By Jack Neubart
Photographer, photo-technical writer, musician/composer, software developer, birder.
Text and images ©2025 Jack Neubart. All rights reserved.
Photographer, photo-technical writer, musician/composer, software developer, birder.
Text and images ©2025 Jack Neubart. All rights reserved.
Racccoon, Indiana Dunes State Park. Now free from the digital noise that plagued this image. Processed in DxO PureRAW 5 (DeepPRIME XD2s/XD) and edited in PhotoLab 8. Series ©2025 Jack Neubart. All rights reserved.
Let’s face it. We don’t really pay attention to the Raw processing engine behind the software we use to edit our digital images. So why should we spend money on a dedicated application?
Well, once you try DxO PureRAW 5, you’ll be convinced. At the very least, this review will introduce you to the advantages of DxO’s DeepPRIME technologies, a feature we only glossed over when reviewing DxO PhotoLab 8. And if you want to stop at denoising and demosaicing via PhotoLab 8, then all well and good. But as you’ll see, there are benefits to be had from PureRAW 5 beyond what even PhotoLab 8 can deliver.
DxO PureRAW 5 software generously provided by DxO. Version tested: 5.1
Well, once you try DxO PureRAW 5, you’ll be convinced. At the very least, this review will introduce you to the advantages of DxO’s DeepPRIME technologies, a feature we only glossed over when reviewing DxO PhotoLab 8. And if you want to stop at denoising and demosaicing via PhotoLab 8, then all well and good. But as you’ll see, there are benefits to be had from PureRAW 5 beyond what even PhotoLab 8 can deliver.
DxO PureRAW 5 software generously provided by DxO. Version tested: 5.1
PureRAW 5: What It Is, What It Does
PureRAW 5 is centered on DxO's DeepPRIME technology. The proprietary DeepPRIME algorithms address digital noise and certain color anomalies, essentially suppressing them, or, at the very least, rendering them far less obtrusive.
Color anomalies, apparent as color fringing, are created when all wavelengths of light fail to focus in alignment either optically (at the lens) - taking the form of chromatic aberration, or as the image is formed on the sensor - purple fringing.
Noise increases as heat builds up on the sensor and is made readily apparent during image capture, when shooting at high ISO settings or when employing long exposures (more pronounced in older digital cameras with more "primitive" sensors). Today's cameras largely address noise at the capture stage, but, when processing an image, well, that's all on you: As you correct for underexposure or bring up shadow detail in dark recesses of the frame, that, too, has the untoward effect of bringing digital noise to the fore.
Usually these artifacts are evident when viewing an image at 100% - lifesize - something you should make a practice of doing routinely. Viewing a shrunken image (on screen or in print, or from a distance) tends to hide these imperfections.
Over time, DxO's noise reduction (NR) algorithms have evolved in depth, range and complexity, culminating in the current iteration: DeepPRIME. DeepPRIME comes in several flavors, revolving around a Raw file imaged on a supported sensor, for starters. DxO’s proprietary algorithms DeepPRIME 3 and DeepPRIME XD2s/XD are compatible with Raw files captured on a wide range of digital cameras from most major manufacturers, among them, Canon, Nikon, OM System and Sony. Fujifilm X-Trans sensors are compatible with DeepPRIME XD3 X-Trans Beta. Availability of X-Trans Beta for other cameras has yet to be announced but will likely bear a unique moniker sans “Trans” (I’m guessing, DeepPRIME XD3s - look for an update when that happens). The latest variations on DeepPRIME also deal with color fringing.
PureRAW 5 is centered on DxO's DeepPRIME technology. The proprietary DeepPRIME algorithms address digital noise and certain color anomalies, essentially suppressing them, or, at the very least, rendering them far less obtrusive.
Color anomalies, apparent as color fringing, are created when all wavelengths of light fail to focus in alignment either optically (at the lens) - taking the form of chromatic aberration, or as the image is formed on the sensor - purple fringing.
Noise increases as heat builds up on the sensor and is made readily apparent during image capture, when shooting at high ISO settings or when employing long exposures (more pronounced in older digital cameras with more "primitive" sensors). Today's cameras largely address noise at the capture stage, but, when processing an image, well, that's all on you: As you correct for underexposure or bring up shadow detail in dark recesses of the frame, that, too, has the untoward effect of bringing digital noise to the fore.
