Nik Collection 7 from DxO Software

Suggested

I HAVE been a Nik user since 2016. Originally developed in 1995 by Nik Multimedia, Inc., I knew a couple early-adopters who praised its virtues. At one time, the Nikon Corporation had a substantial ownership investment in the company. In 2012, the company was acquired by Google Software. Being "old school," I eschewed it (and really any software other than my go-to Photoshop); preferring to use what I considered "tried and true" methods using masks, layers and other adjustment techniques directly within Photoshop. On top of that I was pretty successfully using a technique espoused by Dan Margulis, incorporating the LAB color space and curves, for my color adjustments. I was confident that I neither wanted, nor needed an additional layer of third-party software - even as a plugin to Photoshop. Until I tried it. Part of my decision had no doubt been based on its cost (originally $599 for the collection, and then reduced to a more reasonable $150 after Google acquired it). I didn't see the cost vs. benefit. Then for reasons unknown to me, Google began offering it free of charge in 2016. I don't even remember why, but for whatever reason, shortly after it became freely available, I downloaded a copy and almost immediately became a convert. I have had it installed in every version of Photoshop since, including my current Photoshop CC 2025 software. It has basically continued to work well. The window of "free" distribution was very short, but I had "fallen" through it. In 2017, Google sold Nik Software to DxO (I am pretty sure the primary interest by DxO was the acquisition of and rights to the "U-point" technology, which they have incorporated into their full post processing software), and by 2018, they had released DxO's "Nik Collection 2.0. Again, being perfectly satisfied with my Google version, I saw no reason to "upgrade."

Until I tried it

UNTIL RECENTLY. For the past couple updates of my Photoshop CC, I have had difficulty getting the noise reduction module (Dfine) to allow me to make manual noise adjustments any more. I had visited the DxO site a couple times to look at their updated Nik collection, and had concluded that although the changes looked interesting, I didn't want to pay the price for an "upgrade" when I felt that the old version was working for me. With the issues I was having though, and the knowledge that as each new upgrade to modern host software is released, there is more and more chance that it will stop working altogether for me, I decided to download the trial version of the newest iteration (Nik Collection 7). Unlike my legacy version, the DxO version is not free. Far from it. Nonetheless, I have now found myself handing over the cash to DxO for the licensed version. Although my experience has been relatively limited so far, I think I am going to like it as a permanent addition to my post-processing.

IN ITS original offering, Nik software involved two separate programs: Nik Sharpener, and Nik ColorEfex (which was essentially a set of configurable filters). In 2015, the company introduced the first Nik Collection, which included some additional modules that had been developed originally as additional stand-alone offers, including Dfine (noise reduction), Silver Efex (B&W conversion) and Viveza, among others. Of greater consequence, however, was the rollout of their U-point technology, a targeted and feathered selection algorithym based on sampling at a point placed in the image, that was cutting edge at the time. Today technology has largely been overtaken by AI selection, masking, and retouching techniques in most competing software plugin programs. To date (with Nik Collection 7 being launched in 2024), DxO has continued to use the analog, non-AI based U-point technology, albeit a much more nuanced and advanced process today. In prior iterations (including my old "Google" copy), there was little you could do to fine-tune the selection process other than changing size of the selected area. In the latest version: Nik Collection 7, DxO has changed that.

Nik Collection 7 is a more or less complete re-work by DxO of the original software

OVER THE succeeding 7 years, DxO made incremental additions to the software, but left its basic workings mostly intact, introducing updates annually (2.0, 3.0, 4.0, 5.0, and oddly enough: 6.3). Nik Collection 7.0, however, is a more or less complete re-work by DxO of the original. With version 7.0, DxO has made major changes to the software, making it much more convenient and flexible than it already was. I didn't realize it at the time, by my timing was immaculate. 😀 Below, I cover some of the important changes to the collection as a whole and to the individual modules that I use the most. Most of the major changes are only in version 7.0.

