By Jack Neubart
Photographer, photo-technical writer, musician/composer, software developer, birder.
Text and images ©2025 Jack Neubart. All rights reserved.
All original photos processed in DxO PhotoLab 8.
Photographer, photo-technical writer, musician/composer, software developer, birder.
Text and images ©2025 Jack Neubart. All rights reserved.
All original photos processed in DxO PhotoLab 8.
Golden-crowned Kinglet, Magic Hedge, Montrose Point Bird Sanctuary, Chicago. ©2025 Jack Neubart. All rights reserved.
The first thing that becomes abundantly clear the moment you step on DxO PhotoLab 8’s turf is that you’re genuinely engaged and focused on your task: You work methodically to make the image the best it can be. You’re not entering a funhouse filled with whimsical illusions and seemingly magical transformations. You’re here to do a job. And that’s serious business.
Not that PhotoLab 8 isn’t fun to use. It is, but only up to a point. This Raw image editor takes itself very seriously – and for good reason. That’s because it has earned the right to do so. It comes replete with all the necessary tools to deliver a photograph you can proudly display, publish or gift.
And let me tell you: it’s mesmerizing. I can’t pull myself away from the computer. Fact is, I'm constantly drawn back and keep finding more and more images to edit. And sometimes it's just to revisit an image and fine-tune the edits already done. It's challenging. And, yes, it's fun.
Not that PhotoLab 8 isn’t fun to use. It is, but only up to a point. This Raw image editor takes itself very seriously – and for good reason. That’s because it has earned the right to do so. It comes replete with all the necessary tools to deliver a photograph you can proudly display, publish or gift.
And let me tell you: it’s mesmerizing. I can’t pull myself away from the computer. Fact is, I'm constantly drawn back and keep finding more and more images to edit. And sometimes it's just to revisit an image and fine-tune the edits already done. It's challenging. And, yes, it's fun.
Raw Editing to the Core
Keep in mind that PhotoLab 8 does one thing – and does it well: Raw image editing. The original Raw image is always front-and-center, assuming you started with a Raw file, of course. There is no sudden transition from editing a nondestructive Raw file to pixel-level editing. You can always retrace your steps and go back to a previous point with the Raw image. Even if it means starting from scratch, if that’s what it takes to deliver the results you’ve envisioned.
Of course, there are those images that could benefit from pixel-level editing. You may want to remove people or other intrusive elements from the picture or expand the frame. You may even want to replace the sky with one that is more dramatic. These are steps that may involve Generative AI processing – a methodology beyond the ken of PhotoLab 8 – at least, at this juncture.
But DxO does optionally provide the means to take the image in other directions, with Nik software and its own proprietary DxO plugins. As the image lands on these transformative landscapes, you discover a new world of possibilities. For that matter, one set of plugins – Nik Collection – has recently been updated to Nik Collection 8, with numerous enhancements. But that’s a topic for another day.
Keep in mind that PhotoLab 8 does one thing – and does it well: Raw image editing. The original Raw image is always front-and-center, assuming you started with a Raw file, of course. There is no sudden transition from editing a nondestructive Raw file to pixel-level editing. You can always retrace your steps and go back to a previous point with the Raw image. Even if it means starting from scratch, if that’s what it takes to deliver the results you’ve envisioned.
Of course, there are those images that could benefit from pixel-level editing. You may want to remove people or other intrusive elements from the picture or expand the frame. You may even want to replace the sky with one that is more dramatic. These are steps that may involve Generative AI processing – a methodology beyond the ken of PhotoLab 8 – at least, at this juncture.
But DxO does optionally provide the means to take the image in other directions, with Nik software and its own proprietary DxO plugins. As the image lands on these transformative landscapes, you discover a new world of possibilities. For that matter, one set of plugins – Nik Collection – has recently been updated to Nik Collection 8, with numerous enhancements. But that’s a topic for another day.
A Little Background
DxO PhotoLab 8 has come a long way since it first took breath as DxO Optics Pro. Back in its formative years this digital image software application proved it has what photographers need and, in the years that followed, continues to hold sway among a field of contenders of every pedigree, while building upon its strengths.
