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What's New in PhotoDirector

For those familiar with the software, below is a cheat sheet of what's new for the latest version update:
Photoshop-like Layer Options. Even though CyberLink removed the Layers mode with this version, the developer added new layer functionality. This includes snap alignment, new blending modes, filtered layer search, and access to guided editing tools.
Express Mode. This takes the place of earlier versions' Layers mode. As its name suggests, it lets you quickly apply effects and artistic treatments to photos.
Rotate Cloned Objects. In content-aware mode, which lets you move a selected part of an image elsewhere in the photo while preserving the background, you now get the ability to rotate and flip the copied image.
Deblur. The AI-powered tool is designed to clear up motion and other types of blurred photos.
Color Replacement. A similar feature recently came to pro photo software Capture One Pro. If you don't like the red color of Johnny's sweatshirt, make it green instantly and convincingly.
New Text Tools. Beveling, embossing, and warping can now be applied to text in layers.
Clip Art. Choose from an assortment of various frames and stickers to add to your images.
Improved LUT Support. These effect filters that of late have made their way from the movie industry to photo software. PhotoDirector now lets you use them on your images.
Interface

The latest PhotoDirector version doesn't include any drastic changes to the program's interface, which was clear and attractive already. PhotoDirector bypasses Photoshop Elements' separate Organizer app, too: You can do everything inside the main PhotoDirector application.

As is common among pro- and near-pro-level photo workflow apps, PhotoDirector uses modes. That means there are global tabs or buttons that switch the interface among different functions, usually organizing, editing, and sharing. PhotoDirector has six modes: Library, Adjustment, Guided, Edit, Create, and Print. Like Lightroom, PhotoDirector lets you choose which of these buttons appears, though you get to the option for this by right-clicking on the title bar, rather than in Preferences.

Switching modes is as simple as it is in Lightroom Classic. Within each of PhotoDirector's modes, a left-side panel offers mode-appropriate options. In the Library and Adjustment modes, the panel is further broken down into two tabs, Project and Metadata for the first, and Manual and Presets for the second.

The main viewing area is flexible, with a few options of its own. In Library mode, a large view of the photo sits above a filmstrip-style look at other pictures in the folder. Alternatively, buttons at the top let you see just the photo, a gallery browser of thumbnails or filenames, or a full-screen view of just the current photo. In addition to viewing one large image, you can also compare two or several in Library mode.

The Gallery view can be filtered by photos you've flagged or color labeled, or those you've edited. I'm happy to see that you can now filter the view by camera model and lens, as you can in Lightroom Classic. Hover the mouse over a thumbnail in gallery view, and you see star rating and flagging buttons for easy rating and selecting. When you're viewing one large image, the same choices appear along the bottom with color labeling added; optionally, you can add controls for rotation and back and forward arrows.

In Adjustment mode, you can see a split view showing an image before and after your edits. Flipping through images was snappy and delay-free in testing, as was overall program response. Like Lightroom, PhotoDirector lets you zoom only to preset sizes—25 percent, 33 percent, and 50 percent, and so on—rather than offering a full-range slider like the one on ACDSee Pro. But a single click switches between zoomed and unzoomed, which is convenient.

I like the way adjustments are grouped into Regional and Local groups, and the adjustment panel is topped with Manual and Presets tabs. I also particularly like that double-clicking on a slider returns it to the default position. I wish there were arrows to collapse the left panel, which is always present unless you switch to full-screen view.

You can't detach the program's panels to float anywhere on screen, as you can in ACDSee Pro. Undo is well implemented, and an excellent adjustment history panel shows not only all previous tweaks but also a thumbnail at the top displaying a mini view of those tweaks' effects. Clicking on any history entry applies that point to the full image view. In all, PhotoDirector gets high marks for its interface.

Importing Photos

The photo import dialog groups zoomable thumbnails of images on the card by date. As with Lightroom (and better than with Photo Mechanic), you can select photos for import from these thumbnails. You can apply Auto-tone, Auto-Denoise, and even effect presets, such as B&W Cool, Faux HDR, or Fantasy Pink during import. You can also apply keyword tags, renaming, and a copyright notice.

The program can import raw camera files, of course, in formats such as Canon's CR2 and Nikon's NEF. Raw conversion detail and color are good, though Capture One brought out the most detail and truest colors in initial raw import on test images.



On the left is PhotoDirector's initial import of a Canon raw file, and on the right is the market leader, Ligthroom.