General Changes

THE PRIMARY new feature is the substantial revamping of the "U-point" technology "control point," covered in detail below. There are some other really convenient and nice global changes in the program also. The interface between each module is now uniform, and DxO has included the facility now to switch back and forth between the Nik applications without exiting an individual module. Instead of saving changes made, for example in ColorFx, exiting and then opening Viveza, you can now just switch back and forth between them (or any other module) without exiting. That will be a time saver and workflow benefit. But the "sea change" in the program is the new iteration of the "U-point technology-based "control points" (and their new siblings). In addition to the traditional "control point," 7.0 now includes 3 new selection tools: "control line," "polygon control point," and "luminousity masks." The control point in Nik Collection 7 is - for the first time - virtually identical and consistent across the entire collection of applications.

THE PROGRAM as a whole has some really nice new features:

• GUI - DxO's version of the collection sports a "modern" GUI (graphical user interface) with customizable background colors. I have always favored either a neutral gray or black background for my photo-processing software. I was easily able to attain that with the newer software.
• Control Points - The control points (with their "U-point" technology that has always been the central feature of Nik's processing algorithm) are now able to not only be made larger and smaller, but can also be shaped as various eliptipical shapes (think various ovals) and can be rotated as well. This adds a lot of flexibility to defining areas to be affected by the adjustments.
• Control Line - In additon to the circular/oval control points, Nik now offers a new control line that works and looks much like the gradient filters in Photoshop and Adobe Camera Raw, with all the familiar "control point adjustments." 
• Polygon Control Point - There is also a new  polygon control point that allows much more precise shaping of the "control point," again with all the familiar adjustments. Setting the point is very easy. I used it recently to outline the white hull of a ship that was picking up an undesirable color cast. It made it easy to desaturate just the hull without effecting other parts of the image.
• Selection Adjustments - All of these control points, which have always been essentially a "smart" feathered mask, now feature the ability to adjust the feathering, with controls for luminance (light), chrominance (color) and diffusion (amount of feathering). I am not sure how much I will make use of all these adjustments, but there is certainly a lot more flexibility and customization available.
• Control point sliders - are now a bit more detailed. In addition to the traditional  brightness, contrast, saturation, structure, hue, RGB, and shadows, new, separate controls for luminance, chrominance and diffusion have been added.
• In 7, an "active" control point dot on the image is yellow. The old legacy ability to link multiple sliders remains, along with another new feature: the ability to "hide" the sliders on the image around the control point (you will still have the right panel control point). In use, I have found the sliders attached to the control point a bit touchy, and I have opted to turn them off. Not only are the right panel sliders easier to see and to manipulate, I like the lack of "clutter" on the image.
• One item I have already really grown to like is the default size of the standard control points (I never could figure out how to change the default size of a newly placed control point in my legacy version and it was invariably bigger than I wanted). The sliders also work just a bit differently in terms of response, but feel like they are "damped" which I think is going to facilitate fine-tuning them. I would still like to see the ability to incrementally move them with the arrow keys (ala, ACR sliders). To the best of my knowledge, no version has had that feature.
• Screen Zoom - Unlike my old version, which would allow one zoom step and back, DxO's current version allows what appears to be infinitely adjustable zoom, working with my mouse's scroll wheel, virtually identically to the way it works in my Photoshop interface.
• DxO Nik collection can be loaded to use either as a stand-alone program or a plugin. While even the legacy program allowed for that, the integration with PS as a plugin is much smoother and more user-friendly. I have never used either program stand-alone, as I have always found it more convenient to simply launch it in PS, do my work, and exit, while my file remains in PS. With the new program, we are given the choice to leave the adjusted image in PS or to send it to another file. While I don't see much advantage at this point to the latter, I like the customizability. Better still, the legacy Nik required you to open a particular application (I mostly used Viveza, Dfine - denoise - and occasionally Color Efex and the black and whie module: Silver Efex), make your adjustments and exit back out. If you wanted to move back and forth, you had to exit/open/exit, etc. The DxO version allows you to easily and freely switch back and forth between all models.

