Mike Pasini put Exposure through its paces before posting a review of the new version. There were a load of great things mentioned in the article, but among all the gems this is one of our favorites. After using Exposure for a short time, they said, “In fact, we felt we had mastered the masking tools on our first try. Masking used to require painstaking expertise but with Exposure X7, it’s child’s play.”

Erik on Visuals Producer posted a detailed review of Exposure X7. He was also impressed by the new masking tools, but the new workspaces also grabbed his attention. When customizing the interface for different arrangements, Erik said, “Again, it offers much more flexibility than any other editor I know.”

Anthoni Morganti posted a video review of Exposure X7. He does a quick demonstration of how the new masking tools work and points out a few others. When working with the masking tools, Anthoni said, ”I think these are really powerful tools that have been introduced in this version. And they are welcomed additions.”

Additionally, Italian journalist Alessio Fabrizi said in a review in Fotografia Moderna that Exposure is “one of the best services to be able to edit RAW photos directly with very interesting presets.”

Thank you again to everyone that helped make Exposure X7 possible. It took more than just the people on our team. We also want to thank our beta testers, photographers that shared their work with us, our social media followers, and everyone who made suggestions and requests about how to improve Exposure over the years.

The post New Exposure X7 Reviews appeared first on Exposure Software.

He used a single shot from a modern camera–a Sony TX200V for you gearheads–and he ran it through Exposure. Simple enough, right? His goal was to produce historically accurate looks on this one shot. In the end, the effects he came up with look great and are convincing, too!

Head over to mikepasini.com for the rest of the scoop. Thanks, Mike!

The post Aging a Photo with Mike Pasini appeared first on Exposure Software.

She has a good grasp on what she wants her images to look like, so her workflow usually includes a lot of customizing and even some fancy Photoshopping. Below is a easy-to-follow tutorial that she wrote about using the oil paint effect in Snap Art to turn one of her flower shots into a work of art. With that said: Denise, you have the floor.

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When choosing an image that will work with Oil Paint effect filter in Snap Art 4, I look for something that doesn’t have many intricate lines. Tiny details can get lost when using painterly effects. Sometimes details don’t render well, either. My original shot illustrates a good starting point for when I want to create a “painting” from one of my photos. My original shot is horizontal, but I will add to the canvas and elongate the stem. It’ll work better as a vertical composition.

It is important to note that this original image would work perfectly on its own in Snap Art 4. I am just showing some different possibilities for what can be done.

The first thing I need to do is add the canvas. I do that with the Crop tool in Photoshop. Just select the canvas and drag the bottom handle down to where you want the image to end. Alternately you could go to Image> Canvas Size, but it’s much quicker to use the crop tool.

To fill in the blank canvas, I’ll use content aware. You could add a solid color fill, but content aware looks best to my eye. First, make a selection of the area to be filled. It doesn’t matter which selection tool you use. Just go with something easy like the quick selection tool or the magic wand. Next, go to Select–>Modify–>Expand and choose 5 pixels. These extra pixels will overlap the selected area enough to cover it up, which will take care of any unwanted extra lines.

Next, Edit–>Fill and choose “Content Aware” from the drop down menu. Normal blending mode at 100% opacity is what you want. Don’t check Preserve Transparency–it won’t work for us, here. At this point I’m not concerned with the way the background looks from the content aware fill. I will make tweaks after I get the stem in place.

Now I am ready to elongate the stem. I start by selecting the small portion of the stem that is visible with the Rectangular Marquee tool.  Then engage Free Transform (Cmd/Ctrl+T) and drag the stem downward. I repeat this step until I have a long enough stem.  After that, I use the brush tool with 0% hardness and 100% opacity to smooth-over any straight or distracting lines in the background. This is to prepare my image for the texture overlay that follows.

I like to apply a texture overlay before putting my image into Snap Art 4 so that the brushstrokes of the program will be more visible and add dimension to my background. To add a texture I go to File–>Place and select the texture from my files that I want to use. The transform tool will be engaged when you place an image and the texture will come into Photoshop at the top of the layer stack. By having the transform tool engaged, I can quickly fit the texture layer to match the size of my base image. Then set the blend mode to screen because this texture is so dark.

