Lightzone Raw Processor

Added this at the last minute. If I’m reading the history right, it was a failed commercial product released into the wild.

Like DarkTable, LightZone is based on  a set of modules that perform different functions, which can be stacked in any order (and instantiated multiple times). It also has the blending mode options available.

LightZone has “regions and masks”, which can be applied to all tools, allowing you to do local adjustments. There is also a specific clone tool, and a red-eye fixer. Regions/masks are all vector, though, you can’t enhance them with bitmap editing, which makes them not up to anything beyond the simplest masking (a bit beyond what an old-style split neutral density filter could handle, but only a bit).

The “zonemapper” function, and the “relighting tool”, look particularly interesting.

LightZone editor screen
LightZone editor screen

Specific Issues

Responsiveness

When I select a photo in the filmstrip, it appears in the editing window quite quickly. Ah, but switching from browsing to editing mode is slow.

Unchecking, for example, the raw processing filter, it flicks back to the previous state quite promptly.  But when I then click it on again, it appears to perform the noise reduction again, complete with on-screen progress bar.  Something much faster is needed; flicking back and forth bewteen two versions of a photo is perhaps the most important performance metric in such a processor, since that’s the primary way of deciding if a setting is right.

The “orig” icon in the toolbar does seem to be a little faster in flicking back and forth, but only between the full stack and the original.

ZoneMapper / RAW Tone Curve

Raw Tone Curve
Raw Tone Curve

This lets you mark points in the source value space and drag them to where they should be placed in the destination value space. So it’s equivalent to the standard curves tool, but gives you a different display  to work with. It’s also mated with the Zones info panel, and will show you where the zone you’re about to drag appears in the photo.

There doesn’t seem to be a way to go from a point in the image to a zone. Using the zone display at the top, picking a zone will highlight at low res where it is in the image, but that results in clumsy searching. I want to be able to click in the image and have that place me on the right zone (and similarly for tone curve).

Also, I’d like a curves presentation option for this adjustment.

Ratings

It’s not picking up the existing ratings on my ORF files. Hmmm; also NEF files, which is inexcusable. When I set a rating via LightZone, it appears briefly over the thumbnail (sometimes tenths of a second, sometimes seconds), and then disappears again, not to reappear.  It also doesn’t show in the metadata panel to the right. Looks like ratings are completely broken.

The rating doesn’t appear on the editing screen, either.

Screen Layout

It seems to be fixated on putting the thumbnail strip (filmstrip) across the bottom of the screen, where it steals irreplaceable vertical space (which, since the advent of the “widescreen” monitor, is always the limiting factor in photo viewing size).

I don’t seem to be able to get rid of the left column, which is tabbed between is styles list and a history tool. Again, wasting screen space like this is very bad, there’s never enough screen space even with dual monitors one of which is 26″. Also I can’t tear it or the other panels off and put them on the secondary monitor, it doesn’t look like.

Noise Reduction

The noise reduction isn’t impressive. Also there are two tools, a “color noise” slider in the “RAW Adjustments” filter, plus a “Noise Reduction” filter. Since I can hardly detect an effect from the one in the RAW Adjustments filter, I’m ignoring that one.

Relighting

The “depth” slider definitely does something, but I can’t figure out what, and the official name and description don’t help me much in finding it. Also it’s a bit weird that the range of the slider is from 8 to 64.

Crop Tool

The crop tool gives me a 3×3 grid while adjusting the cropping. That’s one of the more popular choices, but I’ve been playing with 5×5 and can’t seem to change to that. And some people don’t like a grid at all. This should be settable. (Some people also like more complex things, “golden rectangle” and “golden spiral” and the like.)

Example Images

Derby

The noise reduction isn’t much good.  It’s either essentially ineffective, or quite artificial looking (with frequent missed dots), depending on how I set the sliders.

Huh; turns out the “Relight” filter has much more interesting effects if it’s not disabled.  Who would have expected that?  I was briefly wondering if I’d gone blind, when so many controls had no visible effects even with extreme movements.

The “detail” slider in “Relighting” is interacting quite nastily with noise in this image (which is ISO 6400).

Throwing away a lot of the blacks and using that space for the midtones seems to have been the winning option for this photo in this processor (using the zonemapper).

Click image for full-res version
Click image for full-res version

Dr. Mike

This is a JPEG original. So the noise problems are worse. Again, I get a mix of plastic and noise tuned up into spikes.

I’m also badly missing any sort of conventional brightness / contrast / white point / black point control, to move the whole image around.  Luminosity in the “Hue/Saturation” filter helps some.

And the program crashed as I tried to switch back to browser mode to pick the next photo to work on.

