At that point, I never considered RPP as a likely candidate for the role: again, I didn’t understand the logic of this program and I couldn’t evaluate its usefulness. I forgot all about the program and only came back to it after a year or so of looking for a more intuitive tool that would feel “just right”. The program’s interface looked counterintuitive, I couldn’t do any work in it, and my efforts, predictably, yielded no result. I’ll be honest with you: my first experience with RPP was short and uninspiring.
Having first developed RPP for personal use, they are now sharing it with the world. I have already mentioned the name of the program, it’s a lesser known raw converter, RPP (Raw Photo Processor), developed by two Soviet-born American photographers. Having tried a lot of raw converters and photo processing tools, having studied the possibilities of raw conversion, I finally found the solution that was a perfect fit on all counts, from the process to the result. For me, it is important to share what I have learned, over many years spent studying and researching, with those of you who wish to move further in achieving greater color expression. Who knows, maybe I will even inspire some of my readers to embark on their own experiments.
#Raw photo processor rpp review software
That is why I think a lot of people will find this book useful regardless of the software you are using. Thus, your tool skills play less of a role in determining the quality of the resulting image, because the decisions are ultimately the photographer’s choice, and they are driven by individual taste, whether you are using the tools intuitively or applying presets developed by somebody else. But the path is our choice, determined by the photographic vision, artistic taste and sense of where we are going – not by the tools we use. The tools we are using can either assist or hinder us on the chosen path.
On the other hand, even superior tools are of little help if you don’t have a necessary visual background.Īny digital photo processor can be used to produce both great and bleak images. Moreover, you can minimize your “software exposure” by shooting with film or straight to JPEG. Having enough visual experience, you can achieve color harmony even with the most imperfect software. Wе already know that most of the issues we encounter when dealing with color are connected with human perception (both the viewer’s and the photographer’s), and with the fact that software developers and hardware producers tend to forego thinking about color aesthetics.
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