Today, in its current iteration as DxO PhotoLab 8, its influence on the digital world has not waned. PhotoLab still ranks among the best in tonal and perspective control, along with a host of other digital imaging parameters. When it comes to tonal corrections, DxO introduced or built upon concepts that are widely copied or entirely proprietary, such as U Point technology, which provides local adjustments in a manner unheard of before it was introduced (originally in Nik plugins and now in PhotoLab itself) and unrivaled since. In the realm of perspective control DxO set the bar. They were, I believe, the first to offer auto perspective corrections – and nailed it! And the quality, extent and strength of this feature sits well out of reach of many other digital Raw editors.
Beyond all that, DxO’s support for what may be the most expansive and expanding field of camera/lens optical corrections on the planet truly sets it apart from the competition. Unlike most digital editing applications, which subscribe to various testing services, DxO conducts their own optical tests. And they’re continually building on that database with regular updates (embodied in DxO Modules).
DxO PhotoLab 8 has come a long way since it first took breath as DxO Optics Pro. Back in its formative years this digital image software application proved it has what photographers need and, in the years that followed, continues to hold sway among a field of contenders of every pedigree, while building upon its strengths.
Today, in its current iteration as DxO PhotoLab 8, its influence on the digital world has not waned. PhotoLab still ranks among the best in tonal and perspective control, along with a host of other digital imaging parameters. When it comes to tonal corrections, DxO introduced or built upon concepts that are widely copied or entirely proprietary, such as U Point technology, which provides local adjustments in a manner unheard of before it was introduced (originally in Nik plugins and now in PhotoLab itself) and unrivaled since. In the realm of perspective control DxO set the bar. They were, I believe, the first to offer auto perspective corrections – and nailed it! And the quality, extent and strength of this feature sits well out of reach of many other digital Raw editors.
Beyond all that, DxO’s support for what may be the most expansive and expanding field of camera/lens optical corrections on the planet truly sets it apart from the competition. Unlike most digital editing applications, which subscribe to various testing services, DxO conducts their own optical tests. And they’re continually building on that database with regular updates (embodied in DxO Modules).
A Word or Two About Settings and Preferences
The PhotoLab 8 workspace (editing screen) is fully customizable. I chose to work in the default workspace for my initial foray into the software - and that's what I'll be describing. As your experience with the application progresses, you may want to finesse and save a custom workspace laid out with your preferences in mind. But for now, let's skip ahead...
At the outset you can direct how the application greets new images. Again, I’d leave the default settings in place to begin with. It’s a sensible and flexible starting point. Leave other settings in place for now as well, until you’ve familiarized yourself with the application.
With one notable exception. In Settings/Prefs, opt to compare the edited version to the original image with “No Corrections (without Geometry),” so you’ll get a faithful comparison to the original. (TIP. When creating a virtual copy, I engage a Preset under this name, to give me a fresh starting point or just to keep the unvarnished original constantly in front of me. More on virtual copies below.)
TIP. Apart from initial global settings, there’s also the option to copy and paste settings selectively from one image to the next – or to several images simultaneously, once you start editing. This approach makes sense when a Preset just doesn’t quite hit its mark.
The PhotoLab 8 workspace (editing screen) is fully customizable. I chose to work in the default workspace for my initial foray into the software - and that's what I'll be describing. As your experience with the application progresses, you may want to finesse and save a custom workspace laid out with your preferences in mind. But for now, let's skip ahead...
At the outset you can direct how the application greets new images. Again, I’d leave the default settings in place to begin with. It’s a sensible and flexible starting point. Leave other settings in place for now as well, until you’ve familiarized yourself with the application.
With one notable exception. In Settings/Prefs, opt to compare the edited version to the original image with “No Corrections (without Geometry),” so you’ll get a faithful comparison to the original. (TIP. When creating a virtual copy, I engage a Preset under this name, to give me a fresh starting point or just to keep the unvarnished original constantly in front of me. More on virtual copies below.)
TIP. Apart from initial global settings, there’s also the option to copy and paste settings selectively from one image to the next – or to several images simultaneously, once you start editing. This approach makes sense when a Preset just doesn’t quite hit its mark.