Now my image is ready to go into Snap Art, so I can apply an oil paint effect. I quickly choose which preset I’d like to start with–which is almost always Oil Paint. Next, I’ll customize it for the image. Everyone has personal preferences when it comes to sliders. For an oil paint effect, here are a few of mine: I like a brush size between 30-40, and photorealism between 15 and 30. I like extra thick paint thickness, so I usually crank that up all the way. Stroke length varies anywhere from 30-80.

I almost always use the default brush, even when using masking. I like to mask the effect out of the center area of the image more often than not. As for the canvas, I usually end up using Transparent or Hot Press Paper.

After I apply Snap Art to the base image I apply simple tweaks in Photoshop to intensify the oil paint effect in a way my eyes like. I’ll adjust the color, the contrast, add some sharpening–only after I have resized my image–and I’ll occasionally do a little cloning. Sometimes the filter will produce outlines. so I clone a few, not all, of them out.

Be as creative as you like to when it comes to finishing touches. Below is my final shot. Hope you like it!

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Check out more from Denise on her website, on Facebook, or on Twitter.

The post Applying an Oil Paint Effect: A Snap Art Workflow with Denise Ippolito appeared first on Exposure Software.

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Alien Skin Exposure 5

By Steve Dreyer

I often look at my twin lens Rolleicord and old Kodak and Nikon F3 film cameras that sit proudly on the shelf in my office. The shelf is situated to my left as I walk towards my desk where I have all my digital equipment−almost to remind me of the way it was! There was just something special, even magical, about the feeling I had when I picked these cameras up to photograph something and later went back to my darkroom or over to a custom lab to see the images come to life.

But now I use DSLRs and post-processing to achieve my vision. Software programs are getting better all the time, as they incorporate algorithms for adjusting sharpness to noise to everything in between. The programs we use are, or should be, dictated by what we want to accomplish, possible client or gallery requirements, and the ease of use and control that they give us to create that final image−our vision of the scene we saw when we pressed the shutter. However, I still love the look of film and that’s why I jumped at the opportunity to experiment with the latest Alien Skin Exposure version 5.

Figure 1

For those that are not familiar with Alien Skin Software, the company has been known for its quality products since the mid-1990s. Even so, the products are very far from “old tech” as the company has continually innovated over the years. Their attention to meeting customer requirements, support and great software is what defines them.

Software companies work hard to differentiate their products, and it’s not easy to be unique in a world that provides photographers with so many choices. But the latest version of the Alien Skin’s Exposure product does just that. I’ve spent quite a lot of time with this version and this article describes just a few of my favorite features with examples of how I used them.

Exposure 5 Features

Version 5 expands on the ease of use and rich feature set of previous versions of the software. For example, the new darkened background and panel interface resembles the look of Adobe Lightroom and Photoshop. It’s easier to use than previous versions and if you use the Adobe products it feels more like part of the general workflow. An important feature is that you can also use Exposure 5 as a standalone product, so Lightroom and Photoshop are not even required. Just open Exposure and select the image file that you want to work on. Contrary to the way some other tools work, you can access all the color and black and white presets and controls from the same interface−there’s no need for separate products. This means that you can more easily experiment to achieve your vision of the final image.

Figure 2

 

As in previous versions, the left panel is where you select from the included “presets” for your work. I use them as starting points because they have been researched and developed specifically for the look of film. There are even some films that I never heard of and it’s actually fun to experiment. I may still make further adjustments with the sliders in the right panel. And you can create your own presets after you’ve customized the ones that are included with the product, which means that you can easily apply a consistent effect on a set of images from a shoot−with the click of a homemade preset. Here are just a few of the many things that I like about Exposure 5, with some examples.

Black and White Film Simulation

The opening images−the before (color) and after (black and white) provide just one example of the many black and white film effects that are available. I thought the color image that was right out of the camera was okay, but it wasn’t that special and didn’t represent the look I desired. I wanted an image that would show the lines and detail of the rock and landscape against a darkened sky.

I could have created the black and white version in Lightroom, Photoshop and/or with certain other plug- ins. But with Alien Skin Exposure, it took me less than two minutes to achieve the film effect that I wanted. Figure 1 shows the left panel of Exposure 5, where I selected the Kodak Technical Pan film. Because I wanted an even darker sky without affecting the white clouds, I moved the blue slider in the right side panel (Figure 2) to the left (effectively darkening only the blue), and that was all that was necessary.

