![]() There are rival tools which are aimed at a similar audience, such as Skylum Luminar, ON1 Photo RAW 2022 and in particular Exposure X7, but they don’t offer Analog Efex Pro’s depth, complexity and potential. These can range from relatively simple adjustments to tone, contrast and detail extraction, to elaborate vintage effects using simulated wet plate emulsions, toning, digital bokeh, light leaks and scratches.Īs with the other Nik Collection plug-ins, once you’ve created a ‘look’ you like, you can save it as a preset and apply it to other images with a single click. You might not like all of the presets, but with the power and scope available, you’ve no excuse for not creating some wonderful looks of your own. The range of effects you can achieve is and always was spectacular. #Analog efex pro velvia proWhile the interface and control point features have been brought right up to date in Analog Efex Pro 3, the filters themselves have not changed – and that hardly matters. Quality of results Here’s Analog Efex Pro’s multiple exposure filter – just one of many that offer retro looks that go further (and faster!) than it’s more sober-minded rivals. You’ll almost certainly need to move control points around from image to image, but it could still be useful to have pre-configured control points automatically added with presets. That’s useful enough in itself, but on top of that you can also now save control points in presets. Analog Efex Pro 3 now uses DxO’s latest control point enhancements, so that you can fine tune the masking of your local adjustments using Luminance and Chrominance sliders. ![]() ![]() They are still there, but instead DxO leads with the filters themselves, part of the original ‘Camera Kit’ mode but now brought to the fore, which is what most more experienced editors will want to work with. #Analog efex pro velvia updateThe filters, tools and presets themselves are largely the same, but what DxO has done is radically update the user interface to bring it in line with the other Nik plug-ins and also de-clutter Google’s original ‘camera’ categories. ![]() If you don’t want the fuss and you’re happy with regular ‘destructive’ editing, you can still work with regular JPEG and TIFF images. It means working with some pretty large double-size TIFF files, but they contain both the original image, the edited version and the Analog Efex Pro editing instructions, so you can pick up where you left off and re-edit your images without having to start again. Until the release of Nik Collection 5, it really had any significant changes since DxO took over the Nik Collection, although with Nik Collection 3 it did benefit from DxO’s new non-destructive workflow using the ‘multipage’ TIFF format. You can select a preset look and stop there, select a preset and then modify its adjustments, or start from a blank canvas and choose your own filters and effects. ![]() It follows the same principle as the rest by offering a selection of preset image effects which are constructed using individual components like film effects, borders, vignettes and more. And, if you’re into retro effects, it’s perhaps the most interesting in the whole Nik Collection. Analog Efex Pro was the only Nik Collection plug-in added under Google’s ownership. ![]()
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![]() ![]() His friends all thought that he should be throttled.Īnd that’s how in bond he came to be bottled. There was an old crow that so constantly squabbled “Nevermore,” he said mournfully and famously.Īnother poet, whose nationality, state, city, address and name I’ve sworn to keep secret, penned the following: Given the symbolism of the raven, Poe gave up hope that he would somehow ever recover his soul. Just in case.Īmerican poet Edgar Allen Poe, mourning for his lost love, spoke of a raven – a “grim, ungainly, ghastly, gaunt, and ominous bird of yore,” – that flew into his chambers, lit on a pallid bust, and cast its bleak shadow on the floor. The English long believed that if the fabled ravens of the Tower of London should depart, “the Crown will fall and Britain with it.” The English now sniff that they are above such a silly superstition, but in addition to the wild population at the Tower, they have kept a captive cadre of ravens since the 17th century. Lummis said in his Pueblo Indian Folk-Stories, tell the story of crows dancing and singing: “Alas, Mama! You are shaking, you are shaking!” while they trick an ancient enemy, the coyote, into ending the life of his own mama. In spite of their loopy flight, gloomy color, raspy voices and gross feeding habits, ravens and crows often star in folk tales, old beliefs and literature.įor centuries, said Samantha Fleming in White Dragon, ravens and crows “have had a special place in the mythology of various cultures.” Unlike the white-winged dove or the Gambel’s quail, which feed primly on seeds and fruit, ravens and crows often feed greedily on carrion left beside a roadway or on food scraps scavenged from human trash. Unlike the mockingbird or the curve-billed thrasher, which perform a wide repertoire of cheerful songs, ravens and crows usually just offer variations on a single coarse note: caw, caw, caw, caw. Unlike the American goldfinch, the Bullock’s oriole or the vermilion flycatcher, which sport exciting splashy colors and patterns, ravens and crows come in one basic color-solid ebony, morbidly black. ![]() ![]() Unlike the bald eagle, which soars elegantly above our heads, ravens and crows often fly acrobatically, much like many teenagers driving the family car. I made the picture about 20 years ago.įor some strange reason, ravens and crows have long played a prominent role across the landscape of the human imagination. One of the fabled ravens at the Tower of London. Ravens and Crows Common Raven (Corvus corax) ![]() |
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