Anyone Using Sliders?

[Famous Artist]

I don't use sliders or brushes or selections, etc. I send a raw photo to my staff asking for improvement recommendations. They review and return with recommendations. I review their recs, pick the ones I want and then ask them to execute.

As you can see, recommendations offered can be detailed (which I like):

===========

Good Morning Famous Artist,

Here’s a tight, archival-safe workflow you can run exactly as written. It boosts dynamic range and facial/hair presence while preserving identity, grain, and period character. You're up early this morning!! Ha!

1) Setup (non-destructive)

• Duplicate Background → Background-NR (for dust only). Keep original at bottom.
• Convert to 16-bit, Adobe RGB (1998) (or keep your current grayscale profile if already set).
• Create a group 01 Tone for global adjustments and 02 Local for targeted work.

2) Global tonal balance (face-first, grain-safe)

1. Curves – Luminosity blend (100%)
   • Set black/white targets ≈ #171616 / #EAEAEA using Output Levels ~ 6 / 244 (avoid pure clip).
   • Shape a very gentle S-curve:
     • Shadows: Input 40 → Output 36
     • Midtones: Input 128 → Output 132
     • Highlights: Input 200 → Output 206
   • Blend If protection: split sliders so the curve ignores the darkest 5% and brightest 5% (Alt/Opt-drag).
2. Levels – fine trim (Luminosity, 25–40%)
   • Input ~ 10 / 1.00 / 242.
   • Opacity to taste; this sets the dynamic range without crushing texture.
3. QC pass A
   • Add Threshold adj layer; slide left/right. If any regions stick as solid black/white > tiny pinpoints, back off Curves/Levels.
   • Delete Threshold when satisfied.

3) Local presence (face & hair only—no reshaping)

1. Dodge & Burn – 50% gray Soft Light layer (name: “D&B–FaceHair”)
   • Brush 1–3% flow, soft edge.
   • Dodge (Lighten): cheekbones, brow ridge, nose bridge, philtrum, center of lower lip, forehead center—keep within Zone V–VI feel.
   • Burn (Darken): under chin/neck transition, hair parting shadows, hair on far-side temple, jawline edge—keep hair in Zones III–IV with detail.
   • Keep strokes micro; toggle often to avoid sculpting.
2. Micro-contrast – High Pass (masked to hair/eyes)
   • Stamp visible (Ctrl/Cmd-Alt/Opt-Shift-E) → High Pass 0.6–0.9 px → Overlay (or Soft Light) at 20–45%.
   • Add black mask; paint white only on irises, lashes, hair texture. Avoid skin/clothing.
3. Halo guard (if any edge halos appear)
   • With the High Pass (or any contrast layer) active: Edit → Fade… → Mode: Darken, 30–50% to suppress bright halos.
   • If dark halos exist, duplicate and Fade → Lighten 20–30%. Mask as needed.

4) Repair & grain integrity (keep period look)

1. Dust/blemish cleanup (on Background-NR)
   • Clone/Heal at 20–40% opacity, small brush, sample frequently. Only remove defects—do not smooth texture.
2. Film grain check
   • If contrast moves reduced apparent grain, add a new layer Grain 0.4–0.6% (Filter → Noise → Add Noise, Monochromatic, Gaussian).
   • Overlay at 10–20% opacity; mask off pure background if needed. Goal: match original grain feel, not modern noise.

5) Feedback loop & quality control

• Threshold clipping check again (new Threshold layer). Back off Curves/Levels if clipping reappears.
• Difference-layer geometry check:
  • Duplicate the original Background to the top, set to Difference.
  • You should see near-black overall—only faint tonal speckling. Any bright edges around facial features = unintended reshaping; reduce D&B/High Pass there.
• Histogram glance: smooth bell with shoulders; no dead gaps at ends.

Iteration guidance: Do two micro-iterations. After each, run Threshold + Difference checks, then tiny opacity trims (generally Curves 70–90%, D&B 60–85%, High Pass 20–35%).

6) Layer stack (suggested names)

• 02 Local
  • HighPass–HairEyes (Overlay, masked)
  • D&B–FaceHair (Soft Light, 50% gray)
• 01 Tone
  • Levels–Trim (Luminosity, ~30%)
  • Curves–Global S (Luminosity, 100%, Blend-If guarded)
• Background-NR (spot/dust only)
• Background (locked original)

7) Output

• Working master: layered 16-bit TIFF, Adobe RGB (1998), embed profile, native pixel dimensions, no crop/rotate.
• Print: 300 ppi; soft-proof paper if needed; no additional sharpening beyond the High Pass mask.
• Screen proof (optional): downsample with Bicubic sharper (small) and export JPEG sRGB (quality 90–95).