Figure 3

Figure 4

Color Film Simulation

Like many other photographers, my go-to color film was Kodachrome 64, especially for its richness and depth of the color. Alien Skin Exposure 5 not only has a great simulation for this film, as it does with all included color film presets for Agfa, Fuji, GAF and many others, but it allows for even further adjustments. Figures 3 and 4 show an original RAW format image and the final Kodachrome image respectively, after applying a few sliders in the right side panel. And just because it took only a second, I applied a Tri-X treatment (Figure 4) to see how that would look.

You can see some film grain (as distinguished from noise) that was added to this image. It can be achieved naturally by using certain films (as in the case of Tri-X) and in the development process. Exposure 5 lets you easily add a grain effect and has sliders that allow you to control the amount, the size and how the grain will be applied in shadows, midtones and highlights.

Borders and Textures

There is a section in the right panel called Borders & Textures, which is a convenient way to further stylize images. Although there are presets in the left panel that automatically incorporate some of these effects, you can select a preset as a starting point and then add an effect from the right panel. It’s that easy, and you can experiment for the effect that’s most pleasing. As with other right panel adjustments, they can be applied to the provided color and black and white presets or your own creations.

Figure 5 is a color version of a woman handling chestnuts at an outdoor market in Asia. It is the result of applying the Kodachrome 25 preset to an eight megapixel RAW image taken several years ago with no other adjustments. Selecting a black and white preset can give this type of image an “old” feeling. I selected Tri-X, added some scratches and a vintage border from the adjustments in the right panel (Figure 6) and wound up with the photo in Figure 7. Note that there are no scratches in the center of the image−there’s a convenient “protect center” option that eliminates the effect in that area.

From left to right, Figures 5, 6, & 7

Summary

The effects described above and the many more that exist are a click and optionally a slider away. Aside from the technical and artistic benefits of Exposure 5, it is really easy to use. In fact, it can stimulate your creativity. Mousing over an effect in the presets in the left and right panels gives you a glimpse of how the image will look if you apply the effect. This feature gives you live view flexibility in your quest for achieving your vision.

You don’t have to want a film effect to get the benefits of Alien Skin Exposure. But if you do, this is a must-try product. What’s interesting is that while I use other products for some of their unique features and functions, I now find myself opening Exposure 5 on almost every image−even before I use the others.

Exposure 5 has rekindled my love of film, albeit without the expense, chemicals or the effort. Alien Skin Software has a tagline for its Exposure product: “taking the digital out of digital photography” and I couldn’t agree more!

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Steve Dreyer is a fine art photographer based out of New York. He is a contributing writer for Photo Technique magazine, and he leads workshops for B&H Photo. See more from Steve on his website and his blog.

The post Steve Dreyer’s review of Exposure from Photo Technique Magazine appeared first on Exposure Software.

Below is an article on Snap Art 3 that Tim wrote for Pixology. Thanks for sharing, Tim!

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Masterful Painting & Drawing Effects with Snap Art 3

I’ve loved photography for as long as I can remember, but along the way I’ve periodically felt envious of those who could create artwork from scratch, drawing directly onto an empty canvas with paint or other media. I’ve never had the talent for drawing or painting, which may explain why I’ve always been interested in creating painterly interpretations of my photographic images using Photoshop and a variety of other tools.

The problem is, most of the available tools for creating such artistic variations on a photographic image have fallen short of my expectations. That all changed when I was introduced to Snap Art from Alien Skin Software.

Getting Started

Snap Art provides a wide variety of artistic filter effects you can apply to your photographic images. In short, Snap Art provides you with painting and drawing effects that are natural in appearance, without the obvious pattern duplication I’ve been frustrated by with other filters offering similar effects.

Snap Art runs as a plug-in within a host application, supporting recent versions of Photoshop, Photoshop Elements, and Lightroom on both the Windows and Macintosh platforms. In other words, you must have one of these host applications to put Snap Art to use. Within any of these host applications, putting Snap Art to use to create an artistic interpretation of any photo is simple.

Within Photoshop or Photoshop Elements, after opening an image you’d like to process with Snap Art, you simply choose Filter > Alien Skin > Snap Art 3 from the menu. In Lightroom you access Snap Art as an external editor by choosing Photo > Edit In > Snap Art 3 from the menu. Regardless of which host application you’re using, after choosing the appropriate command your image will be presented within the Snap Art interface.