PhotoDirector came in first place in my import speed comparison test. I imported 268 24MP raw files in .CR2 format from a Canon EOS 80D. Each file weighed in at about 30MB. I tested on an Asus Zen AiO Pro Z240IC running 64-bit Windows 10 Home and sporting a 4K display, 16GB RAM, a quad-core Intel Core i7-6700T CPU, and an Nvidia GeForce GTX 960M discrete graphics card.

PhotoDirector led the tested pack with a time of 5:20 (minutes:seconds) for the import. Capture One took 5:34 (minutes:seconds), and Lightroom Classic took 6:31.

Another type of importing, tethered shooting, is finally supported by PhotoDirector. The feature only works with some Canon and Nikon DSLRs for now, but you get a shutter button, along with the ability to change shooting settings like f-stop, shutter speed, and ISO.

The program offers all the expected organizational tools with easily accessible ratings, color coding, and flagging tools in the Library interface. And as I'll show in the next section, it even offers face tagging—a powerful organization tool that's been available in Photoshop Elements for several years. Geotagging and maps, however, are still absent.
Basic Photo Adjustments and Edits

PhotoDirector offers all the basic adjustments you'd expect, including exposure, contrast, white balance, and sharpness. And the ubiquitous fixers—red eye and blemish removers—are added to the local adjustment brushes. Cropping and rotating follow the brilliant approach of Lightroom and Photoshop, showing you the final result rather than an outline of your intended crop.

PhotoDirector also has pro image-editing tools, such as curves and levels. The latter lets you manipulate highs, lows, and midtones with controls on a three-color histogram, with optional quarter-tone controls, too. The tone curves tool gives only three control points.

When it comes to pumping up or cutting down on overly dark or bright areas, PhotoDirector adds a couple of levels in between the standard brights, midtones, and darks. You get five sliders—Brightest, Bright, Midtone, Dark, and Darkest. This setup lets you use the histogram's "Show over/underexposed areas" tool and then correct these areas with a more appropriate slider. PhotoDirector's "Auto tone" magic wand button, like similar tools in every photo app, worked beautifully for some photos, but not so well for others.

Another image-correction tool that worked well in testing was Dehaze. I found that this did a better job than Lightroom, which tends to add a color cast, usually blue. PhotoDirector's Dehaze was nearly as good as DxO PhotoLab's, best-in-class ClearView tool.


On the right, the Auto Keystone tool has straightened out the building's vertical lines.

The program's geometry adjustment tools let you fix the barrel and pincushion distortion of telephoto and wide lenses. The Keystone correction tool's vertical and horizontal controls let me straighten distorted lines at the sides of photos of buildings. The Auto Keystone option does a good job straightening out buildings shot from below, and cropped the unusable sides of the photo. A fisheye shot stumped it, however, with its added distortion. There is a Fisheye Distortion adjustment, but it wasn't strong enough to convincingly correct my 8mm shots.

Guided Mode

This mode creates a copy of your image for creating, so that the original remains unscathed. In it you find the People Beautifier, Photos Effects, Improve or Remove, Extract or Compose, Photo Merge, Frames and Watermarks, and 360° Photo Editor. It's a good collection of tools. New for the mode is Deblur. I'm not sure why CyberLink put this in Guided mode rather than Adjustment, but so be it. In my testing, Deblur didn't turn a blurry photo into a perfectly focused one, but it did improve it. A slightly blurry photo was even better improved.



The left side is the original (with adjusted exposure), and the right side shows the effect of applying Deblur.

AI Style Transfer

If you've seen the Prisma mobile app, you know how fun it can be to turn prosaic cameraphone shots into artsy, painted-looking images. PhotoDirector's AI Style Transfer, available in Edit mode, does the same thing for your DSLR photos. You only get 10 styles included with the program, unless you subscribe to Director Suite 365. Otherwise, AI Style Packs cost $149 each, but they are very cool, especially the Chinese Painting pack. The effects took about 20 seconds to apply on my photos.



You can adjust the strength of these effects, and erase it for select areas of the image with a brush. Another option is Apply original color. This creates a color palette for the painting effect using your image, rather than using the palette included with the effect. I found that using the template color scheme produced a more drastic, artsy result. I would like more controls, and remixing capabilities. For example, the canvas creases in the example above weren't adjustable, and applying the effect a second time produced the exact same effect, meaning it doesn't recalculate the effect. A Reapply tool would be nice here.