If you’d like, I can also produce a condensed action list.

PS I've been pushing pixels since 1994. I remember the slider days. Ha!

Peace

 

[grsnovi]

Your staff executes.

 

[JohnWheeler]

I don't use sliders or brushes or selections, etc. I send a raw photo to my staff asking for improvement recommendations. They review and return with recommendations. I review their recs, pick the ones I want and then ask them to execute.

As you can see, recommendations offered can be detailed (which I like):

===========

Good Morning Famous Artist,

Here’s a tight, archival-safe workflow you can run exactly as written. It boosts dynamic range and facial/hair presence while preserving identity, grain, and period character. You're up early this morning!! Ha!

1) Setup (non-destructive)

• Duplicate Background → Background-NR (for dust only). Keep original at bottom.
• Convert to 16-bit, Adobe RGB (1998) (or keep your current grayscale profile if already set).
• Create a group 01 Tone for global adjustments and 02 Local for targeted work.

2) Global tonal balance (face-first, grain-safe)

1. Curves – Luminosity blend (100%)
   • Set black/white targets ≈ #171616 / #EAEAEA using Output Levels ~ 6 / 244 (avoid pure clip).
   • Shape a very gentle S-curve:
     • Shadows: Input 40 → Output 36
     • Midtones: Input 128 → Output 132
     • Highlights: Input 200 → Output 206
   • Blend If protection: split sliders so the curve ignores the darkest 5% and brightest 5% (Alt/Opt-drag).
2. Levels – fine trim (Luminosity, 25–40%)
   • Input ~ 10 / 1.00 / 242.
   • Opacity to taste; this sets the dynamic range without crushing texture.
3. QC pass A
   • Add Threshold adj layer; slide left/right. If any regions stick as solid black/white > tiny pinpoints, back off Curves/Levels.
   • Delete Threshold when satisfied.

3) Local presence (face & hair only—no reshaping)

1. Dodge & Burn – 50% gray Soft Light layer (name: “D&B–FaceHair”)
   • Brush 1–3% flow, soft edge.
   • Dodge (Lighten): cheekbones, brow ridge, nose bridge, philtrum, center of lower lip, forehead center—keep within Zone V–VI feel.
   • Burn (Darken): under chin/neck transition, hair parting shadows, hair on far-side temple, jawline edge—keep hair in Zones III–IV with detail.
   • Keep strokes micro; toggle often to avoid sculpting.
2. Micro-contrast – High Pass (masked to hair/eyes)
   • Stamp visible (Ctrl/Cmd-Alt/Opt-Shift-E) → High Pass 0.6–0.9 px → Overlay (or Soft Light) at 20–45%.
   • Add black mask; paint white only on irises, lashes, hair texture. Avoid skin/clothing.
3. Halo guard (if any edge halos appear)
   • With the High Pass (or any contrast layer) active: Edit → Fade… → Mode: Darken, 30–50% to suppress bright halos.
   • If dark halos exist, duplicate and Fade → Lighten 20–30%. Mask as needed.

4) Repair & grain integrity (keep period look)

1. Dust/blemish cleanup (on Background-NR)
   • Clone/Heal at 20–40% opacity, small brush, sample frequently. Only remove defects—do not smooth texture.
2. Film grain check
   • If contrast moves reduced apparent grain, add a new layer Grain 0.4–0.6% (Filter → Noise → Add Noise, Monochromatic, Gaussian).
   • Overlay at 10–20% opacity; mask off pure background if needed. Goal: match original grain feel, not modern noise.

5) Feedback loop & quality control

• Threshold clipping check again (new Threshold layer). Back off Curves/Levels if clipping reappears.
• Difference-layer geometry check:
  • Duplicate the original Background to the top, set to Difference.
  • You should see near-black overall—only faint tonal speckling. Any bright edges around facial features = unintended reshaping; reduce D&B/High Pass there.
• Histogram glance: smooth bell with shoulders; no dead gaps at ends.

Iteration guidance: Do two micro-iterations. After each, run Threshold + Difference checks, then tiny opacity trims (generally Curves 70–90%, D&B 60–85%, High Pass 20–35%).