Let’s Get to Work
You’ll begin in PhotoLab’s own PhotoLibrary browser, where images to be edited are selected. With PhotoLibrary, I could pick my images without first building a catalog that has the potential to mushroom out of proportion and gobble up precious drive space. What’s more, all the edits here are consistently maintained with no fear of losing your work when moving or renaming a folder. The edits make the journey unscathed, unlike catalogs, which may get corrupted when moved or updated – it’s happened.
One of the first things you might do once the image is selected is to generate a virtual copy, or you can leave this step till later, or even once done editing. Simply, you may want to approach editing from a different direction or play around with different settings - or experiment with others that have remained in the shadows. You'll be pleasantly surprised at what you may discover. Then compare two or more edited versions to see which works best. Unlike duplicating an image, which physically adds a file and consumes valuable drive space, virtual copies are simply sets of instructions with minimal impact on your system. Yet, they remain with all editing in place, unless and until deleted. (TIP. Remember to regularly view images at 100% as you edit, so there are no surprises.)
TIP. A very handy extra: When you scroll over a thumbnail/slide in the browser or Customize window, an image properties panel pops up. (You can quash this if it gets annoying.) You can also call up (or suppress) this popup any time from the main menu (under View).
You’ll begin in PhotoLab’s own PhotoLibrary browser, where images to be edited are selected. With PhotoLibrary, I could pick my images without first building a catalog that has the potential to mushroom out of proportion and gobble up precious drive space. What’s more, all the edits here are consistently maintained with no fear of losing your work when moving or renaming a folder. The edits make the journey unscathed, unlike catalogs, which may get corrupted when moved or updated – it’s happened.
One of the first things you might do once the image is selected is to generate a virtual copy, or you can leave this step till later, or even once done editing. Simply, you may want to approach editing from a different direction or play around with different settings - or experiment with others that have remained in the shadows. You'll be pleasantly surprised at what you may discover. Then compare two or more edited versions to see which works best. Unlike duplicating an image, which physically adds a file and consumes valuable drive space, virtual copies are simply sets of instructions with minimal impact on your system. Yet, they remain with all editing in place, unless and until deleted. (TIP. Remember to regularly view images at 100% as you edit, so there are no surprises.)
TIP. A very handy extra: When you scroll over a thumbnail/slide in the browser or Customize window, an image properties panel pops up. (You can quash this if it gets annoying.) You can also call up (or suppress) this popup any time from the main menu (under View).
The Customize Workspace: Get to Know the Histogram and History Panels
Adjacent to the PhotoLibrary tab at the top of the screen, on the left, is the Customize tab. Double-clicking an image will take you to this page – or click Customize.
Before we start editing, turn your attention to the panel on the left. Here is where the all-important Histogram is situated. Click on the Moon and Sun icons below the Histogram to monitor shadow and highlight clipping, respectively, to see where tonal details may be lost. At some point, sooner rather than later, you may want to take a gander at the Monitor Gamut Warning to avoid distorting overly saturated colors (monitor icon above the Histogram). We all like saturated colors, but monitors may not appreciate them as we do and printers may not reproduce those colors accurately. (TIP. If you’re serious about printing, you may also wish to avail yourself of the Soft Proofing feature, under the Color settings icon.)
I should point out that DxO refers to the individual blocks of adjustments and settings as “palettes.” Below the Histogram palette is the History palette. This is where you can move back and forth in the editing process without having to rely on Undo/Redo and all the limitations attached to that process.
Adjacent to the PhotoLibrary tab at the top of the screen, on the left, is the Customize tab. Double-clicking an image will take you to this page – or click Customize.
Before we start editing, turn your attention to the panel on the left. Here is where the all-important Histogram is situated. Click on the Moon and Sun icons below the Histogram to monitor shadow and highlight clipping, respectively, to see where tonal details may be lost. At some point, sooner rather than later, you may want to take a gander at the Monitor Gamut Warning to avoid distorting overly saturated colors (monitor icon above the Histogram). We all like saturated colors, but monitors may not appreciate them as we do and printers may not reproduce those colors accurately. (TIP. If you’re serious about printing, you may also wish to avail yourself of the Soft Proofing feature, under the Color settings icon.)
I should point out that DxO refers to the individual blocks of adjustments and settings as “palettes.” Below the Histogram palette is the History palette. This is where you can move back and forth in the editing process without having to rely on Undo/Redo and all the limitations attached to that process.