Multiple Exposure Effect

This is one of PhotoDirector's coolest features. Take a group of up to 10 action shots while keeping the camera still, and PhotoDirector can automagically produce a multiple exposure like the one below. Doing the same thing in Photoshop would involve selecting the person in all six images and creating masks and layers. PhotoDirector even lets you apply a fade-in or fade-out effect to the sequence. It also lets you reduce the number of exposures from a drop-down, rather than making you recreate the merge.


Layers

Showing its ambitions to be more than just a photo workflow application competing with Lightroom, PhotoDirector includes layer editing. I was initially leery about this kind of tool cluttering a program that's designed for efficient workflow—there's a reason Lightroom doesn't require photographers to mess with layer editing. PhotoDirector's tool doesn't clutter things up, though, unless you consider a mode button atop the interface to be clutter. If you don't want to spring for Photoshop, here are your layers.

The button used to be labeled "Layers," but now it and the mode are called Edit. When you enter the mode, a Photoshop-lite appearance takes hold, except the layer controls are on the left and the tools (Text, drawing brushes, gradient, fill, shape, blur) are on the right. New for version 11 is the ability to use Guided Tools in the Edit/Layer mode; these appear when you click on the magic wand icon.

As mentioned above, the text controls are fine-detailed, letting you adjust not just font and size, but also kerning, shadow, and border effects. Also new for version 11 are emboss and bevel options, bringing the program that much closer to Photoshopping capabilities. Work with layers is saved in PhotoDirector Layer File format (.PHI), not in the more standard PSD.

A dialog tells you it's best to complete all overall photo adjustments (lighting, white balance, and the like) prior to working with layers.



You can create empty layers, apply prefab project layers, edit with layer masks, group layers, add adjustment layers, and create clipping masks. These techniques will be familiar to Photoshop users, who now have fewer reasons to pay that subscription.

PhotoDirector now offers all 27 blending modes—the same number as Photoshop—which offers a lot of creative options. I like how you can solo and edit a layer by double-clicking on its thumbnail image, but Photoshop's right-click options are a bit more helpful.

Only four Express Templates are included by default, but you can download a choice of 16 more from CyberLink's online repository, DirectorZone, and users of that service can contribute their own creations. The templates usually include filter effects and text overlays. You can customize them with drawing and selection tools, including a Magic Wand selector.

Express Mode

If you're not intent on tinkering extensively to perfect your image to get an exact effect, you can simply open a photo in Express Mode. This limits the interface to presets, express layer templates, and AI Style Transfer options. I don't think it's a particularly helpful option: I'd prefer at least the addition of the basic image correction tools for exposure, cropping, and color corrections.

Video-to-Photo

This set of tools actually offers more than its name suggests: You can use it to create a panorama from a video clip, a group photo from a video with everyone making an acceptable expression, or a multiple-exposure image like those you can make from stills. You start from the Video-to-Photo button right above the Import button. Of course, the feature does let you make still photos from video, but in my testing, it couldn't sharpen a moving subject. And the same problem made multiple-exposure shots from video a lot less appealing than those created from stills.



Likewise, the Panorama feature worked in testing, but was less automatic than I'd like. It works best if you manually select frames from a video you play through, and in my first attempt I hadn't overlapped the frames enough to get a full panorama. There's an Auto option, but that also took a few tries to get a full pano result. The tool lets you auto-fill areas of the photo that result from combining perspectives—a nice content-aware feature.


Content-Aware Tools

Speaking of content-aware features, CyberLink offers content-aware clone, remove, and move tools. The remove tool works well, as you can see from the photo above, where I've removed some unsightly tape on the court floor. I had less success with the content-aware clone feature, which produced unwanted transparency in the object I was cloning. But note the fun trick of resizing the cloned objects. New for version 11 is the ability to rotate the cloned image.


Color Splash

This is an effect that's been around for a while, at least since Spielberg's Schindler's List. It's where you only let one color in a photo appear, and leave the rest in black and white. PhotoDirector's tool not only lets you select a specific color to show, but you can have it appear only on a selected object, rather than every instance of that color, with a brush that selectively removes the color. A Tolerance slider is also helpful in isolating a color. Below is an example where only the blues appear.


People Beautifier

This tool has three subsets: face tools, skin tools, and body tools. The first includes Face Shaper, Shine Remover, Eye Bag Remover, Wrinkle Remover, Tooth Brush, and even Eye Blinger, which brightens the whites of the eyes. Note that anything you do here can be undone, since a working copy is created. On my test image, the Face Shaper basically tucked in jowls.

