To maximize its effect, user-adjustable settings allow you that last degree of control for difficult images. Your end result (Web or print) will determine just how much noise reduction is necessary.
Dfine has a user selectable preview window with up to five different views available. You can set each one of the parameters individually. It also gives you the option to apply noise reduction globally or just to a specific color that may be giving you trouble.
I’ve noticed that digital cameras, because of the nature of the CCD array, have a hard time with large areas of solid color, such as skies and flower petals. Using the protected color mode helps clean up areas like this without affecting the rest of the image.
In addition to its noise reduction capabilities, Dfine lets you adjust color balance, contrast, and compensate for heavy backlighting. Saturation and warmth–similar to the Sunshine filter in nik Color Efex Pro–can be adjusted, as well as additive and subtractive color filtering. You can take your images to the next level of quality with Dfine, and even rescue images that were improperly exposed much easier than ever before.
So far, I’ve used Dfine with four different cameras. While it was worthwhile with every model I tested, the results with my older Olympus E-10 were even more dramatic than images shot with my newer C-5050. If you have one of the older cameras, it will really help out with images you have to revisit.
I strongly recommend you buy both products and spend as much time as you can mastering them. You’ll be rewarded with better digital images than you ever imagined you could get from your current cameras. spd
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