Of course, lens correction is enabled by default in DxO Optics Pro 8, saving a step in the process. In comparing images shot with various wide angle lenses, I found that Lightroom 4 and DxO Optics Pro 8 often gave reasonably similar results. Toggling the 'Enable Profile Corrections' box has no effect for lenses for which software corrections are part of the lens design. In fact, there's no way in Lightroom not to make this correction. Lightroom does not offer a specific lens profile for the RX100 either, but as you can see, does perform distortion correction at its default setting. Because the lens is not explicitly supported with a profile in Capture One Pro's Lens Correction tab, the software defaults to a 'generic' setting that leaves visible distortion. What's telling is that Capture One Pro 7 does not perform a behind-the-scenes correction for this distortion. Notice the distortion in the phone box.Ĭapture One Pro 7: Manual distortion correction.ĭxO Optics Pro 8: Default lens correction. Click on any image to enlarge it for a better view.Ĭapture One Pro 7: 'Generic' lens profile. Look closely at the first image and you see barrel distortion in the phone box. The scene below was shot with the Sony DSC-RX100 at its widest focal length. The differences lie in whether the corrections are applied automatically or require manual adjustment. Distortion correctionĪll three raw converters include tools for correcting lens distortion. TWO-WAY TIE: Capture One Pro 7 and Lightroom 4 both recover significant highlight information. Lightroom 4 also shows an impressive degree of cloud detail while avoiding some of the more obvious edge artifacts. Capture One Pro 7 does a significantly better job here, recovering enough usable data to reproduce more distinct cloud patterns. Though it clearly recovers some information that was lost in the camera JPEG, you can see bands of yellow in abrupt transitions from areas with three-channel data to blown highlights. 100% cropĬapture One Pro 7: High Dynamic Range 66.ĭxO Optics Pro 8 offers the least effective results.
Click on a crop below to view the full size image.ĭxO Optics Pro 8: Exposure -.99, Highlights -24. The adjustments used for each conversion are listed and the in-camera JPEG at default settings is shown as a reference. Here we're comparing how successfully each raw converter can recover actual tonal information. Below are 100% crops of the top left portion of the scene. Yet there are still areas containing some data in the green and blue channels. In this very high contrast sunset scene, highlight clipping is apparent along the left side of the image. Crops below are taken from the area highlighted in red.
High dynamic range scene, in-camera JPEG file from the Sony SLT-A57.
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