Face Tools let you enhance a subject's countenance in several ways.

These tools let you draw on top of your images and superimpose text, as well as add shapes, fills, and gradients. You can select areas with a lasso and a smart lasso, but PhotoDirector's selection tools are not as smart as Adobe's. This program offers a lot of the layer-blending modes found in Photoshop, including Darken, Multiply, Difference, and Exclusion—14 in all. You can drag layer entries to change their order. You can even go in and adjust any layer separately with the standard lighting, color, and detail tools.

Blur Tools and Noise Reduction

The Noise Reduction tool does a good job of cleaning up a noisy shot, and makes doing so a snap. Often this kind of feature make you tinker with sliders to deal with chrominance and luminance noise, and PhotoDirector does offer these sliders, but its magic wand de-noising button did a fine job of reducing noise from my test images' dark areas. At full zoom, my results did look a tad blurred, but when viewing the whole photo, the smoothing was a big improvement.


Bracket HDR

I've long been impressed with PhotoDirector's single-shot HDR (high dynamic range) effect, but this true HDR tool is no less remarkable. It's accessible in Edit mode, and you can drag up to five photos shot at different exposures of the same subject from the tray to the main editing area. A merge button combines all the images, which took about 15 seconds on my five-shot test.

The merge lined up the images well, and a checkbox let me remove "ghosting"—in the case of my shot, traffic that differed from shot to shot. The end result is pleasing, and you can tinker with it even further by adjusting Glow, Edge, Detail, and Tone, or by choosing a preset look. These include Colorful, Detail, Light, Natural, and Surrealistic. It's fun to see the dazzling artistic effects all these choices enable.


Lens Profile Correction

This kind of tool has been a feather in the cap of programs including Adobe Lightroom and DxO PhotoLab for a while. The idea is to fix issues introduced by the lens the photo was shot with, such as warped perspectives and darkness around the edges (known as vignetting). The technique, as with most photo adjustments, works best with raw camera files.

For lens-profile-based correction to be useful, it needs to support a lot of lenses. CyberLink's library of profiles has enlarged since my last review; then it supported 150 lenses, but now has profiles for over 200, with the big names like Canon and Nikon especially well represented. You won't find as full a selection for less-popular names like Pentax. It does offer profiles for DJI drones and GoPro action cams. Adobe, by comparison, has about 600 profiles in its library, and DxO claims more than 17,000 camera-body-plus-lens combinations. You can manually adjust the distortion, and CyberLink users can create their own profiles and make them downloadable from DirectorZone.com.

Tapping a globe icon in the Lens Correction option group takes you to CyberLink's profile download page, where you can see all profiled lenses. DxO makes the process more efficient by automatically popping up a dialog that asks you to download the appropriate profiles whenever you load a photo.

For supported lenses, the program automatically chooses the correct model, and those I tested did improve barrel distortion and vignetting. I am disappointed to see that chromatic aberration (CA) wasn't improved when applying profiles. PhotoDirector offers sliders for CA correction that did let me remove some color fringing, and the program's Defringe tool, though manual, does a great job of removing color strokes from object edges. For excellent automatic results, try DxO PhotoLab. Lightroom and DxO PhotoLab are still way ahead of PhotoDirector when it comes to lens profile corrections, for both geometric distortion and CA (chromatic aberration).

Face Tagging

To get started with face tagging, select some photos in Library mode, and hit the Tag Faces button above the thumbnail grid. This starts an Analyzing dialog, which goes through each photo one at a time. Processing 129 photos took just under 3 minutes. As with all face-recognition software, there were a few false positives— a bush was identified as a face, for example. But I am impressed that it picked up profiles as well as full faces.

The interface for assigning names to faces is, as with much of PhotoDirecter, clear and simple. Once you assign one name, it becomes a button for one-click assignment to other photos with faces. After this, you can just click Faces on the Library's left panel Project tab, and then click on a name to display photos only of that individual. You can also choose "Find more Faces of this person in the selected photos," but the program doesn't do as good a job of suggesting names that belong to a face as competitors do.

Sharing and Output

PhotoDirector offers clear buttons for sharing directly to Flickr, Email, and CyberLink's cloud galleries from a dropdown. You can generate slideshows for instant viewing, saving to an MPEG-4 video file, or direct uploading to YouTube. Lightroom goes beyond this, though, with some actual video editing capabilities.

