The downloaded package takes up just over a quarter of what Lightroom takes up. This is a benefit for all those travel photographers, working on older or weaker laptops. It works well on one screen whereas Lightroom really needs dual monitors for the best experience.
If you love the file organisation structure of Lightroom, you might be confused by the file management system of AfterShot Pro 3. It lets you find the images wherever they are on your system. It also lets you edit images that are currently offline, due to an unplugged hard drive. If you want to, you can create a catalog within AfterShot.
It was a direct descendant of Bibble 5 Pro. Because of this pre-existing software, Corel had access to over camera and lens profiles. Canon, Nikon, Olympus — all of the big names are present. There are almost camera and lens profiles to choose from in total. More and more are being added with each update. There is even a section that allows you to request a specific profile, where those over at Corel will get on it immediately.
This is a great system unless you need to wait a long time for each update or profile addition. It would be impossibly time consuming to add every single camera and lens the world has to offer. These often come out with narrower tonal ranges and slightly washed out colours. However, it seems to work best alongside Canon raw images. AfterShot Pro uses its own proprietary algorithm to render raw images. This is very brave and very worthy as many programs use the same DCRaw engine.
Many photographers have a problem with the inferior quality of raw processing compared to Lightroom. There is one aspect in AfterShot Pro 3 that makes it stand out from the competition.
This is the intuitive layers area, found towards the top right of the window. You can apply any number of edits. You can change the tint, hue, curves of any part of an image and stash them in a single layer. More and more layers can be added, housing as many or as few edits as you wish.
I found this to be very beneficial, and a great way of keeping track of what you adjusted. Lightroom does allow local adjustments, but not in the same way. Compared to AfterShot Pro 3, Lightroom makes it complicated to know what adjustment does what. I wanted to start this section off with something positive, but as I was looking through my files, the program quit.
The problem was that my computer has many folders within folders that hold my images. The problem with a browse rather than library model is that you rely on your computer more.
AfterShot Pro 3 performs pretty well when using basic adjustments or even layers. The previews for the changes you make with the exposure, contrast or other sliders do appear a little choppy. I did a test looking at the highlight recovery. After all, they claim an enhanced Highlight Recovery. My findings were less than impressive and made Lightroom look even more attractive. Here is the image I used. As you can see, the highlights are very blown out. I brought the image into AfterShot Pro 3, brought the Highlights down as far as they could go, reduced the Exposure by The recovery was much better than what I had felt in AfterShot Pro 3.
I was also able to retain truer whites and a better overall image. It basically comes down to speed and the size of the program. Both are smaller with AfterShot.
But the speed test came down to a few seconds. If I am working with many images that hold huge amounts of data, it will be slow. So, I take this into account in my workflow. Then I leave it alone while it imports. It might take an hour, but I am left with images I can work with quickly. Were it free, it would have been a better contender against Darktable or RawTherapee.
Most programs focus on this, ensuring it falls just under their price, hoping to snag those who want something cheaper. From reading a few reviews and researching further, AfterShot Pro seems to be on discount often. This is great for beginner photographers or hobbyists. Lightroom, on the other hand, is expensive in comparison. You can also adjust them, skew and stretch them as you desire. To use a JPEG, any clear backgrounds will show up white.
The Image Preset Library access point is situated next to the Watermark tab in the Tools section down the right side of the program. There are a mixture of free and paid for presets. There's also a couple of graduated filters which are chargeable. These are all chargeable, so get them only as you actually need them. Each of these presets has five templates to work on for the single price.
Corel have invested heavily in lens correction development for this latest version of AfterShot Pro. A built-in preset correction system can compensate for barrel distortion and pincushion. However if you want more control, or if it needs more finesse, then you can use the Lens Correction Kit whereby instead of choosing the camera and lens combination and relying on the EXIF data, you can flip over to manual mode and adjust the radial correction coefficient values.
This section arguably uses Brown's Brown-Conrady Distortion model which corrects for radial distortion when elements in the lens aren't perfectly aligned. The software corrects the distorted pixel after determining which is distorted and which isn't and applying a reverse distortion. It's located at the base of the Plugins list which is also where the modular camera profiles can be downloaded from. I have always just de-selected that. Re: Ahhh!
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