PHOTOGRAPHY
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Image Masters
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Paco Márquez
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Interview with Paco Márquez
Image Masters
Paco Márquez
I use DxO in my workflow because today Canon full frame digital image sensors are capable of a quality level which now rivals some of the best camera backs. Now we have the advantage of obtaining high quality data (which can be enlarged to the size of a small building) captured with a 35mm system that has historically offered photographers more lens options and higher mobility than other formats.
What some people call the downside of this is the need to store the data in its RAW form, and the need for this data to be manipulated by an individual in a computer. I think of this as exactly the same thing I did when processing my own film and making my own prints. This work that has to be done to the data is part of my creative process in the same manner that producing a black and white print was years ago. It is also akin to what we would try to achieve with different emulsions and developing techniques with transparency film.
I'd much rather do this in front of a computer than in a dark room full of awful chemicals! And the control I have over an image today would never have been possible with film and photo paper.
I use DxO because the RAW conversion controls it offers me are first rate and as such allow me to convert the RAW data to what my vision of the image demands.
In addition, DxO is the only converter which scientifically eliminates all the optical aberrations which result in using analog design lenses with the unforgiving demands of digital capture. DXO allows me to obtain much sharper and detailed images because it removes those aberrations like fringing, distortion, vignetting, softness etc. in such a spectacular manner as to do it using the specific camera bodies and lenses I use. And the best part is that it does it automatically for me.
Being able to save all the corrections done to the first photo of a session and then automatically apply them to all similar images, allows for faster workflow and the certainty that if I have to take an element from one image and blend it into another, the match will be perfect.
Add to this their Highlight Recovery and Lighting controls, plus the fact that one can now archive in DNG format, and there is no other converter that I would want to use.
All of the work I do has to be retouched somehow. Sometimes a lot and sometimes hardly at all. But when I go into Photoshop or Live Picture with the conversion I have done in DXO, the quality of the image is the highest and permits a smoother and faster process.
What some people call the downside of this is the need to store the data in its RAW form, and the need for this data to be manipulated by an individual in a computer. I think of this as exactly the same thing I did when processing my own film and making my own prints. This work that has to be done to the data is part of my creative process in the same manner that producing a black and white print was years ago. It is also akin to what we would try to achieve with different emulsions and developing techniques with transparency film.
I'd much rather do this in front of a computer than in a dark room full of awful chemicals! And the control I have over an image today would never have been possible with film and photo paper.
I use DxO because the RAW conversion controls it offers me are first rate and as such allow me to convert the RAW data to what my vision of the image demands.
In addition, DxO is the only converter which scientifically eliminates all the optical aberrations which result in using analog design lenses with the unforgiving demands of digital capture. DXO allows me to obtain much sharper and detailed images because it removes those aberrations like fringing, distortion, vignetting, softness etc. in such a spectacular manner as to do it using the specific camera bodies and lenses I use. And the best part is that it does it automatically for me.
Being able to save all the corrections done to the first photo of a session and then automatically apply them to all similar images, allows for faster workflow and the certainty that if I have to take an element from one image and blend it into another, the match will be perfect.
Add to this their Highlight Recovery and Lighting controls, plus the fact that one can now archive in DNG format, and there is no other converter that I would want to use.
All of the work I do has to be retouched somehow. Sometimes a lot and sometimes hardly at all. But when I go into Photoshop or Live Picture with the conversion I have done in DXO, the quality of the image is the highest and permits a smoother and faster process.
