5/16/2002 12:31:19 AM, Walter R Basil <[EMAIL PROTECTED]> wrote:

>I just ordered MacGimp from OpenOSX.com. I know I could have downloaded the
>source, compiled it, installed Xfree86 and what not, but I didn't want to
>take the time to do all that. I wanted a one step installer process.
>
>I was wondering if anyone in this list uses that program, and how it
>compares to the most basic of features of Photoshop, from a real user and
>not the product's web site. To give you an example of what I use a graphics
>editor for, I resize, touch up, reduce red eye, change contrast and
>brightness, and will play around with advanced features.

I've used several versions of GIMP (GNU Image Manipulation Program, in case
anybody's wondering), and I think it will suffice for your purposes.
It does some things better than Photoshop, and it has some features PS
doesn't, but depending on what you consider to be an 'advanced' feature, you're sure
to find some things missing when you go exploring.  Photoshop's histograms are
superior, but GIMP's scripting is far more powerful (all of GIMP's functionality can
be scripted in Perl!); some of the Perl automation can even be achieved through
the GUI alone.  Because GIMP has different pallettes, and because layer/channel
pallettes don't have so many options embedded in them (a lot of the functionality
is elsewhere, as I recall), your workflow will be different.  I'm a plug-in whore,
so compatibility with more programs' plug-in formats is one thing I'm hoping for.
Look here for GIMP plug-ins:
http://registry.gimp.org/index.jsp

When comparing GIMP and Photoshop, please don't fall into the trap where you simply
look at all the features that Photoshop has that GIMP doesn't.  Consider this:
Photoshop is the darling of the digital imaging community.  As a consequence,
nearly everyone's work looks technically similar, and a lot of the effects are
identifiable.  Use a different program, use a different algorithm.  Rendering of
certain effects, and processing of images in certain ways, results in subtle
differences; some are visible, some are too subtle to see.  When I produce
a work that I'd like to be taken seriously, it is my goal to hide my brushstrokes.
A piece is more impressive if no one can tell how you pulled it off.



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