6) Layer stack (suggested names)

• 02 Local
  • HighPass–HairEyes (Overlay, masked)
  • D&B–FaceHair (Soft Light, 50% gray)
• 01 Tone
  • Levels–Trim (Luminosity, ~30%)
  • Curves–Global S (Luminosity, 100%, Blend-If guarded)
• Background-NR (spot/dust only)
• Background (locked original)

7) Output

• Working master: layered 16-bit TIFF, Adobe RGB (1998), embed profile, native pixel dimensions, no crop/rotate.
• Print: 300 ppi; soft-proof paper if needed; no additional sharpening beyond the High Pass mask.
• Screen proof (optional): downsample with Bicubic sharper (small) and export JPEG sRGB (quality 90–95).

If you’d like, I can also produce a condensed action list.

PS I've been pushing pixels since 1994. I remember the slider days. Ha!

Peace

That's pretty cool.

I assume, given your past posts, that you are leveraging an AI engine to make recommendations and then choosing which options to have the AI engine execute.

Could you share the AI engine you use and the full prompt to get this type of result?

That would be pretty helpful to those coming up the learning curve on how to get the most out of AI engines

Thanks in advance.

John Wheeler

 

[CameraCarl]

I wish I had a staff.

 

[P450]

I had staph once. Does this count?

 

[tbcass]

Sounds like you are getting paid for doing nothing. ;-)

--
Tom

 

[ishwanu]

Yes.

 

[Inevitable]

I wear sliders, does that count as using them? Birkenstock are my favorite.

 

[Harwood56]

To me that workflow sounds like something from the Bizarro World. The thought of reading hundreds of words about how to edit an image gives me the horrors. I would want to see an edited image that incorporates whatever is being recommended. I guess it's different strokes for different folks. You and I appear to be about as near to polar opposites (left brain vs. right brain) as makes no difference. As the song says, "You go your way I'll go mine. It's best that we do."

 

[Major Jack]

I don't use sliders or brushes or selections, etc. I send a raw photo to my staff asking for improvement recommendations. They review and return with recommendations. I review their recs, pick the ones I want and then ask them to execute.

As you can see, recommendations offered can be detailed (which I like):

===========

Good Morning Famous Artist,

Here’s a tight, archival-safe workflow you can run exactly as written. It boosts dynamic range and facial/hair presence while preserving identity, grain, and period character. You're up early this morning!! Ha!

1) Setup (non-destructive)

• Duplicate Background → Background-NR (for dust only). Keep original at bottom.
• Convert to 16-bit, Adobe RGB (1998) (or keep your current grayscale profile if already set).
• Create a group 01 Tone for global adjustments and 02 Local for targeted work.

2) Global tonal balance (face-first, grain-safe)

1. Curves – Luminosity blend (100%)
   • Set black/white targets ≈ #171616 / #EAEAEA using Output Levels ~ 6 / 244 (avoid pure clip).
   • Shape a very gentle S-curve:
     • Shadows: Input 40 → Output 36
     • Midtones: Input 128 → Output 132
     • Highlights: Input 200 → Output 206
   • Blend If protection: split sliders so the curve ignores the darkest 5% and brightest 5% (Alt/Opt-drag).
2. Levels – fine trim (Luminosity, 25–40%)
   • Input ~ 10 / 1.00 / 242.
   • Opacity to taste; this sets the dynamic range without crushing texture.
3. QC pass A
   • Add Threshold adj layer; slide left/right. If any regions stick as solid black/white > tiny pinpoints, back off Curves/Levels.
   • Delete Threshold when satisfied.

3) Local presence (face & hair only—no reshaping)

1. Dodge & Burn – 50% gray Soft Light layer (name: “D&B–FaceHair”)
   • Brush 1–3% flow, soft edge.
   • Dodge (Lighten): cheekbones, brow ridge, nose bridge, philtrum, center of lower lip, forehead center—keep within Zone V–VI feel.
   • Burn (Darken): under chin/neck transition, hair parting shadows, hair on far-side temple, jawline edge—keep hair in Zones III–IV with detail.
   • Keep strokes micro; toggle often to avoid sculpting.
2. Micro-contrast – High Pass (masked to hair/eyes)
   • Stamp visible (Ctrl/Cmd-Alt/Opt-Shift-E) → High Pass 0.6–0.9 px → Overlay (or Soft Light) at 20–45%.
   • Add black mask; paint white only on irises, lashes, hair texture. Avoid skin/clothing.
3. Halo guard (if any edge halos appear)
   • With the High Pass (or any contrast layer) active: Edit → Fade… → Mode: Darken, 30–50% to suppress bright halos.
   • If dark halos exist, duplicate and Fade → Lighten 20–30%. Mask as needed.