Usually these artifacts are evident when viewing an image at 100% - lifesize - something you should make a practice of doing routinely. Viewing a shrunken image (on screen or in print, or from a distance) tends to hide these imperfections.
Over time, DxO's noise reduction (NR) algorithms have evolved in depth, range and complexity, culminating in the current iteration: DeepPRIME. DeepPRIME comes in several flavors, revolving around a Raw file imaged on a supported sensor, for starters. DxO’s proprietary algorithms DeepPRIME 3 and DeepPRIME XD2s/XD are compatible with Raw files captured on a wide range of digital cameras from most major manufacturers, among them, Canon, Nikon, OM System and Sony. Fujifilm X-Trans sensors are compatible with DeepPRIME XD3 X-Trans Beta. Availability of X-Trans Beta for other cameras has yet to be announced but will likely bear a unique moniker sans “Trans” (I’m guessing, DeepPRIME XD3s - look for an update when that happens). The latest variations on DeepPRIME also deal with color fringing.
Raccoon. Original underexposed image, unedited. Why Shoot Raw?
Let’s now address the basic question: Why shoot Raw?
When you shoot JPEG, or even TIFF, it’s comparable to undercooking, or overcooking, a meal or buying fast food: key ingredients that would have satisfied your tastebuds are omitted or the “wrong” ingredients are added, and those savory flavors and textures that would otherwise have greeted your palate are lost in the process (either way, this is getting me hungry).
Or, to look at it another way, you’ve packed hurriedly, preparing to return home from a trip, only to realize your slippers were left behind, hiding beneath the bed at the hotel. Or you packed a bathrobe that wasn't yours to pack. (Now I want to take a vacation.)
To make matters worse, the food tastes gritty and you forgot to shake the sand out of your shoes before boarding the plane. Something is always amiss, either something important left out or unwanted elements left in. You took expedient measures (the JPEG, in this picture), and that’s the price you paid.
(BTW - did you know that as you save the same JPEG over and over again (maybe you're continually re-editing it), the more degraded it becomes? So try to avoid reprocessing the same JPEG file repeatedly, because you'll only make it worse.)
When You Shoot Raw...
All the ingredients are there, on the table, ready and waiting to make this a tasty meal. The dish awaits you to be meaningfully prepared. It’s up to you to choose which ingredients to use, how much, in what proportions – and how to blend it all and prepare it to perfection, to make it tasteful, tasty and pleasingly aromatic. (Or to return to our vacation scenario, you took your time packing, and everything that was supposed to be packed fit nicely in one suitcase.) The process may be slow and methodical, but, done right, colors become more vivid, tones and textures more fully realized, details brought to the fore. (OK, the vacation scenario doesn't quite fit at this point, but you get my meaning.) In other words, the dish (or trip) is just as you visualized the moment you planned it.
When it comes to your digital photographs, to bring all the ingredients together and do it in a manner that works for these images, you need the right Raw processing engine for a proper head start. And, in this picture, that’s the job of DxO DeepPRIME, but more to the point, DxO PureRAW 5.
Let’s now address the basic question: Why shoot Raw?
When you shoot JPEG, or even TIFF, it’s comparable to undercooking, or overcooking, a meal or buying fast food: key ingredients that would have satisfied your tastebuds are omitted or the “wrong” ingredients are added, and those savory flavors and textures that would otherwise have greeted your palate are lost in the process (either way, this is getting me hungry).
Or, to look at it another way, you’ve packed hurriedly, preparing to return home from a trip, only to realize your slippers were left behind, hiding beneath the bed at the hotel. Or you packed a bathrobe that wasn't yours to pack. (Now I want to take a vacation.)
To make matters worse, the food tastes gritty and you forgot to shake the sand out of your shoes before boarding the plane. Something is always amiss, either something important left out or unwanted elements left in. You took expedient measures (the JPEG, in this picture), and that’s the price you paid.
(BTW - did you know that as you save the same JPEG over and over again (maybe you're continually re-editing it), the more degraded it becomes? So try to avoid reprocessing the same JPEG file repeatedly, because you'll only make it worse.)
When You Shoot Raw...
