Each building stands out on its own, with the red hull of the Ambrose Lightship and the neon blue and yellow of The Shark really popping now. The skyscrapers in the background had gone from a monochromatic gray to a variety of distinctive colors showing the variations in brick, marble, steel and glass materials. The autumn sky was now a subtly more saturated blue, with wispy thin white clouds, instead of a hazy overcast. What a difference! There was now crisp, sharp detail throughout the image, from the facades and architectural detail of the buildings, to the rigging of the tall ships. With just a few clicks in Topaz Clarity to enhance the contrast, and another click or two in Topaz Adjust to bring up the colors, I had the "after" shot.
I created an individual layer for each filter so I could adjust the opacity separately to "fine tune" the result. I tweaked the exposure a little in Lightroom, and then brought the file into Photoshop for more serious enhancements.Īfter using Photoshop's Perspective Control Cropping Tool to get the buildings in the background into proper alignment, I clicked on Photoshop's Filters Menu to select my Topaz Clarity and Adjust add-ins. And it was also low contrast, lacking sharpness and vibrancy. The buildings were distorted by the wide angle lens I selected, leaning in toward the center of the frame. The original RAW capture was a bit dull and uninspiring. I just had time during the tour for one handheld "grab shot" of the ships, including The Shark, with the downtown skyscrapers as a background. We finished the tour at the South Street Seaport, a popular tourist spot and home to a maritime museum, which maintains a number of historic sailing ships, as well as The Shark speedboat, a thrill ride run by Circle Line Tours. I was taking a group of out-of-town visitors on a Photo Tour of lower Manhattan, covering the area which includes Wall Street, Federal Hall, the nations first Capitol and site of George Washington's Inauguration.
I'm also a licensed New York City Tour Guide, and that's where the story of this particular photograph begins.
Using topaz clarity professional#
When I'm not here at NYIP helping photography students become better at their craft, I'm out in the "real world" doing professional assignments that range from corporate portraiture to fashion and commercial photography assignments. My "day job" is as a Student Advisor at New York Institute of Photography, America's oldest and largest photography school. My name is George Delgado, and I'm a PPA Certified Professional Photographer.
Using topaz clarity software#
Hope this reply from DxO’s support team answers, or at least gives some clarity to previous questions asked by forum members.If there's one word for what Topaz software does for my photography it would be "Wow!" Thank you for contacting DxO Customer Support. By following the above workflow, you will find that you can rely on PhotoLab to always deliver the best results possible.
Using topaz clarity code#
The other post-production programs you mentioned do not contain any of the advanced production code contained in PhotoLab.
ORIGINAL CAMERA FILE > DXO PHOTOLAB > ALL OTHER POST-PRODUCTION PROGRAMS > FINAL PHOTO RESULT The resulting code is so precise, that the use of processed files in the program can cause unexpected and unsupported results. All of the modules used in PhotoLab are constructed using extremely precise measurements of actual output files from specific camera and lens configurations. In order to get the best, and most consistent, results from DxO PhotoLab, we recommend that you always use the original and unmodified photo files from your camera in the program and then use all other post-production programs. Below is DxO support’s explanation and their recommendation. From what I have read on this forum, other users are experiencing similar problems. Received a reply today () from support to my question about DxO PhotoLab 4’s perceived compatibility issue with TopazLabs Sharpen AI (current version), with regards to.
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