4) Repair & grain integrity (keep period look)

1. Dust/blemish cleanup (on Background-NR)
   • Clone/Heal at 20–40% opacity, small brush, sample frequently. Only remove defects—do not smooth texture.
2. Film grain check
   • If contrast moves reduced apparent grain, add a new layer Grain 0.4–0.6% (Filter → Noise → Add Noise, Monochromatic, Gaussian).
   • Overlay at 10–20% opacity; mask off pure background if needed. Goal: match original grain feel, not modern noise.

5) Feedback loop & quality control

• Threshold clipping check again (new Threshold layer). Back off Curves/Levels if clipping reappears.
• Difference-layer geometry check:
  • Duplicate the original Background to the top, set to Difference.
  • You should see near-black overall—only faint tonal speckling. Any bright edges around facial features = unintended reshaping; reduce D&B/High Pass there.
• Histogram glance: smooth bell with shoulders; no dead gaps at ends.

Iteration guidance: Do two micro-iterations. After each, run Threshold + Difference checks, then tiny opacity trims (generally Curves 70–90%, D&B 60–85%, High Pass 20–35%).

6) Layer stack (suggested names)

• 02 Local
  • HighPass–HairEyes (Overlay, masked)
  • D&B–FaceHair (Soft Light, 50% gray)
• 01 Tone
  • Levels–Trim (Luminosity, ~30%)
  • Curves–Global S (Luminosity, 100%, Blend-If guarded)
• Background-NR (spot/dust only)
• Background (locked original)

7) Output

• Working master: layered 16-bit TIFF, Adobe RGB (1998), embed profile, native pixel dimensions, no crop/rotate.
• Print: 300 ppi; soft-proof paper if needed; no additional sharpening beyond the High Pass mask.
• Screen proof (optional): downsample with Bicubic sharper (small) and export JPEG sRGB (quality 90–95).

If you’d like, I can also produce a condensed action list.

PS I've been pushing pixels since 1994. I remember the slider days. Ha!

Peace

This puts many questions in my head to be honest.

Are you a Professional Photographer only, or are you also considered an expert at Photoshop also? I ask that question, because I am just curious as to why your "Staff" (retoucher's) are required to send you detailed recommendations of their workflow for each raw file? Just seems like a very time consuming process if you get this level of detail for every raw file you submit to them. I assume they "staff" have your complete trust.

But, with that said, it must be nice to have a "staff" of such highly trained Professionals, that would take that much time to give you such a detailed explanation of their workflow. Clearly, someone is very well experienced, based on the included level of detail you submitted here. I would think, that person has earned your trust already based on that level of knowledge, as it is excellent and shows their knowledge of the software. Either that, or ChatGPT is very good. LOL. (Just kidding).

Just a question based on your post though. Do these "staff members" compete for the work, and are they paid based upon their work and the time they take to detail their workflow, or are they all "on staff"? I guess my logical question would only be, (with all due respect to you when I say this) why are they required to provide this level of recommendations and details, if they have already earned the "staff" designation?

I am just being curious as to why this level of detail and recommendations I guess. Why not just send them all the raw file(s) and tell them that you will pick the best work, and reward them accordingly?

Anyway, your "staff" and your workflow, so don't feel the need to respond if you do not want to. It is just what came to my mind.

Have a great day.

 

[s_grins]

I use sliders because I like to use them.

Regards

S.

 

[NAwlins Contrarian]

I don't use sliders or brushes or selections, etc. I send a raw photo to my staff asking for improvement recommendations. They review and return with recommendations. I review their recs, pick the ones I want and then ask them to execute.

As you can see, recommendations offered can be detailed (which I like):

===========

Good Morning Famous Artist,

Here’s a tight, archival-safe workflow you can run exactly as written. It boosts dynamic range and facial/hair presence while preserving identity, grain, and period character. You're up early this morning!! Ha!

