1/11/2024 0 Comments Analog efex pro photoshopNow they will appear as a single Smart Object, and to edit the original contents, just double-click on it to open it up (as if it were a different file), and make the changes. simply flatten everything), but since I want to maintain complete edibility, the solution is to take both of these Smart Objects and “convert” them into another Smart Object! To do that, simply select both layers, right-click and choose Convert to Smart Object. There are lots of destructive ways to handle this (i.e. If I only do it to one, part of the image will still be color. Since I’ve duplicated the layers, and brushed a hole through one of them, that means I need to apply the same B&W conversion to both layers. Next I want to convert to B&W, but I’ve created a problem for myself. The next step is to add a Layer Mask to the top version, and gently brush away some of the blurry eye, revealing the sharp eye underneath! Now I have two version of the same image stacked on top of each other - one with the blurry swirl, and one without. So I went ahead and applied the filter, then duplicated the entire image + filter stack in Photoshop, opened the Analog Efex filter again on the bottom layer, and disabled those two filters. I can’t mask elements out inside the filter (it’s two of the effects, the Double Exposure and the Bokeh that are creating that issue). In fact, it looks a little bit mystical to me - perfect for this photo! But notice how the swirly second exposure is covering his eyes? I’m not quite sure what, so playing around in Analog Efex Pro should be a lot of fun!Īfter a bit of playing around, I found a double exposure preset that I thought might make a cool, artsy B&W image (remember I’ll add the B&W later). I know that eventually I’ll be turning this image back and white, but before that I want to add some kind of analog effects to this. Next I want to do something that’s pure creative. It’s well exposed, but some of the highlights - notably on the white paint over his eye on the right side of the image where the sun is hitting - are a little bright, so I’ll bring those down with the Highlights slider. It’ll make for a big file, but I like the flexibility.įor this particular photo, there isn’t much to do. So I’ll start with Adobe Photoshop so every adjustment can be a smart adjustment that can be re-edited at any time. But I know I’m going to apply a bunch of Nik tools to this one. I like to do as much work as I can to the RAW file, which for most photos means DxO PhotoLab or Adobe Lightroom. When you first open a RAW file in Adobe Photoshop, you start in Bridge, which is your RAW decode process. This will give you access to the entire Nik Collection. In the event you’re using Adobe Lightroom CC (the cloud-based version), while you can’t access the Nik plugins from within Lightroom, you can do your global corrective edits and then open a Photoshop file. You could also send your photo from Adobe Lightroom CC Classic, from DxO PhotoLab, or any other host app that supports the Nik plug-ins. Here’s a real-world example! I’m going to be using Adobe Photoshop as the host for the image, because with Smart Objects, that gives me the most flexibility throughout the process. And then do a final sharpening pass that’s optimized for screen or print at the exact size (and in the case of print paper type) that your audience will see. And if you’re going to B&W and want to add any effects that aren’t part of Silver Efex Pro, do those before the B&W conversion. Apply any corrective edits (exposure adjustment, retouching, cropping, etc.). Strip away any noise that is there because of a high-ISO shot or even noise that’s been enhanced by pre-sharpening. The idea is that we start with an image that’s as sharp as it can be. Starting the ideal workflow with the Nik Collection by DxO
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