Viveza

• Added left panel with searchable and customizable presets and the ability to save favorites. Beginning with earlier versions, DxO has also added a "Last Edits" panel to the left side (showing up to 15 prior edits). I am generally a one-at-a-time post-processor, so I am not sure whether that is a feature I will take much advantage of, but I can certainly appreciate the utility of being able to make repetitive edits (or even having a "starting point" if there are routine edits you make each time you open the program).
• There is a histogram on the right panel with settings to read overall, red, blue and green, as well as luminance. This should be an invaluable tool for seeing whether a particular move will result in clipping, and/or to back off a particular clipped area.
• The Control Points also have an additional selectivity mode, using a color-picker eyedropper, with its own set of adjustment sliders.
• There is a white balance dropper on the right panel also. I suspect the way that works is to find an area in the image that should be neutral and click on it, obtaining a global adjustment for white balance. The tool also has a radius slider, which I suspect increases or decreased the number of pixels sampled by the dropper.
• Along with all these adjustments, the legacy global application of sliders and levels and curves remains.

Color Efex

• All but two of the applications in the collection except work with the same "control points" interface and sliders, creating a selection upon which to make localized edits and adjustments. Color Efex and Analog Efex are the exceptions.
• Color Efex has not changed substantially (expect for the addition of the always helpful histogram on the right panel). Like the legacy version, filters ("presets") are listed in a left panel. When you choose one, the right panel is populated with adjustments associated with the filter (including in most cases, the familiar control point, control line and polygon). Color Efex is essentially a collection of pre-set filters. When you choose one of them, the filter is applied to the entire image (rather then creating a local-adjustment selection). These control points create a mask. Changing the opacity of the mask will hide or reveal the adjustments made in Color Efex. The ability to adjust the size and feathering of the mask remains. Over the years I have owned the Nik program, I have only made ocassional use of this application. Nothing in the new program suggests to me that I will change that.

Dfine

• Whew. Thankfully, the ability to define areas to apply denoise manually has returned to my screen. It appears that the interface has not fundamentally changed. You can let Dfine automatically select the areas to sample to apply noise reduction or you can click on manual. When using the latter, the same old approach of drawing a rectangle over the area has been maintained. Most of the time, I have found the automatic application to work very well. YOu can adjust the effect of the application the traditional contrast (luminance) noise and color noise.
• There is a choice between noise reduction methods (local adjustments or color range). This is a new feature, to the best of my knowledge.
• The Control Points behave and are adjusted essentially the same as the other aplications.
• New is the ability to preserve edges.
• Also new is a tool that removes banding ("Debanding" with options for vertical or horizontal banding. This is activated with a checkbox.

Silver Efex

• Works essentially as expected, with little change to the basic approach, but all the new, nuanced slider adjustments. I haven't' used this application a lot over the years, but it has been my "go to" for converting to B&W images when I have.

THE REMAINING modules, Pre-sharpener, Sharpener Output, Analog 
Efex, and HDR Efex are all applications I have almost never used. I have preferred my legacy PKSharpener kit originally developed by the Pixel Genius folks for sharpening. Even though it is a basically no-longer avialiable legacy software, my own subjective comparison of it against my Google Nik Sharpener convinced me I liked it better. I have done very little with HDR in recent years. The latitude of modern sensors and capabilityt of modern post processing software has pretty much made HDR photography irrelevant to my type of, and approach to, images. When I did compile multiple images into an HDR render, I used either the third party Photomatix or the very capable HDR render application built into Photoshop. They are modules I will need to re-look at with the new software and if and as I do, I will in all probability blog about them separately.

My Takeaways

I REALLY like all the new adjustability of the control points which DxO has added to the software collection over its few years of ownership. I have been able to make immediate use of the size and shape variablility of the eliptical control points. I have made some limited used of the "control line" feature, but can see it being a valuable tool for the right images moving forward. I have used the polygon control point once so far and found it intuitive and easy to use. I can see a number of situations where I am likely to use it. The eyedropper and white balance tools are something I haven't used, but I suspect I will soon find reason to do so. The fine-tuning tools for the control point masks are appealing, if not a bit daunting. I fully plan to explore them, but will dip my toes in the water more daintily there. The sliders themselves, in addition to adding more options, seem more smooth and reactive, but "damped" and the effect slightly more subtle (maybe as a result of the more sophisticated control point selection algorithym). I do find trying to use them where they are attached to the control point on my reasonably high resolution monitors a bit kludgy. I have availed myself of the ability to turn them off and just use the sliders on the right side panel. I think I am going to like the new software, and will ultimately feel that its improvements over my legacy Google/Nik copy justify the cost and learning curve. Time will tell.