Click image for full-res version
Click image for full-res version

Minnehaha

LightZone does seem to be happy to open Fuji S2 raw files, either directly or as converted to DNG.

I’m getting pretty decent results from stacking Zone Mapper tools here.

Click image for full-res version
Click image for full-res version

Naomi

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Click image for full-res version

Purple Flower

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Click image for full-res version

Doc Smith Books

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Click image for full-res version

Tux Cat

Click image for full-res version
Click image for full-res version

Aftershot Pro Raw Processor

This is what I’ve been using for a while now (I also keep Bibble Pro around). The latest upgrade doesn’t include support for Noise Ninja integration, and thus is not useful to me.  Rumor has it that the fault for this lies with Picturecode for refusing to renew the license, not with Corel. Picturecode is now competing directly in this market themselves, with Photo Ninja.

Fuji S2 RAF files are not recognized. Neither are DNG files. And there are no hits for “dng” searching the online help.

Here’s the main editor screen:

Corel Aftershot Pro Main Editor Screen
Corel Aftershot Pro Main Editor Screen

Specific Issues

Color Management

Aftershot Pro has lost the “working space” setting that Bibble 5 has under “color management”. I can’t tell what the working space is any more.

Straighten

I nearly always use the “draw the line” tool, which is very easy to use.

Example Images

Derby

Click image for full-res version
Click image for full-res version

Dr. Mike

Click image for full-res version
Click image for full-res version

Minnehaha

The Fuji S2 RAF raw files (and DNG conversions of them) are not supported in Aftershot Pro.

Naomi

Click image for full-res version
Click image for full-res version

Purple Flower

Click image for full-res version
Click image for full-res version

Smith Books

Click image for full-res version
Click image for full-res version

Tux Cat

The Fuji S2 RAF raw files are not supported, even if converted to DNG.

 

Capture One Raw Processor

Capture One Pro comes down to us from the medium-format digital world. It was also apparently very widely used in early digital production houses, that went digital using the Kodak digital SLR adaptations of Nikon and Canon bodies. Places doing catalog shots in volume, say, didn’t need the resolution of film, and benefited a lot from the workflow and lack of lab fees.

c1 editor-001

Specific Issues

Adjustment Layers

They’re easier to draw than in Bibble, but still much harder to work with than Photoshop. I did successfully darken the background of a derby picture using layers.

Histogram

Lines for each color plus a gray region for luminance makes it easy to see all four, and not too gaudy.

No option for logarithmic histogram.

Cropping

The crop tool lets me set grid guide specs.

Focus Mask / Focus Tool

The tool is just a magnified preview window. This is very useful, actually, but the name makes it sound like a bigger deal.

The focus mask shows where the system thinks the image is in focus. This looks good on studio shots in their video; in practical use with my field shots at high ISO it mostly shows that fishnet stockings have higher contrast than faces, I think.

And there does not appear to be a keyboard shortcut for the focus mask. Ah; you can set a keyboard shortcut for any menu command, including that one, there just isn’t one by default.

Curve

The curve tool doesn’t seem to have a way to move the points chosen around using cursor keys, only by dragging.

Screen Layout

This one does have a way to put the film strip or mini-browser or whatever the name is at the side instead of the bottom of the screen (vertical screen real estate being one of the hard limits most people contend with in photo editing).

Example Images

 Derby

Click image for full-res version
Click image for full-res version

Dr. Mike

The noise reduction tools are severely inadequate for this sort of image. Setting everything to absolute max definitely isn’t good enough (nowhere near as good as Photo Ninja’s Noise Ninja 3 can produce).  I suspect that the heritage of this tool, studio cameras and lately medium-format ones at that, has left noise reduction as a fairly low priority. Huh; or perhaps there’s something wrong with the preview, the rendered image looks overdone (the one shown here is about half of all the noise reduction settings).

Click image for full-res version
Click image for full-res version

Minnehaha

I made some use of masking here, to be able to bring up the shadowed ice on the face without blowing the sunlit water at the top any further.

c1 ddb 20050328 010-024-full
Click image for full-res version

Naomi

Click image for full-res version
Click image for full-res version

Purple Flower

Click image for full-res version
Click image for full-res version

Doc Smith Books

Click image for full-res version
Click image for full-res version

Tux Cat

Click image for full-res version
Click image for full-res version

Darktable Raw Processor

Darktable is a Unix-only free software product.  So it’s not available for Windows. My evaluation was done using an Ubuntu Linux installation on a virtual machine.  I assigned the VM 4GB of RAM and all 4 CPUs. Darktable makes heavy use of OpenCL (API to access the compute power of graphics cards for general use), which was not installed on my VM. So for a number of reasons I’m pretty sure the responsiveness seen in my tests would be considerably inferior to what one would see on a native Linux installation.