All the ingredients are there, on the table, ready and waiting to make this a tasty meal. The dish awaits you to be meaningfully prepared. It’s up to you to choose which ingredients to use, how much, in what proportions – and how to blend it all and prepare it to perfection, to make it tasteful, tasty and pleasingly aromatic. (Or to return to our vacation scenario, you took your time packing, and everything that was supposed to be packed fit nicely in one suitcase.) The process may be slow and methodical, but, done right, colors become more vivid, tones and textures more fully realized, details brought to the fore. (OK, the vacation scenario doesn't quite fit at this point, but you get my meaning.) In other words, the dish (or trip) is just as you visualized the moment you planned it.
When it comes to your digital photographs, to bring all the ingredients together and do it in a manner that works for these images, you need the right Raw processing engine for a proper head start. And, in this picture, that’s the job of DxO DeepPRIME, but more to the point, DxO PureRAW 5.
Let’s Revisit DxO PhotoLab 8 for a Moment
Until now, when using earlier iterations of DxO’s Raw editing software, I had always taken the company’s denoising algorithms for granted, as something there, to be used without giving it much thought. (Back then, the directive was simple: focus on the image capture stage and don't use high ISO values, don't underexpose - or you'll get a gritty picture. Much ado was made about digital noise, but little of practical value was done to rectify it.)
When I reviewed DxO PhotoLab 8, I may not have paid particular attention to the noise removal options. At this juncture, however, I took a closer look at the palette aptly labeled Denoising & Demosaicing. Here you'll find numerous options: Standard, PRIME, DeepPRIME 3, DeepPRIME XD2s/XD and DeepPRIME XD3 X-Trans, the last in Beta and currently unavailable to all but Fuji X-Trans captures.
As you move to the DxO DeepPRIME machine language-based denoising algorithms, processing times may grow longer – and for good reason. As these algorithms have evolved, so too has the complexity of steps involved to achieve the end result. As previously noted, this has emerged as more than simply a denoising feature, having taken a giant leap forward.
TIP. For social media, when working with older cameras or where pressed for time, use the more basic Standard option, or possibly Prime, as the optimal denoising choice within PhotoLab 8. The more advanced algorithms require more advanced processing power, especially where AI is involved. And more time.
Until now, when using earlier iterations of DxO’s Raw editing software, I had always taken the company’s denoising algorithms for granted, as something there, to be used without giving it much thought. (Back then, the directive was simple: focus on the image capture stage and don't use high ISO values, don't underexpose - or you'll get a gritty picture. Much ado was made about digital noise, but little of practical value was done to rectify it.)
When I reviewed DxO PhotoLab 8, I may not have paid particular attention to the noise removal options. At this juncture, however, I took a closer look at the palette aptly labeled Denoising & Demosaicing. Here you'll find numerous options: Standard, PRIME, DeepPRIME 3, DeepPRIME XD2s/XD and DeepPRIME XD3 X-Trans, the last in Beta and currently unavailable to all but Fuji X-Trans captures.
As you move to the DxO DeepPRIME machine language-based denoising algorithms, processing times may grow longer – and for good reason. As these algorithms have evolved, so too has the complexity of steps involved to achieve the end result. As previously noted, this has emerged as more than simply a denoising feature, having taken a giant leap forward.
TIP. For social media, when working with older cameras or where pressed for time, use the more basic Standard option, or possibly Prime, as the optimal denoising choice within PhotoLab 8. The more advanced algorithms require more advanced processing power, especially where AI is involved. And more time.
100%. Left: PureRAW 5 rendition. Right: Edited PhotoLab 8 rendition sans noise reduction (NR). Digital noise may be hard to discern at this image size. So, What Is DeepPRIME?
I’ll let DxO answer this question (quoted from DxO’s page on DeepPRIME technology):
“DeepPRIME technology removes noise and recovers information without losing detail, creating more natural transitions and textures. The latest generation, DeepPRIME 3 incorporates a third operation as part of the RAW conversion process: chromatic aberration correction. It uses data from DxO’s exclusive DxO Modules, and the results are spectacular.” (Author’s note: Italics mine. DxO occasionally prefers to use hyperbole to express an opinion, although, on this point, I have to admit, I would agree most wholeheartedly.)
The website goes on to state:
“Compared to conventional RAW conversion technologies, DeepPRIME 3 delivers the equivalent of an extra two stops of ISO of detail; with DeepPRIME XD2s, it can be three stops, and sometimes more.”
