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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.
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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.
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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