PhotoDirector's dedicated Print mode offers every imaginable paper size, custom grid settings, and watermarking, but it has no presets for standard sizes. The company has added a soft proofing feature, which will please pros who print their pictures. There's also a Watermarks feature—something Corel only added to AfterShot Pro in its most recent update.

One final note about help: PhotoDirector includes a comprehensive, organized, searchable help system, along with video tutorials, both accessible from clear buttons in the interface. Unfortunately, the help is now on the web rather than a local file. Adobe's software also takes you to the web for help, but you usually have to hunt through info on other programs than the one you're using and even through user comments before you possibly find what you're looking for. CyberLink wins on this count, and you can download its User Guide, in case you're editing on the road with no connectivity. Wildlife photographers can relate to that situation.

CyberLink also offers a mobile version of PhotoDirector for both iOS and Android. It's pretty powerful, with a lot of fun effects and editing tools. The app is ad-supported, or you can pay $4.99 to remove the ads and allow higher output resolution.
A Good Direction for Photos

You can have a lot of fun at a reasonable price with CyberLink PhotoDirector. Its interface is well thought out, and it has all the standard photo-editing tools, along with a bunch of cool extra goodies. Adobe Lightroom, our top pick for pro photo workflow, continues to drive the state of the art in raw file interpretation and correction features. Pro-level photographers will still want Photoshop, and Capture One is best at initial raw import image quality. But for some, PhotoDirector may be a perfectly acceptable low-cost alternative to all three.

The left folder pane is used to browse the folder structure on your computer. Once you’ve located your image folder, thumbnails display almost instantly, even with raw files. Double click on an image and it’ll fill the entire middle pane, with a navigator window to the right and information like EXIF data listed below this.

By selecting a group of files and clicking ‘Edit > Rename Files’, you can easily batch rename a group of images. However, you’re limited to simple text and sequential numbering options, whereas Adobe Bridge’s batch renaming feature offers much more versatility.


Perfect Browse Screenshoton1 has been keen to emphasise the increased speed in this latest version of Perfect Browse, and it’s certainly fast. A folder of Nikon D800 raw files displayed almost instantly on our test PC, and opening full-size individual images was just as quick. What’s more, Perfect Browse had no trouble displaying .ARW raw files from a Sony A7 II, whereas Adobe Bridge refused to preview them.
Perfect Effects 9.5

Once you’ve sorted your shoot and selected a photo to edit in Perfect Browse, you’re free to choose another module from the tabs in the upper right of the screen. Perfect Effects offers the quickest way to add visual punch, with hundreds of different filters selectable from expanding category lists to the left of the image preview.


Perfect Effects

Once you select a style, it can be modified using the Filter Options pane on the right of the image. Above this panel is the Filter Stack, where effects can be layered and opacities altered. Reveal the Blending Options and you can choose how different layers interact with those beneath, with available options mimicking those in Photoshop.


Perfect Effects

This image looked a little undersaturated straight from the camera. It’s been enhanced using a ‘Color Pop’ pre-set effect which combines various filters for a quick and dramatic transformation. Extra impact has been created using a sharpening filter aptly named ‘Amazing Detail Finder’. Finally, a border was added to echo the wooden crate edges in the image.

Perfect Effects Before Perfect Effects After

It’s worth noting that when adding multiple filters, Perfect Effects can perform very slowly, taking several seconds to preview and apply effects. The application’s RAM consumption was measured at over 5.5GB when working with a 20.7MP JPEG test image. The software was tested on a powerful quad-core desktop PC with 8GB RAM.


Perfect Effects Custom Preset

When you’ve hit upon an ideal combination of effects, they can be saved as a custom pre-set and quickly applied to other images in a shoot. Just click ‘Preset > Save Preset’, name your creation and it’ll appear in the My Presets menu of the Presets tab.
Perfect Enhance 9.5

Perfect Enhance

For quicker, more subtle image edits, select the Enhance module. This includes a few simple presets for correcting things like colour and levels. You can also manually adjust these elements using the easy +/- button-controlled options to the right of the image. Alternatively, Perfect Enhance can automatically adjust tone, colour and focus sharpness. There are also cropping and red-eye fix tools, as well as a retouching brush that automatically removes blemishes and acts like Photoshop’s Spot Healing brush.


Perfect Enhance

This image has been enhanced with the detail-sharpening Fix Focus tool, the colours have been warmed and saturation increased, and finally a vignette was applied. Perfect Enhance can seem like a watered-down version of Perfect Effects, but it does provide a quick and easy environment to tweak photos without being bombarded by hundreds of filters.