What exactly does that mean? Well, while I haven’t demonstrably or measurably verified this claim of gaining two or more stops in ISO sensitivity (technically, I prefer to use "steps" over "stops" in this context), I can say this: As you increase ISO, images tend to get increasingly noisy, leading to lower and lower image quality the higher you go (without taking measures to keep noise in check). When ISO levels reach extremes, or are inordinately high for a given sensor, heat builds up and noise levels build up. The image looks softer as a result, even mushy (especially true when using the camera’s own noise-reduction tech with JPEG captures). You may also see other artifacts. Taking steps to mitigate that during processing is like wearing sunblock: you can stay out in the sun longer, or in this case, you can shoot at a higher ISO with results appearing to be on the level of exposing at a lower ISO, producing less noise and a cleaner, crisper image.
I’ll let DxO answer this question (quoted from DxO’s page on DeepPRIME technology):
“DeepPRIME technology removes noise and recovers information without losing detail, creating more natural transitions and textures. The latest generation, DeepPRIME 3 incorporates a third operation as part of the RAW conversion process: chromatic aberration correction. It uses data from DxO’s exclusive DxO Modules, and the results are spectacular.” (Author’s note: Italics mine. DxO occasionally prefers to use hyperbole to express an opinion, although, on this point, I have to admit, I would agree most wholeheartedly.)
The website goes on to state:
“Compared to conventional RAW conversion technologies, DeepPRIME 3 delivers the equivalent of an extra two stops of ISO of detail; with DeepPRIME XD2s, it can be three stops, and sometimes more.”
What exactly does that mean? Well, while I haven’t demonstrably or measurably verified this claim of gaining two or more stops in ISO sensitivity (technically, I prefer to use "steps" over "stops" in this context), I can say this: As you increase ISO, images tend to get increasingly noisy, leading to lower and lower image quality the higher you go (without taking measures to keep noise in check). When ISO levels reach extremes, or are inordinately high for a given sensor, heat builds up and noise levels build up. The image looks softer as a result, even mushy (especially true when using the camera’s own noise-reduction tech with JPEG captures). You may also see other artifacts. Taking steps to mitigate that during processing is like wearing sunblock: you can stay out in the sun longer, or in this case, you can shoot at a higher ISO with results appearing to be on the level of exposing at a lower ISO, producing less noise and a cleaner, crisper image.
200%. Left: PureRAW 5 rendition. Right: Color noise may be more visible here, in the edited PhotoLab 8 rendition without NR.
DxO continues:
“There are two levels of DeepPRIME processing available in DxO PureRAW 5 and PhotoLab8: DeepPRIME 3 and DeepPRIME XD2s. Both algorithms reduce noise, increase clarity, and purify results from your camera’s sensor, but the newer DeepPRIME XD2s mode requires more intensive handling.” (Editor’s note: that translates into more powerful and more efficient computer processing.)
“DeepPRIME XD2s is the latest generation of our ‘eXtra Detail’ (hence, “XD”) version of our machine learning technology. Built using a larger neural network, it is at the cutting edge of demosaicing and denoising, designed for the most demanding images. Expect photos free from noise, with smoother bokeh, finer textures, and colors that are true to life.”
Of course, there is also the problem of bringing up exposure levels for underexposed images or revealing shadow detail in deep recesses that may originally appear black (or nearly so) and practically void of detail. In such situations, these noise-reducing algorithms will have a corresponding effect of improving image quality by reducing noise to the point where it is no longer bothersome. Now the image appears properly exposed without that disturbing grittiness, and anyone lurking in the shadows is clearly visible.
“There are two levels of DeepPRIME processing available in DxO PureRAW 5 and PhotoLab8: DeepPRIME 3 and DeepPRIME XD2s. Both algorithms reduce noise, increase clarity, and purify results from your camera’s sensor, but the newer DeepPRIME XD2s mode requires more intensive handling.” (Editor’s note: that translates into more powerful and more efficient computer processing.)
“DeepPRIME XD2s is the latest generation of our ‘eXtra Detail’ (hence, “XD”) version of our machine learning technology. Built using a larger neural network, it is at the cutting edge of demosaicing and denoising, designed for the most demanding images. Expect photos free from noise, with smoother bokeh, finer textures, and colors that are true to life.”
Of course, there is also the problem of bringing up exposure levels for underexposed images or revealing shadow detail in deep recesses that may originally appear black (or nearly so) and practically void of detail. In such situations, these noise-reducing algorithms will have a corresponding effect of improving image quality by reducing noise to the point where it is no longer bothersome. Now the image appears properly exposed without that disturbing grittiness, and anyone lurking in the shadows is clearly visible.
