If you want the short answer, it’s yes and no. Yes, you can create digital bokeh, and no, it’s not as good as the real thing. You can, however, create a reasonably convincing bokeh ‘look’.
Welcome to the Life after Photoshop archive of 'Featured' posts. These are favourite articles or tutorials that appear in the carousel at the top of the home page.
Adobe Lightroom is not one program but three. You could easily call it an ecosystem. At heart, it’s a tool for both organizing your photos and editing them. So how do you get it, what does it cost, and which version do you need?
Verdict 4.3 stars: ON1 Resize AI 2022 is a tool for upsizing your photos so that they can be viewed or printed larger. It adds more pixels to make a larger, more detailed photo than you had before. There’s no hype or resizing ‘magic’ here, just a very good implementation of the power of AI.
Lightroom exists in two versions. Lightroom (the web version) is the big villain of this piece, but Lightroom Classic isn’t entirely guilt-free. Both use a one-time import process that copes badly with subsequent external changes. This effectively locks you into using them as your sole digital hub from then on.
Photography isn’t just about taking pictures of things. Very often you’re trying to capture something deeper, like a metaphor or an emotion or simply a graphically satisfying image. The trouble is that what you see isn’t necessarily what other people see.
DxO PureRAW 2’s processing is better than Lightroom’s, but it can also be used from WITHIN Lightroom. So how does that work, and are the results (a) really worth the effort and (b) as good as regular RAW files to edit?
Have you ever browsed your back catalog of images, re-discovered one with some edits that you really love… but you can’t remember how you did it? For someone like me who uses all sorts of software for all sorts of different techniques (and has a memory like mine) it’s a real issue.
Lightroom and Capture One offer HDR tools with a difference. They don’t create wild and exaggerated HDR effects. Instead, they create what I would call DNG ‘super-negatives’ with extended dynamic range that you can then exploit however you like.
Luminance masks sound like the perfect solution to a perennial problem – restricting masks to specific brightness ranges. But how useful are they really?
Analog Efex Pro’s double exposure tool is one of the features that makes this program unique. Here’s a breakdown of how its Double Exposure presets work and how they combine double exposures with other effects.