Perfect B&W 9.5

Perfect BandW

Perfect B&W rivals plugins like DXOFilmPack and Alien Skin Exposure for giving your digital images a black and white analogue film look. This module uses the same format as Perfect Effects and Enhance, with preset thumbnails to the left of the image preview and customisation options on the right. The various monochrome styles on offer are split into categories like nineteenth and twentieth century film themes, plus there’s a True Film category where on1 has emulated classic monochrome film stocks from Fuji, Ilford and Kodak. Whichever preset you chose, you’ll get the ability to adjust the filter’s colour response, increase or decrease the amount of film grain and tweak many more parameters.
Perfect Portrait 9.5


Perfect Portrait

Perfect Portrait is designed to flatter your portrait shots. It works by automatically identifying the mouth and eyes to target specific effects and exclude them from any skin smoothing. You can also manually adjust the outline of each facial feature for a more accurate fit. Once again, you’ll find a selection of preset effects to choose from, this time grouped into Male, Female and Children categories. Assuming that the facial features are accurately defined, Perfect Portrait does a pretty good job of targeting effects at skin, eyes and the mouth.


Perfect Portrait

We’ve smoothed this model’s skin and added a texture effect to keep it looking realistic. Prominent blemishes have been removed using the Retouch Brush, and the lip colour is more vibrant. The overall image tone has been also been made warmer. Compared to the industry-standard software in this sector – Portrait Professional – Perfect Portrait is much more simplistic and doesn’t have the same facial feature detection accuracy or the ability to enhance hair. However, it does capture the essential features and can easily enhance key features like skin complexion.
Perfect Resize 9.5

This module does the impossible: enlarges photos without leaving you with a blurred or pixelated mess. It works by detecting colour and contrast boundaries and sharpening them to give the illusion of a higher resolution image. The effect is quite convincing and certainly better than a standard Photoshop resize, although fine texture detail is lost, creating a slightly cartoony look.


Perfect Resize

Perfect resize is also tailored to printing, so you can select from various crop options on the left of the image preview, depending on the size and manufacturer of paper you’ll be printing on. Canvas categories also get a Gallery Wrap option, enabling you to create a stretched image edge to wrap around a canvas frame.

Perfect Resize Photoshop Enlarged Perfect Resize Perfect Resize Enlarged

This example shows a 1024x768 image enlarged to 3200x2400. The left image has been resized using Photoshop, and Perfect Resize’s result is on the right. Whilst Perfect Resize clearly produces sharper, more detailed results, it does take far longer to achieve them. Making adjustments afterwards can also be frustratingly laggy.
Perfect Layers 9.5

Perfect Layers is extremely useful when masking around objects and replacing backgrounds. There’s no need to painstakingly trace around foreground subjects; just select the new Quick Mask tool from the toolbar next to the image preview and paint a single stroke over the background area you want to remove.


Perfect Layers

After a few seconds, Perfect Layers automatically determines the boundary between subject and background and creates a fairly accurate mask. Click ‘File > Add Layer(s) from File’ to drop in your new background. If Perfect Effects hasn’t removed all traces of the old background, the Refine Brush can be used to make the mask more accurate. The results are impressive, even when dealing with tricky areas like hair and grass.


Perfect Layers

Perfect Photo Suite is a versatile and value-packed entry into image editing software. If you’re used to the advanced tools in Photoshop, filter-based apps like Perfect Effects and B&W can seem simplistic, but they make it easy to enhance your shots in ways that’d require considerable time and effort to replicate in Photoshop.

But where Perfect Photo Suite really shines is its versatility. Google’s rival Nik Collection is built around a fairly tight theme of subtle image enhancement, whereas apps like Perfect Portrait and Perfect Layers give Perfect Photo Suite a much broader range of editing applications.

Perfect Photo Suite isn’t, however, perfect. Whilst Perfect Effects is clearly the standout app in the package, its performance can be frustratingly slow when working with multiple filters. Perfect B&W also has a lot of overlap with Perfect Effects’ content, limiting its appeal. Lastly, Perfect Resize, though effective, is unlikely to get much real-world use.

These are small criticisms though. If you’re put off by the complexity and price of Photoshop, Perfect Photo Suite is a far easier image editing environment to get to grips with, yet one which still offers a huge variety of features and extensive versatility. At this price, it’s hard to find another editing package that offers more bang for your buck

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