ONE OF my pet peeves over the last 20 years or so of marketing and delivery of computer software has been the lack of written documentation supplied. I get it. Save paper, printing costs and additional shipping costs. We are a digital world. That's o.k. Many providers at least supply a link to software (generally PDF) documentation. I can work with that. What I really find disconcerting is the modern trend to provide essentially no documentation at all. And DxO is guilty of that for the most part. There are "help" files in the software, but they are - for the most part - rudimentary. I found myself - even after 10 years of pretty regular use of the legacy software, floundering with the controls and especially where there were differences. Some people learn best by jumping in and "playing" with the software. No me. I learn best (perhaps because I grew up doing it that way) with in-depth written explanations. I like to be able to read with a highlighter in one hand and post-it flags in the other, so to speak. I like to (as I often say here) "get under the hood" and see how and why the applications work as they do. I almost always find myself buying at least one third-party instruction book, but alas, even those have become mostly a thing of yesteryear. After a pretty thorough search of the internet, I found only a single volume available, "Mastering The Nik Collection Selection Tools," by Robin Whalley. Robin wrote a book some years ago on the legacy Nik Collection from Google and I have the eBook version somewhere (at that time I acquired it I already had to hard-copy books on the software). If, like me, you enjoy a hard copy instruction manual or third-party "how to" book, I recommend you pick it up. To me it is well worth its modest cost. I review it here.

there is really nothing in the Nik Collection plugin that cannot be done without it

SOMETHING THAT undoubtedly occurs to those "seasoned" in post-processing, regardless of which program or combination they use is that there is really nothing in the Nik Collection plugin that cannot be done without it. Indeed it is possible to make needed and wanted adjustments just using Photoshop and its layering capability. It should be relatively apparent, however from the above, that I like this software and personally deem it worth the cost of admission. What makes it useful to me is that it can often accomplish those things with much greater ease, finesse, and convenience. These days, with the degree of "tuning" available in raw converters, post-processing software, and plugins makes it pretty much possible to get where you want to go in numerous different ways. For those reasons, I only give a "suggested" rating. I don't think it is a "must have" program and I think it would be possible to happily get along without it.  However, if you do - as I did - decide to buy the software, I think the book linked above will make your life much, much easier).

Suggested

Book Review: Mastering The Nik Collection Selection Tools - Robin Whalley

Recommended

THE OPPORTUNITY to review a photography or photographic processing related book is becoming more fleeting these days. Written copy has seen - by my observation - a marked decrease in circulation. We live in a digital world. So many people today have their proverbial nose in their so-called "smart phone" (they really aren't so smart - just sayin') and seeing someone read a book is becoming less and less common.

NIK COLLECTION 7 is the biggest and most fundamental upgrade/change to the software program since the "Collection" was first introduced

THEY DO still have their place though, in my view. I readily acknowledge that we learn differently. Many learn by seeing things (and it is why YouTube has become such a hugely popular thing on the internet). Some learn best by just jumping in and "doing." Some of us, though, derive a substantial benefit from having a book in front of them as they learn. For me, the exercise of highlighting sections and flagging pages to re-visit is as much a part of my learning as reading or hearing about something in the first place. I still watch YouTube videos and sometimes find them very helpful. But to me, nothing beats a "text" and my orange highlighter.

understanding the ins and outs of the interface is the most valuable part of learning the program

