DxO Optics Pro 11 review

DxO Optics Pro 11 review

There’s a line on the DxO Optics Pro website that explains its aim perfectly: “Upgrade your images without upgrading your equipment”. DxO Optics Pro 11 does this in two ways. First, it uses lab-developed lens profiles to correct aberrations in over 950 camera lenses, fixing distortion, chromatic aberration, vignetting and even edge softness. Second, it uses DxO’s own RAW conversion and enhancement tools to produce the best possible quality from camera RAW files – it currently supports over 300 cameras. It will also correct JPEG images straight from the camera, though of course you won’t get the benefit of its RAW conversion tools.

In fact, DxO Optics Pro treats cameras and lenses together rather than individually, and now boasts corrections for a total of 30,000 camera/lens combinations. And if all this sounds like a technical nightmare, don’t worry. Optics Pro can read the EXIF (shooting) data for each picture, identify the camera and lens combination and apply the correct profile automatically. If it doesn’t yet have the appropriate profile, it automatically opens a dialog prompting you to download it – the process is quick and simple.

There’s really very little to know about the lens corrections, which seldom need any modification. The main interest lies in DxO Optics Pro’s RAW conversion tools which are both powerful and, to be honest, sometimes quite complex.

DxO Optics Pro 11 review
DxO Optics Pro 11 can fix many of the flaws inherent in camera lenses and enhance the lighting and contrast in a scene.
DxO Optics Pro 11 review
If you don’t like the default colour and tonal rendition, you can browse through different preset ‘looks’.

For a start, there’s a choice of noise reduction processes. The standard noise reduction operates in real time, but there’s a PRIME Denoise mode in the Elite edition that is much more powerful, albeit at the cost of processing time (a couple of minutes, sometimes, for each image). For each pixel, the PRIME Denoise engine analyses up to 1,000 surrounding pixels to identify similarities and ‘recombine information’.

It also has a feature called DxO Smart Lighting, which can pull back subtle detail in bright highlights, bring out deep shadow detail and yet preserve midtone contrast.

There’s also a DxO ClearView feature similar to the Dehaze option in Lightroom, which restores contrast to washed-out areas of a scene.

There are, in fact, two versions. There’s a cheaper Essentials edition (£99 in the UK) and a more expensive Elite edition (£159). The Essentials edition offers lens corrections and most of the RAW conversion controls, but if you want the PRIME Denoise and ClearView options you’ll need the Elite edition, which also offers an anti-moiré tool, a presets editor, customisable palettes and support for camera ICC profiles in a colour-managed workflow.

Both editions will integrate with two other DxO applications – DxO ViewPoint 3 and DxO FilmPack 5 – which can also be bought and used separately.

DxO Optics Pro 11 review
DxO ViewPoint 3 is an extra program designed for complex perspective corrections.

DxO ViewPoint 3 offers complex perspective corrections, automatic straightening and corrections for ‘volume deformation’. This is the effect at the edge of the frame commonly see with wide-angle lenses, where objects become elongated and deformed – you notice this especially with people and faces.

DxO Optics Pro 11 review
DxO FilmPack 5 is another add-on program that replicates the look of old analog materials and techniques.

DxO FilmPack 5 replicates the look of analog films, darkroom processes and effects by combining film simulations, grain, vignettes, blur, frames and light leak effects. It might seem an odd departure for a company intent on the maximum technical accuracy, but an increasing number of photographers are looking for ways to add a little analog ‘soul’ back into their digital images.

How does it work?

It might sound complicated, but at heart DxO Optics Pro is incredibly simple to use. It operates in two modes: Organise and Customise. In Organize mode, it works as a simple folder browser, much like Adobe Bridge, except that when you navigate to a folder full of images, it immediately sets about rendering corrected, optimised versions of your images – you don’t have to do a thing.

The only time you need to intervene is when you think you can do a better job of the RAW conversion settings than the default conversion profile. You can either open a drop-down Preset menu to browse through a series of alternative ‘looks’ for your image, or your can dive into the manual settings and adjust the image precisely to your taste.