400%. The PureRAW 5 image is entirely free of noise, in stark contrast to the edited PhotoLab version (without NR).
Denoising and Demosaicing in PhotoLab and PureRAW
As an aside, given the importance of DeepPRIME, one would assume it would be the starting pitcher in the DxO PhotoLab lineup of settings. Surprisingly, it’s not, and may easily go overlooked. Even when selected in the basic Settings/Prefs, it’s not always shown to be the case. And that may be due to my failure – or the application’s failure – to recognize where a DxO Module fits into the picture and is needed. So, if you’re using PhotoLab, pay special attention here.
On the other hand, that point becomes moot when first processing the image in PureRAW 5. The denoising and demosaicing algorithms are all mapped out the moment a DNG file is generated out of PureRAW. (TIFF and JPEG are also output options.) You’ll also note that when generating a file out of PureRAW, at least one PhotoLab setting becomes redundant and, therefore, unavailable, namely, Lens Sharpness Optimization, which yields a sharper image based on the selected DxO Module for the applicable camera/lens combination. In contrast, even though the demosaicing algorithms are supposed to fully correct for color fringing, Chromatic aberration and Purple fringing adjustments are still available options for that same DNG file. Unsharp Mask also remains an option, but should be avoided as it may introduce sharpening artifacts.
As an aside, given the importance of DeepPRIME, one would assume it would be the starting pitcher in the DxO PhotoLab lineup of settings. Surprisingly, it’s not, and may easily go overlooked. Even when selected in the basic Settings/Prefs, it’s not always shown to be the case. And that may be due to my failure – or the application’s failure – to recognize where a DxO Module fits into the picture and is needed. So, if you’re using PhotoLab, pay special attention here.
On the other hand, that point becomes moot when first processing the image in PureRAW 5. The denoising and demosaicing algorithms are all mapped out the moment a DNG file is generated out of PureRAW. (TIFF and JPEG are also output options.) You’ll also note that when generating a file out of PureRAW, at least one PhotoLab setting becomes redundant and, therefore, unavailable, namely, Lens Sharpness Optimization, which yields a sharper image based on the selected DxO Module for the applicable camera/lens combination. In contrast, even though the demosaicing algorithms are supposed to fully correct for color fringing, Chromatic aberration and Purple fringing adjustments are still available options for that same DNG file. Unsharp Mask also remains an option, but should be avoided as it may introduce sharpening artifacts.
1000%. The raccoon's hairs are clearly visible in the PureRAW rendition, whereas the edited PhotoLab depiction w/o NR largely obscures them, thanks to the abundance of noise.
Using DxO PureRAW 5
- In PhotoLab 8, from the drop-down menu, select "Export," then "Export to Application" in the window that follows - and select DxO PureRAW 5. You can only select Raw files (or DNG files recognized by PureRAW as Raw and unprocessed). (You also have the option to export to disk or to Lightroom.)
- In Adobe Bridge, from the drop-down menu (at the very top of the list), select "Open With," then select DxO PureRAW 5.
- Once all images are selected and exported to PureRAW (or as each is exported in turn), you'll be greeted by the "Lightbox," which is the PureRAW image browser.
- Select one or more images to process. Click on "Process with Preview" (lower right). Once you've established a working protocol for a batch of images, you can skip ahead to "Process." (IMPORTANT. Make certain to deselect previously selected images before proceeding.)
- SETTINGS. Check out the three icons in the upper right in the Preview window. If the top one is not highlighted, click it - because that's where the key settings are found. Modify these settings (panel on the right) as needed. Select a "Preset" (or configure your own) or just modify the settings on the fly (they'll remain until changed - the option to reset to a default would be useful). Output is now ready.
- OUTPUT FILE. Move down to the last icon in the group of three for output settings. DNG should be selected so you'll have a Raw file to edit, but you can also choose TIFF and/or JPEG. JPEG offers a Smart Lighting option. Use or not, that's a personal choice.
- LAYER MASKING. The middle icon is for layer masking. Paint an area to be modified. (I can't say this actually does much, but you may find uses for it.)
- When ready, export to any image editor of your choice.
- IMPORTANT. When exporting from PhotoLab to PureRAW, do so as "Export selected file(s) without processing." This then sends the original Raw file to the application. Otherwsie, you'll get an error message.
