The suite is more than Photoshop, of course. SUITE COMPONENTS & EDITIONS | Back to Contents If we can't do it in Photoshop, it can't be done. Lightroom is far more nimble at those tasks.īut when it comes to "developing" a single image, Photoshop remains our tool of choice. And we don't manage our image collection with it. It isn't the one we use to generate a Web gallery or edit a selection of images. It's the application that can get the most out of any particular image.
Today Photoshop remains the easel on which we do our most deliberate work. Images were acquired with a scanner not a camera but the game was the same: optimize them for reproduction. We had an application that allowed us to do on a nine-inch black and white screen what we'd only been able to do in a darkroom. We still feel a tingle remembering our joy when Russell Brown sent us a copy of Photoshop 1.0. Adobe has been generous to us with the recently released Lightroom 2, adding local corrections and some essential output sharpening smarts to what had been a comfortable but not comprehensive infrastructure for a photographic workflow. It's an especially difficult question for photographers. That's really the question we all have, the heart of the matter. We were among a group of reviewers and analysts who attended a CS4 boot camp for two days in July and we've been using a beta version of the Master Collection since August.Īt breakfast on the second day of the boot camp, John Feld, editor of The Graphics Report ( ), asked us if this was "a compelling update" for our readers. When Adobe shipped Creative Suite 3 in March 2007, the company was already hard at work on the just-announced Creative Suite 4. The Imaging Resource Digital Photography Newsletter MINIPHOTOKINA REVIEW Creative Suite 4 For Photographers By MIKE PASINI
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