Customize Editing Panel
Centrally positioned at the very top of the screen are a slew of icons representing commonly used adjustments, among them, cropping, eyedropper (White Balance), viewpoint corrections and more, alongside the display icons, which include various options for comparing the edited with the original versions. The one tool I’m less than enthralled with is the ReTouch brush, which is somewhat dated compared with AI-based tools that address retouching and cloning. It’s especially cumbersome when it comes to dealing with intrusive elements that you want to remove. Another that could use some finessing is the Red Eye tool. I used this tool on a squirrel, with modest results at best. Might work better with people, but I couldn't track down an image of a person with red eye to test this feature on: I rarely, if ever, use direct flash on people. (Shoe-mounted direct flash usually results in red eye, especially in dimly lit situations.)
TIP. Try to process your images as soon as possible. It’s very easy to forget how things looked originally, especially when you’re trying to recreate an architectural scene or faithfully recapture a mood with a defining tone. With architecture, it helps when you can include reference points (e.g. people, road signs or landmarks) to compare to, which may lead you to correct the viewpoint. Outdoors, shadows, or the lack thereof, help establish the defining tone with any scene.
Centrally positioned at the very top of the screen are a slew of icons representing commonly used adjustments, among them, cropping, eyedropper (White Balance), viewpoint corrections and more, alongside the display icons, which include various options for comparing the edited with the original versions. The one tool I’m less than enthralled with is the ReTouch brush, which is somewhat dated compared with AI-based tools that address retouching and cloning. It’s especially cumbersome when it comes to dealing with intrusive elements that you want to remove. Another that could use some finessing is the Red Eye tool. I used this tool on a squirrel, with modest results at best. Might work better with people, but I couldn't track down an image of a person with red eye to test this feature on: I rarely, if ever, use direct flash on people. (Shoe-mounted direct flash usually results in red eye, especially in dimly lit situations.)
TIP. Try to process your images as soon as possible. It’s very easy to forget how things looked originally, especially when you’re trying to recreate an architectural scene or faithfully recapture a mood with a defining tone. With architecture, it helps when you can include reference points (e.g. people, road signs or landmarks) to compare to, which may lead you to correct the viewpoint. Outdoors, shadows, or the lack thereof, help establish the defining tone with any scene.
Six icons standing at the head of the right-hand panel represent the key editing stages (panels), though in no specified order of use. Sometimes we want to tackle the most glaring element in the picture first. If it’s not over- or underexposure, it may be color balance or keystoning, for example. Here’s essentially what each panel covers…
- Light: exposure, tonal and contrast adjustments - the bread-and-butter of any image. Here you’ll find the Tone Curve – an oft-overlooked parameter, but one that requires a studied approach. Also in this grouping is DxO Smart Lighting, with the option to simulate spot-weighted metering for key subject tones, namely highlights, shadows and midtones. I’m finding more and more applications for this one and strongly recommend it. If you have trouble using spot metering, simply temporarily convert the image to monochromatic tones to help you interpret the relative tonalities. BTW – in many instances, but not all, PhotoLab automatically recognizes faces and keys spot metering to them. But you can override that. Another neat feature in this panel is ClearView Plus, to reduce distant haze (similar to the Clarity setting in other applications). (Unlike Clarity, however, you can't move the ClearView Plus slider toward the negative side to soften features. Fortunately, PhotoLab offers other means for achieving this effect.) Microcontrast and Fine contrast, in their own way, help to bring out detail. (Other applications may offer comparable adjustments under Texture, or even Clarity - though with subtle, or not so subtle, distinctions.)
- Color: some of us prefer to warm up cool scenes. I prefer to leave them as is, to convey a defining mood. No matter how you look at it, the needed tools are here, including a color picker/eyedropper tool to key White Balance to a targeted area in the picture. You might also wish to get involved with the HSL (hue/saturation/luminance) settings and, for black-and-white, the Channel Mixer to adjust relative intensity of each color as a shade of black, gray or white. Split Toning can also be used to temper the mood of a black-and-white rendered image, imbuing highlights and shadows with selected tonal variations. (Try the Tone Curve channels for this, as an alternative.) There’s even an option to calibrate a custom color profile for improved color accuracy, if you feel it’s needed (if you're seriously into printing, this is worth a look-see). This feature does require a color target (the application lists several options). Soft Proofing is also found under this panel (again, for printing).