WITH THAT in mind, the first thing I usually do is seek out a third-party "how to" book when I acquire a new software or device. Recently, I purchased and downloaded some new "plug-in" software for my Photoshop photo post-processing setup. Nik Collection 7, by DxO software is not really "new" to me. I have been using the legacy version (once owned by digital giant: Google) for 10 years now. Almost daily. That plug-in has gotten a bit "long in the tooth," over those years (being originally introduced more like nearly 20 years ago). The legacy version is no longer generally available since DxO's acquisition in 2016. I say "generally" because I believe there are some ways to acquire it on the internet if you do some in-depth research. But since the program was acquired by DxO, they have made incremental change over the years, and then a major change in their version 7 (released in 2024). This means the legacy version has not been supported by anyone since then, and the quantum changes in all software during the period virtually insures that most programs that old will not longer work well with modern software programs. I found the legacy Nik Collection to be a bit of an exception to that truism and have continued to use it effectively to this day. Nonetheless, there have been a few glitches and I fear they will become more marked as newer programs go forward. Those reasons drove me to finally succumb to the marketing pressure and obtain a copy of the newest version of Nik, by its current owner, DxO: Nik Collection 7.

NIK COLLECTION 7 is the biggest and most fundamental upgrade/change to the software program since the "Collection" was first introduced years back. Up until this version, DxO made incremental changes, but nothing really big. I personally think their acquistion was less about Nik and more about obtaining the core technology of the Nik software: "U-point" technology. To me, this is evidenced by their incorporation of that technology into their own primary post-processing software. I also think there is a symbiosis effect when developing the tech for these two different programs, with each benefitting from the other. Hence, some major new changes came about - released now in Nik Collection version 7.

HAVING PURCHASED the software, I searched for a book. Not very good pickings, but I did find the one single option out there: Mastering The Nik Collection Selection Tools; The Art of Photo Editing in the Nik Collection," by Robin Whalley. Deviating from the prior books I own on this software, rather than covering each module in the collection (there are seven of them), Whalley instead focuses on the technology the program uses to achieve its aim, and how to get the most out of it. This approach makes great sense to me, as the interface is essentially the same in each application. Hence, understanding the ins and outs of the interface is the most valuable part of learning the program.

the primary tool is the "control point," which has been with the program from its early years

THERE ARE now 4 different tools contained in the interface that are used to make adjustments to an image through the program. Probably the primary tool is the "control point," which has been with the program from its early years. The program continues to feature analog-based "U-point" technology as its central core (in spite of the mostly AI-dominated image enhancement/adjustment software on the market today). This technology is essentially a sampling program which samples a point on the image and creates a selection based on that sample. For most of its years of existence, we relied almost soley on the software algorithm itself to sample and create the selection. The only real configurability within the program was the ability to make the selected area larger or smaller. Nik Collection 7 changes all that in a big way.

AT FIRST, I just downloaded it and figured that since it was an upgrade to earlier versions, I would just muddle my way through it. I shortly realized that there was a much steeper learning curve than I had anticipated. The new software had re-imagined the control point, adding a couple new versions and adding the ability to fine-tune the actual selection process with size, luminousity, and color-based settings, as well as altering the feathering of the selection. Whalley's book vastly "flattened" the learning curve for me. I is a pretty quick read, mostly getting to the point.

For its very modest price, I think the book is well worth it

I PERSONALLY find his chosen approach a bit pedantic, incorporating a "lesson" style narrative, with explanation followed by "work-through" examples (but I can skip by that part, so it doesn't really effect the utility of the book). The effect here is to make it more of a "workbook," and less of a textbook. In addition to his workthrough examples at the end of each explanation, he adds over 50 pages of workthrough examples at the end of the book. Especially for some who are brand-new to the software, or to digital post-processing, this approach is probably valuable. In spite of the author's urging otherwise, I skipped downloading his example files and the workthrough examples. But I did find the explanations of things that were new, changed, or added invaluable. For its very modest price, I think the book is well worth it (it is available in e-book format also, for an even lower cost, if you want to go that way).