At a fundamental level, working with Snap Art is remarkably easy. On the left side of the interface you’ll find a set of Factory Settings presets, grouped into categories based on the type of effect. These categories include, for example, Color Pencil, Crayon, Oil Paint, Pastel, and others. You can expand or contract any of these sections of presets by clicking the triangle icon to the left of any of the headers. Then simply click on the name of a preset you’d like to apply, and the preview will update to reflect that particular creative effect. When you find an effect you’re happy with, simply click the OK button and the result will be applied to your image.

If you are working in Photoshop or Photoshop Elements, the Snap Art effect is applied as a duplicate image layer, ensuring the adjustments are completely non-destructive to your original image. If you’re working in Lightroom, a new image will be created in a stack with your original, preserving that original version.

Customizing the Effects

While the presets included with Snap Art provide a quick and easy method of applying various artistic effects to a photographic image, you can also customize the effect using a set of controls on the right side of the Snap Art interface. You can also save your custom settings to create your own presets for use with other image later.

What I find is that I like to explore the many presets to get a sense of what type of effect might work best for a given image, and then I’ll use that as a starting point as I fine-tune the settings for the effect.

You actually don’t need to use the presets as a starting point at all if you don’t want to. Instead you can simply choose the desired type of effect from the Mode popup on the Background tab at the right side of the Snap Art interface. The specific controls for refining the effect will vary based on the option you choose. For example, the Oil Paint mode features a control to adjust the amount of color variation between brush strokes, while the Color Pencil mode allows you to specify the degree to which the color pencil strokes should cover the virtual paper behind the image.

The controls for each of the effect modes are very straightforward, so you have a pretty good sense of what each control will do to the image. More importantly though, I don’t think you’ll find the controls to be the least bit intimidating, so you can comfortably experiment with the various options as you decide how you want to interpret the current photographic image.

Randomization

At the bottom of the Background tab at the right side of the Snap Art interface you’ll find a Random Seed button with a number in a text box to the right of the button. This somewhat unassuming button is perhaps one of the more important options for creating a truly unique creative effect.

Each time you click the Random Seed button the image is re-processed with the same settings, but with a variation on the overall look. The result is an image with the same stylistic appearance but with a random variation on how that look is achieved. The concept is very simple, but the result is a degree of variability that ensures each image you process with Snap Art can look completely unique.

Utilizing Layers

You may already be familiar with the use of layers and masks in Photoshop or Photoshop Elements to create composite images or apply adjustments that only affect a specific area of a photo. Similarly, you may be familiar with the Adjustment Brush tool in Lightroom, which enables you to paint specific adjustments into particular areas of a photo. Snap Art includes a Layers feature that provides similar benefits, allowing you to fine-tune the filter effect in specific areas you identify by painting within the image.

After adjusting the settings as desired for the overall image using the controls on the Background tab, you can switch to the Layers tab to begin working on specific areas of the photo. By default a single layer will be available, but it will not actually define any area of the image. To define an area of the photo you’d like to apply different settings to, simply start painting on the image preview.

As you paint you will see a pink overlay indicating the area you are painting. You can show the entire mask you’ve defined for the custom effect by clicking the Show button toward the top-right of the Layers tab. This button acts as a toggle, allowing you to turn off the overlay as well.

You can adjust the settings for the brush using the Mask Tool controls at the bottom of the Layers tab. The first set of controls allows you to choose whether you want to add to the existing mask or subtract from that mask. You can also click a triangle icon to the right of these buttons to expand the list of controls, allowing you to adjust the size of the brush, the degree of feathering for the brush edge, and the Amount, which controls the overall opacity of the Mask Tool brush.

Once you’ve defined the area you want to apply custom settings to, you can use the set of controls in the Effect section to change the appearance of the area you’ve masked. For example, you can create a more photorealistic effect for a key subject in the photo, with a more artistic interpretation applied to the rest of the photo.

Taking things a step further, you can create multiple layers within the image so you can fine-tune multiple areas with a variable effect. To add a mask layer click the New Layer button in the Mask section of the Layers tab.

Additional Adjustment Options

You’ll likely spend most of your time in Snap Art adjusting the controls on the Background tab, and with certain images you may spend some time focusing specific effects in particular areas using the Layers tab. However, you can further refine your results using the controls on the Color and Canvas tabs.

The Color tab provides a set of basic tonal and color adjustments that include Brightness, Contrast, Saturation, and Temperature. These are obviously very basic adjustments you could easily apply through the host application you’re using for Snap Art, but it can be helpful to utilize these controls while you’re establishing the overall filter effect you want to apply to the image within Snap Art.

