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It doesn’t yet offer high bit-depth colour support, although that’s in development for the next release.
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There are some pretty sizeable holes in GIMP when it comes to using it for professional purposes, too. The option to adjust brush qualities, such as the length and thickness of bristles, makes it more likely artists will achieve the effects they desire using Photoshop. Although GIMP has had the option to import Photoshop brushes (those made available online not the default Photoshop brushes themselves) since version 2.4, the range of brush options in Photoshop CC is far superior. Photoshop also has the edge on GIMP when it comes to drawing tools. What’s more, Cage Transform dragged our Core i5 laptop to its knees on a number of occasions. It wouldn’t allow you to move a single limb, as you can in Photoshop, but it should allow you to deform the shape of an object as a whole. The closest equivalent feature we could find in GIMP was Cage Transform, which allows you to reshape objects contained within a user-defined “cage”. Photoshop’s hugely impressive Puppet Warp feature – combined with judicious use of Content-Aware Fill – allows you to move a subject’s arms or legs to a different position, much like a puppet on a string, while keeping the background looking perfectly natural. Photoshop, on the other hand, comes with the excellent Camera Raw 8.1, which allows you to make detailed, non-destructive adjustments to white balance or sharpening before importing into Photoshop itself. Instead, you’re forced to import them via a separate raw processor called UFRaw, but this doesn’t work smoothly with the latest version of GIMP for Windows. For instance, GIMP doesn’t handle raw images by default. Many aspects of GIMP rely on plugins, and not always successfully. It also takes around five times longer to process such actions.
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It doesn’t work quite as neatly as Photoshop, either.
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GIMP had this facility long before Photoshop in the form of a plugin called Resynthesizer, but this has to be manually installed by awkwardly dragging and dropping files into the GIMP installation folder.
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Then there are tools such as Adobe’s much-vaunted Content-Aware Fill, which allows you to draw around objects – such as interlopers in the background of a portrait or distracting shadows – and have the software remove them. GIMP has an equivalent feature called Intelligent Scissors, which also features “interactive boundary” detection, but it requires you to continually click the mouse as you snip around the object, and its edge detection is more erratic. Take Photoshop CC’s Magnetic Lasso tool, for example, which allows you to gently guide the cursor around an object you wish to cut out, with the software automatically detecting ragged edges, such as ripples in a shirt. On the face of it, GIMP appears to have many of the same tools as Photoshop, but it’s only when you start toying with them that you realise Adobe’s software is significantly more sophisticated. While the interface looks a little dated, it’s clean, and not without thoughtful touches: the ever-present sliders to change variables such as opacity and threshold are marginally more accessible than the Photoshop alternatives, which are routinely two clicks away (unless you’re familiar with the keyboard shortcuts).