Software Reviews

One such path is onOne Software’s Perfect B&W, nestled within their Perfect Photo Suite or available as a stand-alone or plug-in for Photoshop, Lightroom, and Aperture. The advantage of using it within the Suite is that you also get access to the other excellent modules within that program. The advantage of the stand-alone is that you get an amazing array of controls for a rather incredible price. The Suite, by the way, offers onOne’s Layers, Mask, Effects, Focus, and Resize programs, all highly regarded, making the options virtually endless. For this review I accessed Perfect B&W from within the Suite.

Shortly after I moved into my former home, there was a knock at the door. Standing in front of me was an 8-year-old girl who lived down the street. “I’m selling note cards,” she told me, “I made the pictures.” A second look showed subjects a kid might shoot but others demonstrated that she was thinking about the photographs before making them. I bought several note cards and asked about her camera, which turned out to be borrowed. With her grandmother’s permission I gave her an old, unused digital point-and-shoot. The girl loved the camera and was inspired to keep making photographs and we talked from time to time about her aspirations. Today she’s a young woman with professional ambitions.

Capture One Pro stands as the Raw converter and digital asset manager of choice among many pro photographers, notably those using Phase One backs. But this software also supports many, many other cameras, with profiles for over 250 models plus a wide range of lenses. Version 7 (V7) has some new features of note, so I checked it out to see if an upgrade from 6 is advisable, and if it might tempt users of Adobe Lightroom/ACR. For this test I ran Capture One Pro 7 on a 27” iMac under OS X 10.8 Mountain Lion, with 8GB of RAM.

There’s a considerable difference between resizing, which means maintaining the same pixel dimensions and adapting to different document sizes at the same print resolution, and resampling, which means building additional pixels from the original file to enable printing larger documents at the same resolution. Say you have a 24MB file, obtained from an 8 megapixel digicam, that will normally fill an 8.5x11” print at 300 dpi when printing. But you just got a 13x19” printer and want to try your luck at that size, still at 300dpi. Well, for that you would need a 62MB file.

As more photos are made on more types of devices, there’s a need for resultant images that aren’t just “OK” but as good as they can be. And part of the need, it would seem, is that some folks don’t want to spend a lot of time learning complex programs to get the image results they want. Companies like Athentech Imaging aim to make it a one-click affair.

While some, like me, like to spend hours working on an image in their digital darkroom, quite a few photographers express a desire to process photographs into good-quality digital files with as little effort as possible without having to learn a new technique or software. For those who don’t find it fun and the rewards too hard to come by, a company in Europe called Elpical may have an answer.

Attempting to make the HDR process more user-friendly, the newly updated HDR Expose and Photoshop-dedicated plug-in 32 Float, now both in Version 2, largely share the same features and enhancements. As I see it, the improvements center mainly on workflow—reason enough to upgrade, in my opinion, and reason enough to consider these as serious tools for HDR work. Both are available from Unified Color Technologies.