The Canvas tab allows you to adjust the settings for the virtual material your artwork is being created on. In other words, you can adjust the color and texture of the substrate, which can affect not only the texture of the actual creative effect you’ve applied, but also the color and texture of areas where the “paint” does not cover the entire image area. For example, if you set the Coverage setting for the Pastel effect to a very low value, paper white will appear between some of the pastel strokes in the image. The Canvas settings determine how those areas appear.

You can start off by selecting a canvas option from the Preset popup at the top of the Canvas tab. You can then adjust the Thickness setting to adjust the overall strength of the canvas effect. In addition, you can adjust settings for Lighting and Vignette to adjust the overall appearance of the canvas on which your image appears.

Taking a Test Drive

If you have any interest whatsoever in producing creative artistic interpretations of your photographic images, I strongly encourage you to try out Snap Art 3 from Alien Skin Software. You can download a free trial of Snap Art (and other plug-ins) through the Alien Skin Software website at www.alienskin.com.

Snap Art 3 is priced at $99 for new customers, or $69 for those upgrading from prior versions of Snap Art. This is a little on the expensive side for plug-ins, but considering the high quality of the creative effects you can produce with Snap Art, as well as the considerable control you can exercise over the process, I think this is a very worthwhile purchase for those who are interested in a relatively simple method of creating impressive artistic versions that mimic various painting and drawing styles.

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Tim has a slew of online resources available. In the free Ask Tim Grey eNewsletter he answers a workflow question each weekday. If you want to read more from Tim, check out his website or his blog. Social butterflies can connect with him on Facebook, Twitter, or his Youtube channel. Recently Tim started recording podcasts. Check them out here.

The post Art Effects Made Easy with Tim Grey appeared first on Exposure Software.

Zach wanted to answer the question, “Is Exposure 5 the must-have plug-in that Exposure 4 was?” He answered this question and more in the article. Thanks Zach!

Did I mention that Zach Sutton is a photographer too?

The post Fstoppers Exposure 5 Review appeared first on Exposure Software.

He gave us a taste of the review in his preview article a few weeks back. Steve’s eloquent writing and beautiful photography make him a leading voice in the industry. We appreciate that he openly shares what he thinks of our software. Thanks, Steve!

Grab a copy of Photo Technique once it hits the shelves, or check their website to read Steve’s opinions for yourself.

Below is an example of Steve’s work.

The post Steve Dreyer Reviews Exposure 5 appeared first on Exposure Software.

Colin suggests that whether you have years of experience with film or you’re new to the hobby, Exposure will have something exciting for you to explore. According to him, the deep library of presets, impressive rendering speed, and helpful tooltips are Exposure’s best attributes.

Below is an example photo from the article. Thanks, Colin!

The post Exposure review on PetaPixel appeared first on Exposure Software.

Recently, he wrote a little about Exposure 5 and gave us some photos to share on our blog. In addition to this post, check out his review of Exposure 5 in the upcoming September issue of Photo Technique.

The rest of this post is from him. Thanks Steve!

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Like many photographers, I started making images with color and black and white film.  I used Kodak Tri-X and Kodachrome, Ilford HP5+ and many others. And while I now use digital cameras, I have to admit that I periodically look at my Rolleicord and Nikon F3 film cameras with a sense of nostalgia – and maybe even a longing for the look of film.

That’s why I jumped at the opportunity to try Exposure 5 as soon as it became available.  But could it really satisfy my desire for the look of film? A resounding yes! Read on for some examples of my workflow.

Image 1: Ireland Row Boats

This first image was taken in Ireland on a very overcast and misty day. Of course Ireland is known for its color, especially the green in its beautiful landscapes. So my first inclination was to apply a few color enhancements to a raw image of two row boats and a  building in the distance.

But I wanted to see how Exposure 5 would handle a colorful image by applying a film preset as a starting point, and then adjusting the look by moving some sliders.  I don’t usually work with infrared, but Exposure gave me the chance to try it out.  I selected B&W Infrared Fog White in the Presets panel and then used the sliders for Overall Intensity and the Tone Curve to increase contrast.  I finished it off with a Vignette, selecting Distortion in the dropdown.  The finished black and white image is below.

Image 2: The Potter

I was in Turkey a few months ago and visited a pottery shop outside of Cappadocia, which in itself is a landscape photographer’s dream. I was shown how the locals do their work and tried it myself – with not much success. I was indoors and didn’t have a lot of time to make the best lighting adjustments, and the overhead lights added a slight yellow tone to the image.  I did some work on the photo in Lightroom and came up with this image.

