Discussions, articles, tests, and comparisons on lens quality, sharpness, and resolving power have been a mainstay of photography magazines and passionate discussions for decades. As a reader of this magazine, how-ever, you’ve dedicated yourself to learning the ins and outs of Adobe Photoshop with much more than a passing interest. You probably stay up late at night delving into layers, masks, and filters; you imagine Photoshop images as you daydream or drift off to sleep; and you happily devote hours to nurturing an image from initial exposure to final print. But for me, when dedication evolves into compulsion, I have a tendency to overwork an image, which saps the joy out of the creative process. I can’t tell you how often I’ve tried to create believable motion blurs, shallow depth-of-field effects, or dreamy images with Photoshop—only to be unsatisfied and finally closing the file without saving it. A computer cannot believably re-create genuine optical distortion, blur, and softness that alternative camera lenses or an extreme shallow depth of field does much more easily, effectively, and spontaneously.