1) Setup (non-destructive)

• Duplicate Background → Background-NR (for dust only). Keep original at bottom.
• Convert to 16-bit, Adobe RGB (1998) (or keep your current grayscale profile if already set).
• Create a group 01 Tone for global adjustments and 02 Local for targeted work.

2) Global tonal balance (face-first, grain-safe)

1. Curves – Luminosity blend (100%)
   • Set black/white targets ≈ #171616 / #EAEAEA using Output Levels ~ 6 / 244 (avoid pure clip).
   • Shape a very gentle S-curve:
     • Shadows: Input 40 → Output 36
     • Midtones: Input 128 → Output 132
     • Highlights: Input 200 → Output 206
   • Blend If protection: split sliders so the curve ignores the darkest 5% and brightest 5% (Alt/Opt-drag).
2. Levels – fine trim (Luminosity, 25–40%)
   • Input ~ 10 / 1.00 / 242.
   • Opacity to taste; this sets the dynamic range without crushing texture.
3. QC pass A
   • Add Threshold adj layer; slide left/right. If any regions stick as solid black/white > tiny pinpoints, back off Curves/Levels.
   • Delete Threshold when satisfied.

3) Local presence (face & hair only—no reshaping)

1. Dodge & Burn – 50% gray Soft Light layer (name: “D&B–FaceHair”)
   • Brush 1–3% flow, soft edge.
   • Dodge (Lighten): cheekbones, brow ridge, nose bridge, philtrum, center of lower lip, forehead center—keep within Zone V–VI feel.
   • Burn (Darken): under chin/neck transition, hair parting shadows, hair on far-side temple, jawline edge—keep hair in Zones III–IV with detail.
   • Keep strokes micro; toggle often to avoid sculpting.
2. Micro-contrast – High Pass (masked to hair/eyes)
   • Stamp visible (Ctrl/Cmd-Alt/Opt-Shift-E) → High Pass 0.6–0.9 px → Overlay (or Soft Light) at 20–45%.
   • Add black mask; paint white only on irises, lashes, hair texture. Avoid skin/clothing.
3. Halo guard (if any edge halos appear)
   • With the High Pass (or any contrast layer) active: Edit → Fade… → Mode: Darken, 30–50% to suppress bright halos.
   • If dark halos exist, duplicate and Fade → Lighten 20–30%. Mask as needed.

4) Repair & grain integrity (keep period look)

1. Dust/blemish cleanup (on Background-NR)
   • Clone/Heal at 20–40% opacity, small brush, sample frequently. Only remove defects—do not smooth texture.
2. Film grain check
   • If contrast moves reduced apparent grain, add a new layer Grain 0.4–0.6% (Filter → Noise → Add Noise, Monochromatic, Gaussian).
   • Overlay at 10–20% opacity; mask off pure background if needed. Goal: match original grain feel, not modern noise.

5) Feedback loop & quality control

• Threshold clipping check again (new Threshold layer). Back off Curves/Levels if clipping reappears.
• Difference-layer geometry check:
  • Duplicate the original Background to the top, set to Difference.
  • You should see near-black overall—only faint tonal speckling. Any bright edges around facial features = unintended reshaping; reduce D&B/High Pass there.
• Histogram glance: smooth bell with shoulders; no dead gaps at ends.

Iteration guidance: Do two micro-iterations. After each, run Threshold + Difference checks, then tiny opacity trims (generally Curves 70–90%, D&B 60–85%, High Pass 20–35%).

6) Layer stack (suggested names)

• 02 Local
  • HighPass–HairEyes (Overlay, masked)
  • D&B–FaceHair (Soft Light, 50% gray)
• 01 Tone
  • Levels–Trim (Luminosity, ~30%)
  • Curves–Global S (Luminosity, 100%, Blend-If guarded)
• Background-NR (spot/dust only)
• Background (locked original)

7) Output

• Working master: layered 16-bit TIFF, Adobe RGB (1998), embed profile, native pixel dimensions, no crop/rotate.
• Print: 300 ppi; soft-proof paper if needed; no additional sharpening beyond the High Pass mask.
• Screen proof (optional): downsample with Bicubic sharper (small) and export JPEG sRGB (quality 90–95).

If you’d like, I can also produce a condensed action list.

PS I've been pushing pixels since 1994. I remember the slider days. Ha!

Peace

Any such 'this is what you should do' procedure is necessarily simplistic and constitutes a poor suggestion for many uses / purposes. What one photo needs can differ radically from what another photo needs. And at the same time, this instruction set is a long and complicated--I think over-complicated--list that's not only hardly appropriate for every photo but also contains some things that are simply wrong.