MY ONLY serious criticism of the book is the (by the author's admission, purposely omitted) lack of an index. According to the author, "This book . . . is designed to be used as a practical workbook and not as a reference book." I don't see the distinction as a reason for leaving an index out. I know from creating and editing indexes over the years that they are a lot of work. Tedious, and much less fun than creating the narrative. But as a user, I also know that indexes are an invaluable and priceless aid to use. And I bought the book (not knowing the part about the index) to use as a reference book. I think it can very well suit that purpose, but I think the omission of an index is a shame, and the one fault I find with the book. I wouldn't let that stop you from acquiring it though.

My only serious criticism of the book is the omission of an index

SOMETHING THAT undoubtedly ocurrs to those "seasoned" in post-processing, regardless of which program or combination they use is that there is really nothing in this Nik Collection plugin that cannot be done without it. Indeed it is possible to make needed and wanted adjustments just using Photoshop and its layering capability. What makes Nik useful to me is that it can often accomplish those things with much greater ease, finesse, and convenience. These days, with the degree of "tuning" available in raw converters, post-processing software, and plugins makes it pretty much possible to get where you want to go in numerous different ways. For those reasons, in my review of the Nik Collections 7 software itself, I only give a "suggested" rating. I don't think it is a "must have" program and I think it would be possible to happily get along without it.  However, if you do - as I did - decide to buy the software, I think this book will make your life much, much easier, and so I give it a "recommended" rating (but really only if you have the software).

Recommended

Artificial Intelligence - Is it really so Intelligent?

Alaska "Inside Passage"
Copyright Andy Richards 2010 - All Rights Reserved

ARTIFICIAL INTELLIGENCE. Today, almost always referred to as "AI" (which, ironically has also been the abbreviation for artificial insemination for years. Whether and what the correllation is will have to reserved for another blog - and probably another author).😈

Lone Pine Farm - Kirby, Vermont
Copyright Andy Richards 2023 - All Rights Reserved

SERIOUSLY, THOUGH, what is "AI." When I am not completely sure about a phrase, I sometimes like to break it down into its individual words. The Oxford dictionary defined the word: "intelligence" as "the ability to acquire and apply knowledge and skills." Merriam-Wester defines it a bit differently as: "the ability to apply knowledge to manipulate one's environment or to think abstractly as measured by objective criteria." Some nuanced difference there and neither is exactly what I thought I would find. It shows that this concept is going to be a difficult one to define with precision. The word, "artificial" seems to be more straightforward: "human-made."

Old Barn and Fall Foliage - Kirby, Vermont
Copyright Andy Richards 2023 - All Rights Reserved

WHAT EXACTLY then, do we mean by "AI?" It wouldn't be completely wrong to look back to the early 15th century and the times of scientist/artist/engineer Leonardo DaVinci for the most formal origins of this concept. He created self-propelled mechanical things. But really, those are mechanical. Our discussion of AI, as it relates specifically to photography, and so-called "digital manipulation.

I find that kind of annoying

THE PERCEPTION that AI is "new" is not really an accurate one. It seems like the term is mentioned everywhere these days and every time someone doesn't like something about an image they see on line. I began to really see the explosion of commentary around late 2023 - 2024. But Adobe Photoshop has been introducing some iteration of "AI-based" tools for years, dating back at least to 2010 when their "content-aware" technology came out. Today, virtually (see what I did there? 😁) every software program now touts its "AI" features - often as if it were something brand new they they came up with. I find that kind of annoying.

Florida Gulf Coast Sunset
Copyright Andy Richards 2024 - All Rights Reserved

THE DIFFERENCE today is that (perhaps due as much as anything to social media), people have become aware that it is a thing. For years, critics called imaged that were processed digitally "manipulated." As if the word is a bad word (as is certainly can be). The tried and true artist response to those criticisms has been to point out what film artists like Ansel Adams did to "manipulate" images in the darkroom. Today, though, we have computer-learning technology which applies accumulated examples inputed by humans to a data base that has "learned" how to apply those examples contextually. Is that really "intelligence" or is it just continually more focused iteration? I don't know the answer. What I do know is that however you want to characterize it, it just keeps improving its application.

