with this blog post, the video considers the potential for DxO PureRAW to provide better RAW images for a variety of nature photography scenarios. Check it out below to get into some serious detail and to learn a few processing tips and tricks along the way. I produced a big video review for my YouTube channel. That sounded good to me so I downloaded a copy to try it out. So, when I became aware of DxO’s new PureRAW software, I was interested to see what the new software might have to offer.ĭxO PureRAW promises to give us the best version of our RAW files through pre-processing so that we can then get back to our regular workflow to produce awesome images. But I imagine that there are a lot of us out there who are generally happy with Lightroom and Photoshop and, even more importantly, don’t want to make the huge time investment needed to completely overhaul our workflow. If you’ve done so and are happy moving away from Adobe that’s great. I can understand that desire, but I have no interest in switching over to a completely different catalog and workflow system. For this reason, some photographers have been looking at full-scale Lightroom replacements such as Capture One, DxO PhotoLab, On1, and others. Among them is Lightroom’s difficulty in extracting the best colors, noise profiles, and sharpness from our RAW files. Correct me if I'm wrong.Though I’m a longtime Lightroom user (I even produced the popular e-book and video series Lightroom for the Nature Photographer with my good friend Keith Bauer), it’s common knowledge that Lightroom has some limitations. And that's a huge difference in editing philosophy and how to use raw. White balance, colours and even details in a raw converter (reasons why to shoot in raw and benefit of its capabilities at all),įor Serif it is just a step or even the half way to the final image (regarding exposure). While most of the users expect to do the main work regarding exposure (incl. I've realized that after watching the latest video tutorials recovering the hightlights e.g. I guess that's one of the big misunderstanding using a raw converter between most of the users and Serif. I've found that changing your mindset enables you to get the most out of Photo's RAW editing - I use it to get a flat result with no clipping, perhaps add some light noise reduction, then build the tones back up in the Photo persona where you have the entire toolset (and to be honest, that's where Photo's strengths lie). attached the flat version straight from Develop and then the edited version (a couple of adjustments, local contrast enhancement, etc). A way longer, but particulary for large prints, I think that the results are infinitly better.Īnyway, this is not the software that makes the picture. Now I use Iridient for the basic RAW conversion before Affinity Photo. I have used Lightroom since the fourth version, and Camera Raw wich is the same engine, and of course the results are quickly appealing and easy to carry out (Adobe are good products, obviously. The problem with that brand is elsewhere.). It doesn't go as far as lightroom to correct a bad exposed picture (maybe, though.), but it will preserve the overall quality of the picture. This software focuses on high quality results, in term of definition for instance. One of the best RAW developer I know, is certainly Iridient Developer. Lightroom do the job for you, Luminar tries to do so, in Affinity, you will have to work a little more.īut, going too far to retrieve a bad eposed picture will lead to poor image quality. In lightroom, I think that the highlights and shadows sliders work probably on more than just the shadows and highlights adjustments, but on local exposure and contrast as well. Like It has already been said before, you just cannot bring to life something that doesn't exist.
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