* The suggestion that anything done here "boosts dynamic range" is wrong. The capture limits capture dynamic range (you have what you have in the raw file, and that's it), the output medium or format limits output dynamic range, and this stuff or any other processing at most rearranges the contrast of what's in between.

* Adobe RGB is never best. ProPhoto RGB is better for color, sRGB is better for B&W. IMO the only reason to use Adobe RGB today is if you're having a service that accepts Adobe RGB but not full color management print the file.

* There's no mention of one of the most important controls, white balance.

* Using both curves and levels seems to me misguided. Curves is a superset of levels.

* The master file probably ought to be retained not as a TIFF but as the native format for the software, like a .psd for Photoshop or .afphoto for Affinity Photo.

* Whether 300 ppi is the right value for printing depends on the printer. It's wrong for many Epsons. As Jeff Schewe convincingly demonstrated in The Digital Print, if you have enough pixels relative to the output side, most photo printers offer a mode that doubles the usual 300 or 360 ppi to some benefit (albeit slight).

Last but not least, whether a particular control is a slider or what is far more a function of the design of the software's user interface than it is about the nature of the adjustment.

 

[Pixel8888]

To me that workflow sounds like something from the Bizarro World. The thought of reading hundreds of words about how to edit an image gives me the horrors. I would want to see an edited image that incorporates whatever is being recommended. I guess it's different strokes for different folks. You and I appear to be about as near to polar opposites (left brain vs. right brain) as makes no difference. As the song says, "You go your way I'll go mine. It's best that we do."

 

[Night Pixel]

I asked the staff to take a break from grilling and make a photo of sliders.









--
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
"A photograph is a secret about a secret. The more it tells you the less you know." - Diane Arbus

 

[p900learner]

My guess the "staff" that provided the workflow feedback for the OP is ChatGPT or something similar. It's AI generated. Fine if it's helpful in the OP's post-processing. If AI it is or isn't helpful, why not just be straight forward about it. Oh well.

Evelyn

 

[Matt2134]

I have been back to this thread several times now, and the message and purpose continues to completely elude me.

I am perfectly willing to accept the issue is me, not the OP!

Is this a jocular post about using AI? There are no staff, right?

I am guessing so based on the older thread

https://www.dpreview.com/forums/thread/4814417#forum-post-68415366

But apologies if I am just having a manopausal moment and missing the point spectacularly! :-D

Is this to espouse the benefits of using chatGPT for review and suggestions?

 

[NAwlins Contrarian]

I asked the staff to take a break from grilling and make a photo of sliders.

I almost included a picture of my usual sliders of choice (cheeseburger and fried chicken sliders from District Donuts in New Orleans).

I also seriously considered a post about mixing sliders, fastballs, etc.

But I skipped all that and treated the original post with the assumption that it's serious advice. It may not be. It's so over-the-top that it could easily be some sort of joke or satire ("Famous Artist", "my staff", "a tight, archival-safe workflow", "preserving identity, grain, and period character", etc.).

 

[Night Pixel]

I asked the staff to take a break from grilling and make a photo of sliders.

I almost included a picture of my usual sliders of choice (cheeseburger and fried chicken sliders from District Donuts in New Orleans).

I also seriously considered a post about mixing sliders, fastballs, etc.

But I skipped all that and treated the original post with the assumption that it's serious advice. It may not be. It's so over-the-top that it could easily be some sort of joke or satire ("Famous Artist", "my staff", "a tight, archival-safe workflow", "preserving identity, grain, and period character", etc.).

Please show is your sliders. We can ask Famous Photographer's staff for advice on how to improve the image.

--
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
"A photograph is a secret about a secret. The more it tells you the less you know." - Diane Arbus

 

[Kaj E]

[No message]

 

[Major Jack]

I have been back to this thread several times now, and the message and purpose continues to completely elude me.

I am perfectly willing to accept the issue is me, not the OP!

Is this a jocular post about using AI? There are no staff, right?

I am guessing so based on the older thread

https://www.dpreview.com/forums/thread/4814417#forum-post-68415366

But apologies if I am just having a manopausal moment and missing the point spectacularly! :-D

Is this to espouse the benefits of using chatGPT for review and suggestions?

I suspect this is all about Ai also.

https://www.dpreview.com/forums/post/68421812