Darktable doesn’t seem to pick up lens or exposure information from the Olympus EPL-2. Images from the Fuji S2 are completely broken, the icy falls picture is mostly diagonal magenta stripes. Tried DNG later, better for EPL-2, not usable (but a visible image) for S2.

Darktable works in LAB space internally, using 4x32bit floating point numbers. (Why four? LAB is still a three-component model, just not the usual three.)

The user manual is notably good, which in my experience is rare for such specialized Open Source software.

Darktable’s basic setup is a stack of processing modules.  You can, if you need to, alter the order of modules in the stack. You can also put modules into the stack multiple times, with different parameters.

Many modules support turning on “blending modes”, which mix the output with the input (using one of the myriad modes that GIMP and Photoshop love so much). “Off” means just use the output of the module, which is what some modules are best for. Using blending modes lets you get really lost really quickly, but I think this is something that would reward practice and study, and is very powerful. Mostly the modes blends just one aspect of the imput and output images (like lightness, or chroma, or hue), passing the other through.

If that’s not exciting enough, there’s also “conditional blending”. Module presets can be related to camera, lens, ISO, and exposure setting information. So, theoretically there’s a huge amount of power and control available here. I can say that ordinary editing doesn’t seem to need to call on it, which means you don’t have to hit that learning curve on day one.

There’s a rather interesting specialized bit of UI for slider-controlled number boxes.  The mouse wheel works over the slider (which is a small target). Works semi-okay even in remote X running on a virtual machine. And an interesting right-click box that supports both typing numbers AND variable-precision mouse control (not drag-based; you click on the spot, with curves showing you roughly what each spot means).

Here’s the main editing window, with the right-click box open on the exposure slider.

darktable_editor_001

It doesn’t seem that I can change where the filmstrip appears. Since modern monitors are overly-wide and far to short, it’s much better to take required (and I can’t find a way to make it go away, either) space-using elements to the sides, NOT top or bottom. (The basic editing area, when all the overhead is subtracted, needs to be square; otherwise, either horizontal or vertical pictures are at a disadvantage.)

Specific Issues

Crop and Rotate

The “guides” selections give you a wide choice of cropping guides visible during the drag. However, I can’t find a way to get it to do a 5×5 grid for me, which is what I’m currently using most.

Color Balance

Not sure about settings for “white balance” and “input color profile”
and “output color profile”. The model I’m familiar with from Bibble
and Photoshop involves a “working space” and then using the tagged
input space (or specifying if not tagged, but with my cameras that
never happens).

Docs say the white balance module has a “temperature in” slider, but it
doesn’t; it has a “temperature” slider, and tint, and r, g, and b.

And that “temperature” slider seems to run up to 30,000K, an extremely cold color balance.

And things jump around at random a lot, often leaving me with an
intense green color balance.

White Balance

The “flash” preset sets the color temp to 3965K.  Daylight is 3556K.  Daylight and flash are normally 5500K in the world I come from.

Exposure

The exposure slider has a huge range, going out to 18EV. This makes it very hard to work with. Possibly becoming more comfortable with the right-click features of the slider would help here, however (making the actual slider kind of a secondary control).

Example Images

Derby

Click image for full-res version
Click image for full-res version

I’m pretty happy with the noise reduction here. I may have taken it a small step too far, but it was also interacting with attempts to sharpen the not-quite-perfectly frozen heads.

Dr. Mike

Click image for full-res version
Click image for full-res version

Again, this is primarily a noise reduction problem. This image was shot at ISO 1600 on a Fuji S2 (and saved as jpeg, not raw). The fact that it’s a jpeg original partly explains my not trying too hard to rescue the clipped whites on the shoulder.

Minnehaha

This one is a technical failure. Converting Fuji S2 RAW files, even via DNG, doesn’t work usefully in Darktable. The artifact grid also really messed up the jpeg compression, so even the “full res” version is a rather low quality jpeg file.

Click image for full-res version
Click image for full-res version

Naomi

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Click image for full-res version

This image may be too easy to show much. But at least it shows that a good final version can be produced.

Purple Flower

Click image for full-res version
Click image for full-res version

This may be the least successful edit I did with Darktable.

Smith Books

Click image for full-res version.
Click image for full-res version.

This worked about as well as anything else at rescuing some of the overexposed areas. (Remember, the overall exposure was such as to guarantee some areas that remain overexposed; thus it looks like crap.)