But I wanted more focus on the potter’s hands and movement of the wheel as the pottery spun around as he pressed down to form the desired shape.

I decided to use Exposure’s Kodachrome 64 preset as a starting point and then made some additional tweaks with the sliders.

These were the steps:

• reduced the overall intensity of the preset by 20%
• selected the “Crushed Blacks” preset in the Tone Curve
• sharpened just a bit
• added 80% to the Blur slider, which added a look of movement
• selected Distortion as the Vignette preset

Here’s the finished image.

Image 3: Old Buick

Old cars can make for great images and I was fortunate to have my camera at my side as I passed this old Buick a few years ago.  But some photos out of the camera don’t do justice to the way you may have felt at the time or what you thought when you pressed the shutter.  Here’s the original image after post-processing in Lightroom.

Other than the car’s obviously old features, the image needed something extra to indicate its age. So I launched Exposure 5 and applied adjustments that took all of 2 minutes to complete!  First, I selected the Color Films – Vintage Autochrome preset (obvious, right?) and let the software do its magic.  I then finished it off by applying the Dust & Scratches preset and a Grunge border, and was greeted with this final image.

So there you have it.  Three different applications out of what seems to be an infinite number of ways to make images that represent your creative vision.  There are so many ways to use Exposure 5 to your advantage.  If you use Exposure, you’ll have more time to be in the field. And it’s easy, quick and satisfying to go back over some of your old images, including some you chalked up as not very usable.

I must admit that I still like looking at my film cameras on the shelf next to my computer.  But I also know that Exposure 5 will help, at least a little, to satisfy my nostalgia for film!

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Check out more from Steve on his website and his blog.

The post Steve Dreyer On Exposure 5 appeared first on Exposure Software.

Steve has produced a lot of great-looking artwork with Snap Art. Below is just a taste. Take a look through his online gallery for more.

To learn more about Snap Art’s features, as well as see videos and example images, visit the Snap Art web page.

The post Steve Campbell talks Snap Art appeared first on Exposure Software.

© 2013 by Michael Roy Pasini

Mike Pasini wrote a great review of Exposure 5. He compares Exposure with some other film emulation tools and finds that “Exposure 5 has upped the ante.”

The second half of the review is a case study for applying a vintage look with Exposure. He also gives a nice tour of Exposure’s new interface.

The post Mike Pasini Reviews Exposure 5 appeared first on Exposure Software.

Tyson Robichaud is the first to write a review of Exposure 5 and it’s a great one. I’m always happy when reviewers provide detail, opinions, and photos so you can tell they aren’t just reprinting the press release. For info on the new features, including videos and examples, visit the Exposure 5 web page.

While I was reading Tyson’s blog, I enjoyed his article comparing the Olympus 75mm f/1.8 and Canon 135 f/2 L lenses. They are similar lenses from the Micro Four Thirds and full frame worlds. I own the Olympus 75mm f/1.8 and love it.

The post Tyson Robichaud on Exposure 5 appeared first on Exposure Software.

The post Eye Candy 7 on Technabob.com appeared first on Exposure Software.

James Dempsey reviewed Eye Candy 7 in exactly the way I would, through pictures instead of words. You can read the article at The Graphic Mac.

Thanks, James!

The post The Graphic Mac: 8 Reasons I LOVE Eye Candy 7 appeared first on Exposure Software.

Photo District News named Exposure 4 the Best Software of 2012. Dan Havlik said, “There’s tons of software on the market that digitally simulates the look of classic film stocks but Alien Skin Exposure 4 was the most comprehensive — and most fun! — plug-in we’ve tried.” Thanks, Dan!

In the article there is a link to Dan’s full review of Exposure 4. His review mentions the original price of $249, but since then we decreased it to $199.

The post Exposure Wins PDN 2012 Software of the Year appeared first on Exposure Software.

Along with the review, he made an interesting example project called The Time Machine. For the project, he made modern-day lingerie photos travel back through time simply by applying basic Exposure presets.

There are many excellent before and after images in the review. Below are just a few of the finals. Check out the article for more.

Color film Vintage Autochrome Preset

Black and White film Vintage Lith Preset

Color film Kodak Ultra Color 100 UC Preset

The post Exposure 4 on Fotoup.net appeared first on Exposure Software.