Luminance Noise at 500%. Denoising options in PhotoLab 8 may include the most sophisticated algorithms DxO has to offer, but at the default setting with DxO denoising engaged, Luminance Noise continues to plague the edited image. That is clearly not true of PureRAW 5 images, which retain all the detail and none of the noise.
200%. While just barely noticeable when viewed at 100%, digital noise in this underexposed, unedited original becomes magnified as the image is magnified to 200%. Compare to PureRAW copy at the same magnification.
Test Results
When comparing results, I did so starting with the same Raw file for each comparison. I applied similar tonal corrections to each pair of images, but some differences were inevitable, owing to numerous factors unique to each application. Results were evaluated largely based on noise reduction and sharpness. Simply stated, I looked at Chrominance noise and Luminance noise. I examined images at magnifications up to 1000%.
I had no problem processing Nikon and Canon Raw files in PureRAW 5. Testing showed that PureRAW 5 even works on DNG files from my old iPhone 7 (your mileage may vary, as they say, depending on smartphone and DNG file). Apparently, PureRAW reads these iOS DNG images as bonafide Raw files - and that seems to be the clincher. The same held true when I tested PureRAW 5 on Samsung NX1 DNG (generated from a Samsung SRW Raw file), as well as the original SRW Raw file. These images successfully opened in PureRAW.
No matter the source, PureRAW 5 successfully vanquished both Luminosity (brightness) and Chrominance (color) noise in Raw files (including DNG) even after editing in PhotoLab 8, where I increased luminosity levels as needed in underexposed images or simply boosted these levels to push the tests even further, which failed to produce noise in PureRAW-processed files either way. If digital noise translated to table scraps on a seaside picnic table, the gulls would be sorely disappointed.
PureRAW 5 vs PhotoLab 8 – both employing DeepPRIME XD2s. PureRAW 5 (at the XD2s preset default settings) came out on top. Even with DeepPRIME XD2s in PhotoLab, and even after adding Unsharp Mask to the original Raw image, the clear winner is PureRAW. The PureRAW 5 image is cleaner and crisper. PhotoLab did control Chrominance (color) noise admirably, but fell short when it came to Luminance (brightness) noise, with noise artifacts noticeably present, although appreciably less than without DxO's noise suppression.
EVALUATION. PureRAW 5 vs PhotoLab 8: PhotoLab 8 did well enough with regard to noise suppression to stand on its own. Yes, PureRAW made a difference, but not to the point where you, as a photo enthusiast, should absolutely feel a need to buy it. For the pro photographer, however, I’d say, go for it, especially if you output large-format prints or work with commercial clients. For wedding and portrait photographes, I’d give PureRAW 5 a thumbs-up handily.
PureRAW 5 vs Adobe Camera Raw (ACR)/Lightroom. Employing Lightroom’s AI Denoise functionality, ACR finished in a virtual dead heat with PureRAW 5, boasting comparable results. Not only did images look clean, but they also appeared crisp with AI Denoise.
EVALUATION. PureRAW 5 vs ACR/Lightroom: ACR/Lightroom does have one added benefit: Adaptive Color, which utilizes numerous parameters when making adjustments. That may speed up the editing, but it didn’t produce markedly different results in the overall scheme of things. Then there is also the need to load down your system with DNG files from PureRAW. That's a factor to be weighed. So, if you work with Adobe software, should you invest in PureRAW 5? Well, there is one good reason: You’re not locked into a subscription model. If you find yourself emigrating from Adobe applications, PureRAW 5’s lifetime license will provide you with sure footing in whichever direction you head.
NOTE. Your test results may vary, depending on the camera, sensor, exposure and how you process the image, among other variables.
Closing Remarks
All that's left is for tomorrow's cameras to employ DxO's DeepPRIME technology. Wishful thinking, perhaps.
For now, if you see yourself editing in Adobe Lightroom or Photoshop for the foreseeable future, then it makes perfect sense to stick with what works for you. But if you find yourself in the vast wasteland of digital editing without the proper tools to produce images that can stand up to professional or commercial applications, namely delivering clean and crisp large prints or producing ad-quality images, then turn your signal lights on and prepare to make a right turn at the next intersection, where Raw Street meets Quality Boulevard, and head toward DxO PureRAW 5. Free parking for a limited time.
