We were previously concerned about a lack of updates to the photo editor. The interface is clean and elegant, although perhaps a little too colorful, and the use of popup windows to access some parameters is distracting, but overall, if you’re used to such software, you’ll feel right at home in Affinity Photo. With so many tools we can’t possibly list them all, so we won’t even try - but it’s worth taking advantage of the 10-day free trial to discover them and test them out for yourself. It’s packed full of features that would rival its biggest competitors like Photoshop and is clearly designed for the prosumer or professional in mind. Serif Affinity Photo offers one of the best photo editor and compositor experiences, and it works great on a Mac or PC. It’s expensive but very, very good.Ī monthly subscription works out under $30 / £25 / AU$45. It doesn’t have Adobe’s mobile apps and online synchronization options either, but it does offer professional-grade ‘tethering’ tools for studio photographers capturing images via a computer. It’s compatible with over 450 camera models, but tethered capture only supports Canon, Sony, Nikon, and Phase One cameras.Ĭapture One Pro also has a better system for applying local adjustments, using adjustment layers and masks. Its raw conversions are sharper and less noisy than Adobe’s, but it doesn’t support such a wide range of camera raw formats or as large a number of lens correction profiles. Provided you’re happy to subscribe, Photoshop remains the best in the business for digital image editing.Ī Photoshop subscription costs around $30 / £25 / AU$45 per month.Ĭapture One Pro covers almost exactly the same territory as Adobe Lightroom Classic, offering cataloging tools, seamless raw processing, manual image enhancement tools alongside preset effects, and a non-destructive workflow that means you can revisit your adjustments at any time. Other more minor updates, such as new downloadable tutorial assets, show that Adobe is trying hard to justify the continued subscription cost. It’s so effective that it really needs to be seen to be believed. Sky Replacement is a more resounding success, detecting the horizon with impressive accuracy and masking out overcast skies. Impressive but faintly terrifying, features such as Skin Smoothing can be effective if deployed delicately. Its layering, masking, and retouching tools still set the standard by which others are judged, while the power of its layer-based editing system can handle the most complex of creative projects.įreshly updated, the latest Photoshop variant adds AI into the mix, with automated ‘neural filters’ which make otherwise laborious edits into one-click adjustments. Even after switching to a subscription model, the renowned software remains the go-to solution for artists, illustrators, designers, and photographers. I’m not sure I ever “loved” the Cosina or the *ist DS, but all the others were fantastic.Adobe Photoshop has long been a byword for image editing. My camera journey started with a (Pentax-compatible) Cosina CS-1 SLR, then onto a Pentax MZ-50, followed by the digitals - *ist DS, K10D, K5, KP. Notwithstanding some keyword-related malarkey I do, once I’m in PhotoLab, I don’t go back to Lightroom. I then keyword in Lightroom (which auto-saves to the files) and finally I go into PhotoLab and just point it at the relevant YYYY/MM folder and choose then edit the photos I want. The way I do things is I always import (straight off my card) into Lightroom and let it file them into YYYY/MM folders. However, where are the duplicates showing? In PhotoLab? It does have a habit of creating duplicate versions of files that change without its knowledge, but does not, as far as I have known, actually duplicate files. You used Lightroom’s import function and then double-clicked a PEF file that Lightroom already knew about? I’m not sure how Lightroom would handle that, but I would think OK. I’m not quite understanding your process there.
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