- Detail: DxO’s proprietary DeepPRIME algorithms for noise reduction are included in this panel. Best viewed at 100%, the image will show marked improvement with this feature engaged, although it may take a moment for the screen to refresh. Additional adjustments entail color anomalies (Chromatic Aberration, Purple Fringing) and sharpening (Unsharp Mask, plus Lens Sharpness Optimization to take advantage of DxO’s optical testing).
- Geometry: this panel focuses on the lens and optical corrections governed by DxO Modules (or manual overrides) for each camera/lens combo. If not already installed, you can direct PhotoLab to install the applicable modules (a list pops up when the application senses the mouse or trackpad cursor over a thumbnail/slide). These modules direct the application to automatically make the necessary optical corrections, where applicable.
The Geometry tools are amazing but come with a few caveats:
- Play around with settings. The DxO Module may lend just the right touch, but sometimes it may be necessary to manually override this setting (along with related settings under this panel).
- Click Advance Settings under the Distortion, Perspective and Volume Deformation palettes. You may not need to use them - but know they’re there. (Unfortunately, this option may be very faint and you may have to look hard to find it at the bottom of these palettes.)
- Use Volume Deformation with a discerning eye. Watch for uninvited bowing. Choosing the Diagonal option (default) may not always be the right one; the alternative Horizontal/Vertical option may work better with certain images or with other settings under the Geometry panel.
TIP. Look for recognizable shapes. Once a Geometry setting is engaged, do people look oddly fat or skinny? When viewed head-on, are circles or squares elongated in one direction or another, turning into ovals or rectangles, respectively? Does a car suddenly look like a stretch limo?
Cows, Curacao. To focus on the cow central to the shot, I first employed an Auto Mask for the animal, then softened the surroundings with a Luminosity Mask for the bright areas and Hue Mask for the foliage (under Local Adjustments), with additional brushes added for good measure to achieve the desired effect. The idea was to subtly lead the eye to the cow. Too much blur and the effect would have looked artificial. As you can see, Local Adjustments play a key role in PhotoLab 8. Photos ©2025 Jack Neubart. All rights reserved.
Original. I did not expect to find cows roaming the desert. This needed to be cropped, not only to remove the telltale sign of the truck but to make the shot more dramatic.
- Watermark & Effects: as the name suggests, this is where images are watermarked, to brand the image as your own. It’s also where you can use various means to creatively focus attention on the subject, including Creative Vignetting (very useful and versatile, although one might wish for color options for the vignette). I found other effects either useful or potentially so, namely Miniature Effect (which I’ve used to emphasize bokeh and selective focus) and Blur (for the portraitists among you). The Frame option has too few parameters to suit me. Light Leak – well, just not my cup of tea. Grain fails to provide a “roughness” option and related parameters are somewhat lacking (but I guess that’s where the DxO plugins come into play). (TIP. Look for Advance Settings under Creative Vignetting and Blur.)
- Local Adjustments. DxO's take on masking. Enhance or subdue areas of the picture as you see fit, using a variety of masks. The diversity of the available masking techniques may take some time to master (and some patience), but you’ll be well rewarded for all the effort as you sculpt each image, define and refine it with depth and dimension. One might even say that PhotoLab’s Local Adjustments are worth the price of admission alone. Give each a try, and, before long, you’ll find your faves, as I have (namely, Control Points and Auto Mask). I see room for improvement, but, as is, they’re remarkably effective and efficient tools. (TIP. If you plan on using various Geometry options which reshape the image, make Local Adjustments afterwards. Otherwise, Local Adjustments applied to a specific area may shift in the process, requiring further attention.)
TIP. Where this option is available, if you don’t like what you see after making certain adjustments, simply deselect that palette and the changes go away. Poof, all gone. Click again to restore edits. Or select/deselect the setting to compare results.
Parting Words
DxO PhotoLab 8 takes your images to new heights. This application doesn’t hide the editing process behind a veil of lofty options designed to make you forget your purpose. It gets to the heart of the matter: the image, and nothing but.