When comparing results, I did so starting with the same Raw file for each comparison. I applied similar tonal corrections to each pair of images, but some differences were inevitable, owing to numerous factors unique to each application. Results were evaluated largely based on noise reduction and sharpness. Simply stated, I looked at Chrominance noise and Luminance noise. I examined images at magnifications up to 1000%.
I had no problem processing Nikon and Canon Raw files in PureRAW 5. Testing showed that PureRAW 5 even works on DNG files from my old iPhone 7 (your mileage may vary, as they say, depending on smartphone and DNG file). Apparently, PureRAW reads these iOS DNG images as bonafide Raw files - and that seems to be the clincher. The same held true when I tested PureRAW 5 on Samsung NX1 DNG (generated from a Samsung SRW Raw file), as well as the original SRW Raw file. These images successfully opened in PureRAW.
No matter the source, PureRAW 5 successfully vanquished both Luminosity (brightness) and Chrominance (color) noise in Raw files (including DNG) even after editing in PhotoLab 8, where I increased luminosity levels as needed in underexposed images or simply boosted these levels to push the tests even further, which failed to produce noise in PureRAW-processed files either way. If digital noise translated to table scraps on a seaside picnic table, the gulls would be sorely disappointed.
PureRAW 5 vs PhotoLab 8 – both employing DeepPRIME XD2s. PureRAW 5 (at the XD2s preset default settings) came out on top. Even with DeepPRIME XD2s in PhotoLab, and even after adding Unsharp Mask to the original Raw image, the clear winner is PureRAW. The PureRAW 5 image is cleaner and crisper. PhotoLab did control Chrominance (color) noise admirably, but fell short when it came to Luminance (brightness) noise, with noise artifacts noticeably present, although appreciably less than without DxO's noise suppression.
EVALUATION. PureRAW 5 vs PhotoLab 8: PhotoLab 8 did well enough with regard to noise suppression to stand on its own. Yes, PureRAW made a difference, but not to the point where you, as a photo enthusiast, should absolutely feel a need to buy it. For the pro photographer, however, I’d say, go for it, especially if you output large-format prints or work with commercial clients. For wedding and portrait photographes, I’d give PureRAW 5 a thumbs-up handily.
PureRAW 5 vs Adobe Camera Raw (ACR)/Lightroom. Employing Lightroom’s AI Denoise functionality, ACR finished in a virtual dead heat with PureRAW 5, boasting comparable results. Not only did images look clean, but they also appeared crisp with AI Denoise.
EVALUATION. PureRAW 5 vs ACR/Lightroom: ACR/Lightroom does have one added benefit: Adaptive Color, which utilizes numerous parameters when making adjustments. That may speed up the editing, but it didn’t produce markedly different results in the overall scheme of things. Then there is also the need to load down your system with DNG files from PureRAW. That's a factor to be weighed. So, if you work with Adobe software, should you invest in PureRAW 5? Well, there is one good reason: You’re not locked into a subscription model. If you find yourself emigrating from Adobe applications, PureRAW 5’s lifetime license will provide you with sure footing in whichever direction you head.
NOTE. Your test results may vary, depending on the camera, sensor, exposure and how you process the image, among other variables.
Closing Remarks
All that's left is for tomorrow's cameras to employ DxO's DeepPRIME technology. Wishful thinking, perhaps.
For now, if you see yourself editing in Adobe Lightroom or Photoshop for the foreseeable future, then it makes perfect sense to stick with what works for you. But if you find yourself in the vast wasteland of digital editing without the proper tools to produce images that can stand up to professional or commercial applications, namely delivering clean and crisp large prints or producing ad-quality images, then turn your signal lights on and prepare to make a right turn at the next intersection, where Raw Street meets Quality Boulevard, and head toward DxO PureRAW 5. Free parking for a limited time.
Mushroom, Indiana Dunes State Park. Raw image initially processed in DxO PureRAW 5, then edited in DxO PhotoLab 8 (primarily for the mushroom cap). ©2025 Jack Neubart. All rights reserved.
Skokie Lagoons, Skokie, Illinois. I captured this scene with an iPhone 7 set to Raw capture, which outputs a DNG file. This DNG file was processed through DxO PureRAW 5 and edited in DxO PhotoLab 8. No sharpening was added in PhotoLab. ©2025 Jack Neubart. All rights reserved.
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