Swiss Alps - Lungern, Switzerland
Copyright Andy Richards 2024 - All Rights Reserved

IT IS not all good. AI can certainly be used for mischief. A whole new "cottage industry" (primarily in the area of regulation and law enforcement) is developing to root out and identify inappropriate uses of AI. It will not stop. Nor will the need for forensics for different reasons. And there are a lot of folks who just plain don't like it at all. Personally, I look at it as a tool and if used properly, tools can enhance our vision as artists. I tire of reading on line the comment "that's AI and ....." every time somebody sees an image that they think may have been over saturated, or things removed. We have been doing that for years folks. that's not new, and it is generally a matter of opinion (though I agree that it is often taken to extremes). 

Pudding Hill Road in Vermont's "Northeast Kingdom"
Copyright Andy Richards 2024 - All Rights Reserved

IT ALSO is a ways from being perfected. The Golden Retriever photo here is an example of how it is not fully integrated between the data base and suggested input. In that image, I used my own background image of a back road in Vermont in fall, and queried Photoshop's AI - based "generative image" tool (found under the Edit dropdown menu). I tried a number of different phrases, and PS tried a few different times to generate an acceptable image. It never got it right. During the process, the image here is the one I found the most amusing example.

I have consistently chosen not to "render in the cloud"

CLOSELY RELATED to the "generate image" tool is a new component of the "crop" tool. Previously, we had standard cropping and another AI-based dropdown version that used "content aware" technology (again a circa 2010 addition to Photoshop). Much more recently, we now have a third choice: "generative expand," which works by adding canvas and then using the exact same interface as the "generate image" tool. Rather than supplying query terms, however, you just leave that box empty and instruct PS to generate and it will fill in the canvas contextually. Very much like content aware. But more sophisticated. It does a surprisingly good job. Each time you ask it to generate, it gives three choices. If you don't like any of them, tell it to do it again (though in my own brief empirical testing the first one is usually the one I like best). There is one negative (which I suspect will be overcome in the not too distant future). The generated image area is not very high resolution. I have used "generative expand" on a few occasions when I didn't frame an image as well as I would have liked. You can notice the difference in resolution. This would probably be an issue for large prints - though there are some workarounds.

Mala Strana; Prague, Czech Republic
Copyright Andy Richards 2024 - All Rights Reserved

ONE OTHER concern comes to mind here. Most of the new software offering some kind of "AI" capability offers two different "spaces" for conducting the rendering: on your computer and in "the cloud" (which by now everybody knows is euphemistic terminology for "their computer"). As I mentioned earlier, the current delivery method of "AI" generation involves an image memory bank of thousands of images, with an algorithym directing the computer to compare some combination of your image and/or your verbal instructions to the image bank, searching for relevant similar imagery and creating the AI rendering. That is about as elementary (and probably inaccurate in many ways) an explanation as I can give (and probalby the best I am capable of giving). But it does set up my explanation of the two choices. If you choose to render your AI in "the cloud," you will have many more and probably more current imagery to draw from, as well as the quite probable greater computing power of the providers' computers. If you keep it "in house" your comparison bank will be (somewhat) smaller.

Weston, Vermont
Copyright Andy Richards 2010 - All Rights Reserved

I HAVE consistently chosen not to "render in the cloud." I think there are some potential negatives. First, many providers are now charging for each render in some fashion (even subscription based programs will be issuing a set amount of "credits" against cloud-based "AI" rendering and when you run out, you will have to purchase more. Second, in this day and age, I have a healthy fear of just putting my work out there on the cloud. I am certain that among other things, the cloud based AI bank is augmenting each time you put an image out there. I might be wrong. 😏

Spit Rock Light - Split Rock State Park - Two Harbors, Minnesota
Copyright Andy Richards 2010 - All Rights Reserved

EITHER WAY, "AI" is here to stay, and will continue to grow its presence in our lives, and in particular in the way we post-process our images. In future blogs, I will post a couple additional blogs that will cover other specific AI tools that are offered by Photoshop, and how well they work (or don't). Every one of the photographs in this post have some element of "AI" purposely implemented in them Can you identify what was done to each?