OK, maybe I would like a few fancy tricks thrown in. But not because I’m avoiding reality. It’s because I want my images to reflect reality more than ever. I don’t want to remove them from the real world. I want to reinforce that sense of time and place each image holds steadfast to, to recapture and even reinvigorate my memory of a scene. (To build on that thought... DxO, would you consider adding a plugin for panorama stitching and possibly also focus stacking?)
Well, I’ve reached the end of another day of editing. And I’m exhausted. That, my friends, is a good thing, because I feel that I’ve truly accomplished something. I stepped back from my computer feeling I’ve given my images a fighting chance in this highly competitive world, brought out every nuance these Raw files held in store. Or, to return to my favorite metaphor, I prepared a dish that is ready to bathe my taste buds in all the flavor and texture it held in store, seasoned to perfection, cooked just right.
Each digital image editor has unique features and does things its own way. The bottom line is that DxO PhotoLab 8 has the tools you need to get the job done. And more to the point, it has let me achieve results unrivaled by any other digital imaging application. If your images matter and you can devote the necessary time and effort to bring your vision to the fore, then you owe it to yourself to give DxO PhotoLab 8 a shot. In short, this is a Raw image editor that is unrivaled and never fails to deliver the consummate image.
Software provided for review by DxO: DxO PhotoLab Elite 8.6.
DxO PhotoLab 8 takes your images to new heights. This application doesn’t hide the editing process behind a veil of lofty options designed to make you forget your purpose. It gets to the heart of the matter: the image, and nothing but.
OK, maybe I would like a few fancy tricks thrown in. But not because I’m avoiding reality. It’s because I want my images to reflect reality more than ever. I don’t want to remove them from the real world. I want to reinforce that sense of time and place each image holds steadfast to, to recapture and even reinvigorate my memory of a scene. (To build on that thought... DxO, would you consider adding a plugin for panorama stitching and possibly also focus stacking?)
Well, I’ve reached the end of another day of editing. And I’m exhausted. That, my friends, is a good thing, because I feel that I’ve truly accomplished something. I stepped back from my computer feeling I’ve given my images a fighting chance in this highly competitive world, brought out every nuance these Raw files held in store. Or, to return to my favorite metaphor, I prepared a dish that is ready to bathe my taste buds in all the flavor and texture it held in store, seasoned to perfection, cooked just right.
Each digital image editor has unique features and does things its own way. The bottom line is that DxO PhotoLab 8 has the tools you need to get the job done. And more to the point, it has let me achieve results unrivaled by any other digital imaging application. If your images matter and you can devote the necessary time and effort to bring your vision to the fore, then you owe it to yourself to give DxO PhotoLab 8 a shot. In short, this is a Raw image editor that is unrivaled and never fails to deliver the consummate image.
Software provided for review by DxO: DxO PhotoLab Elite 8.6.
This is a composite produced in Adobe Photoshop by melding the above PhotoLab-edited frames (sky shot was flipped for the final rendition). ©2025 Jack Neubart. All rights reserved.
| Elite vs Essential: Which to Choose? DxO PhotoLab 8 is available as a one-off (not subscription-based), lifetime license. Each of the Nik and DxO software plugins is sold separately, also on a non-subscription basis. These plugins complement, and some even automatically install in, PhotoLab and selected applications. PhotoLab 8 comes in two versions: the higher-end Elite and the more affordable Essential. I’m working in DxO PhotoLab 8 Elite, the more robust version of this software. That means I have a few more tools at my disposal. These are points I felt were important enough to note when comparing both versions:
 Donkey, Curacao. ©2025 Jack Neubart. All rights reserved. | An Intimate View of DxO PhotoLab 8, quoted from the Online User Guide
Pricing/DxO PhotoLab 8 Elite (lifetime license/no subscription): $229.99 (click here) Pricing/DxO PhotoLab 8 Essential (lifetime license/no subscription): $139.99 (click here) Each edition is payable in four installments. Upgrades from previous versions may be applicable. Check out the full list of features for yourself. The 30-day trial version unlocks all the Elite features for you to sample. (Click this link. When you land on the page, scroll down to see a detailed comparison, after reviewing new features.)  White-tailed Deer. Compare with original below. Photos ©2025 Jack Neubart. All rights reserved.  Photographed in a forest preserve in Illinois. |
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