This is where you need to switch to the Customize module, and where it gets a little more complicated, because at heart this is really quite a technical program. Over on the right side of the screen is a stack of panels which expand to reveal further sub-sections and sliders, some of which have obvious functions and some which are a little more complicated.

Smart Lighting

The Light section is perhaps the most important and potentially hardest to fathom. DxO’s Smart Lighting system does a good job of improving shadow and highlight detail, but it operates at three levels – Slight, Medium and Strong. These are reflected in an Intensity slider directly underneath, and you can set intermediate values.

The complication here is that DxO has changed the Smart Lighting engine more than once, and the Mode menu that contains the strength settings also has DxO Optics Pro 7 and DxO Optics Pro 9 modes, presumably for users who prefer the old rendition, or who have applied corrections to images in previous versions of the software.

DxO Optics Pro 11, by the way, adds a Spot Weighted mode here, so that you can weight the correction towards any human faces (the software will look for them automatically) or you can define a key area of the image yourself with a rectangular marquee tool.

DxO Optics Pro 11 review
DxO Optics Pro 11’s Lighting tools can be seen here on the right. They’re powerful, but they’re also complex in their actions and interactions.

With luck, this is all you will need to do. In practice, you may also need to adjust the Exposure Compensation slider to bring the highlights back into range in high-contrast or overexposed images. Here again you have a choice between automatic adjustments – Highlight Priority Slight/Medium/Strong, Centre-Weighted Average and Manual.

In fact, there’s a further option, Smart, which sounds like it ought to be the best of all, but in fact this applies to the DxO Optics Pro 9 Smart Lighting engine, not the latest one. DxO’s determination to cater for legacy tools is making successive versions more complicated.

That’s not quite the end, either. In addition to the Smart Lighting controls, Optics Pro also has Selective Tone sliders for adjusting Highlights, Midtones, Shadows and Black tones individually. These can be used to fine-tune the Smart Lighting adjustments or as a purely manual alternative – they’re improved in DxO Optics Pro 11 to offer better midtone rendition with highlight and shadow adjustments.

The interactions between the Smart Lighting, Exposure Compensation and Selective Tone adjustments are complex and not explained in any great depth. It’s easy to end up chasing your tail with constant tweaks and adjustments without really getting anywhere – and perhaps longing for the relative simplicity of Lightroom’s tonal controls, for example.

Noise, colour and DxO’s add-on applications

It does get better. The Detail panel offers a nice clear choice between the standard HQ (Fast) noise reduction, which is actually very good, and the PRIME mode, which is even better.

The Color panel is pretty straightforward too, and in addition to choosing a custom white balance preset you can use a Multi-Point Color Balance tool to adjust the hue and saturation of specific colours in a simple, intuitive and effective way – this tool is on the top toolbar rather than the sidebar.

DxO Optics Pro 11 review
Other controls are simpler to use. The Multi-Point Color Balance tool, for example, can be used to intensify some colours while toning down others. You can add as many control points to your image (left) as you need to get the desired result (right).

If you have DxO ViewPoint 3 and FilmPack 5 installed, these get their own panels in the sidebar (ViewPoint 3 also adds perspective correction controls to the top toolbar), though the options are pretty brief and FilmPack 5 offers simple drop-down menus instead of effect previews – surely it would be better to have FilmPack 5 open in its own window.

All of these adjustments are non-destructive – you can go back at any time and change what you’ve done. Like Lightroom and Capture One, DxO Optics Pro saves its adjustments as processing metadata that’s only visible within the software. To make permanent, edited versions of your photos for use in other applications, you need to export them as JPEG, TIFF or DNG files.

So what’s new?

There are many more tools than there’s been space to describe here, but these are the most important. DxO Optics Pro 11 does add some features not found in the previous version but they don’t represent a major upgrade.

DxO Optics Pro 11 review
The PRIME denoise feature produces better results even than the standard noise reduction, though the preview window (right) is hard to see here – you can click on this screenshot to enlarge it.

