But the point is, generally I never even shot them. True, it took digital photography to get to them (other than hand-painting, which is usually out of the question), and true also that I would have had to SAVE the photos (mostly colour slides) for years before I could go back and "fix" them. So many otherwise great shots I simply didn't shoot - because they were ruined by something ELSE in the shot that I didn't want. I must admit, as a magazine photographer, I wish I had known, years ago, that these sorts of programmes were coming. Get it now - even if you only begin to find its uses Bob. And this programme is one of the most useful. Nowadays I use "digital enhancement" as a matter of course. Not that I am a recent convert of course - after resisting it for some years, I embraced it about 8-9 years ago. This programme, and others like it, has really made digital photography worthwhile.
Seems like the proverbial "irresistible force meeting an immovable object" doesn't it? Who wins?īut in this case, there is a third way, which is what I, as a professional photographer would want to use it for - not removing someone ELSE's watermarks (or even my own), but for getting rid of that equally proverbial "tree growing out of someone's head", or someone's arm encroaching into a shot, that would otherwise be "perfect".