The DxO PRIME denoise engine is now faster, the Smart Lighting Spot Weighted mode (already mentioned) is new, as is red-eye correction. Version 11 adds Auto Microcontrast which, DxO says, is smart enough not to modify faces and high ISO images. The improved Selective Tone rendition has already been mentioned and there’s now a full-screen display mode, extended white balance range for shots taken underwater and at concerts, for example, and more ‘reactive’ sliders which are up to twice as fast.

DxO has also added shortcuts for rating and filtering images to make it easier to ‘cull’ photos from a shoot.

Is it any good?

DxO Optics Pro 11 does what it does extremely well. It’s what it doesn’t do that could be the problem. But let’s start with the positives…

Its lens corrections and RAW processing are excellent. It’s not just the quality of the results, but the simplicity of its approach. All you have to do is browse to the folders containing your photos and the rest is automatic – lens aberrations disappear, the lighting is subtly optimised and if you care to zoom in you’ll find a clarity and a ‘cleanness’ in the fine detail you probably weren’t aware your camera and lenses were capable of.

DxO Optics Pro 11 review
The new full-screen mode is ideal for browsing through images, and the split-screen before/after view, ratings and pop-up info panel are all extremely useful.
DxO Optics Pro 11 review
This before and after comparison shows how DxO Optics Pro’s results are more about finesse than dramatic changes. Here, the colours are cleaner and there’s much more detail in the shadows amongst the rocks.

Other programs can do this too, but perhaps not as well and certainly not as simply as this. Sometimes DxO’s default sharpening can produce edge artefacts which become apparent when you zoom in, but the overall effect at regular viewing distances is excellent.

DxO’s boast is “unparalleled rendering… automatically”, and you probably wouldn’t argue with that, except that when you carry out such a profound optical clean-up on an image you do sometimes lose a little of its character. Sometimes a little lens vignetting helps the contrast and the composition, sometimes dense shadows and blown-out highlights give a ‘look’ you don’t want to lose. In making an image technically perfect, DxO can sometimes suck some of the life from it.

Of course, you can switch off the vignetting correction, and manually add contrast and colour you feel you’ve lost, but it does add an extra step or two to the process.

So far so good. Very good, in fact. The problem is what’s missing.

DxO Optics Pro 11 doesn’t offer any real image cataloguing tools, just a relatively simple file browsing approach. Well, for a lot of folk that’s OK, and it does have good filtering and rating tools for organising your images at a folder level.

Worse – much worse – is the lack of localised adjustment tools. You can’t darken a sky. You can’t lighten a face. There are no gradient masks or adjustment brushes here. DxO Optics Pro 11 can create some very fine black and white image conversions, for example, but you’re going to have to do any dodging and burning elsewhere. This hurts the DxO FilmPack 5 add-on particularly, a program designed to produce finished images, but without the selective adjustment tools you’ll almost certainly need to do the job properly.

So however good DxO Optics Pro might be at improving your camera’s output, it’s unlikely to be the only program you’ll ever need. It excels at the first part of your workflow but stops at a point where you might need to carry on.

For Fujifilm fans there’s more bad news. DxO Optics Pro’s RAW engine does not support the X-Trans sensor because, it seems, the software is designed for regular bayer sensors, not the unique Fujifilm photosite array. It doesn’t even open non X-Trans Fujifilm RAW files such as those from the X-A1, for example.


All of this makes DxO Optics Pro 11 quite difficult to rate. It does a brilliant job at what it sets out to do. It can transform the output of a relatively modest camera and lens combination to produce a level of technical quality which is, as DxO’s marketing spiel claims, is almost like upgrading your camera. Its manual controls are sometimes complex and confusing, but at a simpler level its default corrections are fully automatic and you don’t have to lift a finger – figuratively or literally.

But unless you’re one of those rare photographers who makes every image entirely in-camera, it’s not going to be enough. Even if you can live without database-driven cataloguing tools, it’s unlikely you’ll be able to manage without selective adjustments. So you’re going to need other software and you’re going to have to figure out how to integrate DxO Optics Pro 11 into your workflow.

DxO Optics Pro 11 review
If you use Lightroom, it is possible to send unedited RAW files straight to DxO Optics Pro.
DxO Optics Pro 11 review
Once you’ve made your adjustments in DxO Optics Pro, you can then export them back to Lightroom.
DxO Optics Pro 11 review
Back in Lightroom you can compare the Lightroom rendering side-by-side with the DxO Version. In my tests DxO Optics Pro produced cleaner, crisper detail (though with some artefacts) and better optical corrections. Lightroom’s renditions look muddy and noisy by comparison.

For me, DxO Optics Pro’s folder browsing can’t replace Lightroom, which is my preferred organisational tool, and I routinely need to make selective adjustments to my favourite shots. It is possible to export RAW files to DxO Optics Pro 11 from Lightroom and have them re-imported automatically as edited TIFFs, JPEGs or DNGs, but it’s clunky and slow, and I’d probably use Optic Pro as a batch RAW converter right from the start and import processed images into Lightroom.

I could then apply local adjustments in Lightroom and use DxO FilmPack 5 as a plug-in for the final stage in producing an ‘analog’ look. Neither, however, is ideal.

So DxO Optics Pro 11 does face you with some tricky decisions. Some of the controls are tricky, its lack of local adjustment tools makes things trickier still, and figuring out how to integrate its unquestionably excellent results with your own photographic workflow could be the trickiest thing of all.


12 thoughts on “DxO Optics Pro 11 review

  1. Hi,

    Thanks for this excellent and fair review DxO11. A few months back, I decided to finally move on from Aperture 3 after it began giving me problems. I’d say I looked at just about every piece of post processing software for Macs out there. Since I’m on the far older side of the curve, and learned photography primarily shooting chromes (1960’s/70’s), I was taught and learned to be one of, in your words, “those rare photographers who makes every image entirely in-camera” (or at least as much as skill and luck would allow). So I have little interest or inclination for extensive post processing and any final adjustments needed for printing are made in consultation with my custom printer. I finally looked at DxO primarily as a RAW convertor and there it was: simple, quick and very little adjustment to be made on my part.

    I agree the cataloguing function is somewhat of a loss, but it forced me to think through my workflow and adjust to new realities. So currently, I’m culling with Fast Raw Viewer which I find to be a little easier and faster than DXO as well as that I like to see the RAW images straight out of the camera before adjustments are made. Then, processing the culled shots in DxO and exporting as jpegs or Tiffs as needed. Yes, a little more effort than Aperture, but much better results to my mind.

    1. It’s always interesting too hear about other photographers’ workflows, thanks Rene.

      I would be wary of trusting any software to show you RAW images ‘straight out of the camera’, however. RAW images are like undeveloped negatives – you can’t see anything without using a RAW converter, and each one applies its own interpretation of the RAW data. Even if the software uses the JPEG preview embedded in the RAW file by the camera, it’s only showing you the camera’s own RAW conversion.

      1. Rod, I agree with your comment above which is why I start with Fast Raw Viewer which, according to them FRV is the RAW viewer that allows you “to see RAW exactly as a converter will “see” it, and provides RAW-based tools to estimate what a converter will be able to squeeze from the shot.” I’ve just begun to explore what FRV can do, but their statement seems to be true so far. Worth checking out if you are not familiar with it.

  2. DXO Optics Pro might be a good choice for the RAW development but to combine it with other tools like Lightroom is not always an option for many of us on a limited budget.

  3. Re:: Lack of local adjustment tools – this has been somewhat addressed since DxO bought the NIK tools from Google and Optics Pro has now been renamed DxO Photolab. Full and enhanced integration is supposed to come out mid-2018.

  4. Not in the same street as Photoshop Elements. The only feature of value to me that PSE doesn’t have is CA correction. There are no selection tools and no way of correcting converging vertical/horizontal perspectives – pretty important especially for architecture.

    I’ve tried some other editing packages – Googles NIK – Canons DPP – Adobe Lightroom – but they just don’t stack up against PS elements especially with an ‘Elements +’ plug in ($15 download) which offers additional easy to use enhancements – such as CA correction. Why DXO engineers couldn’t see what competition they had and adapt accordingly surprises and disappoints me.

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