Re: Knoll Light Factory For Photoshop 3.2 Keygen Download
Leana Eckes
For (#7), I decided to add some PolySpread Elements to create a flare with a new look. PolySpreads occur frequently with lens flares; they are colored dots or polygons of light, which appear at an angle to the light source. If you look closely at the NASA image in (#1), you'll see a PolySpread creating blue areas of light near the lower right corner of the image.
Lens Flares And Lighthouses
Lighthouses are another light source that frequently creates lens flares when photographed. In this lens flare, in addition to basic Elements such as a GlowBall, I used several Stripes Elements. These are long, narrow, tapered beams of light that can be refracted by a lateral light, such as a coastline (#8) and (#9).
Lens Flares And Stage Lights
Lens flares can also be used to create new light sources in photos, and to adjust their appearance. Stage lighting is a good example of this usage. Photographs of lit stages don't always look to the camera the same way that they look to the naked eye. If photographed from too far away, the subjects on the stage can be drowned out by the overwhelming light. Close-up photos are more accurate, but there's still the issue of focusing in on the stage, which can cause the stage lights to look different than they did when viewed live. In the examples in (#10) and (#11), I'll use the Rock Concert preset in Knoll Light Factory to adjust the appearance of stage lighting.
Red Giant Software's Knoll Light Factory 2.0 for Photoshop is available for Windows and Macintosh systems for $99 from www.redgiantsoftware.com/knollphotoshop.html. Knoll Light Factory also worked flawlessly for me in the two non-Adobe image editors that I tested it in, Corel's PHOTO-PAINT X3 and Ulead's PhotoImpact 12. Users of video-editing software should note that a powerful motion version of Knoll Light Factory is available for many Windows and Macintosh video editors, see the Red Giant website for details.
Update
Version 3.0 of Knoll Lens Factory is now available. The 3.0 upgrade introduces a complete redesign of the user interface. The Light Editor has been integrated into a single interface that can be moved and re-sized to your work space, a real-time interactive preview is now available, along with 16-bit color support, for smoother gradients and glows. Plus, an additional 50 new presets give you more ready to work with effects that range from natural to surreal. It must be noted, too, that the software is compatible with Intel Macs and Photoshop CS3. Knoll Lens Factory 3.0 is available from www.DigitalAnarchy.com. Digital Anarchy creates plug-ins for Adobe, Apple, and Autodesk products.
Anthony Celeste appreciates feedback from his readers. You may contact him via e-mail at Anthony...@gmail.com.
Flare has become a huge part of modern photography for how it can add both depth and excitement to an image. Many of us have resorted to manually creating lighting effects using Photoshop or by layering pre-made textures above our photos. Red Giant, however, looks to replace and augment this rather tedious process with Knoll Light Factory.
Unlike the aforementioned traditional methods of creating flare, Knoll Light Factory creates lighting effects rendered specifically for the image you are creating. This allows you to take advantage of tinting and obscuration (detailed below), as well as ensuring that each effect is unique and not just a clone of the lighting effects that every other user who bought the software created (such as with a plugin that uses texture-based lighting effects).
One of the other useful features of Knoll Light Factory is its ability to render lighting effects while taking into account objects that might exist between the light source and the camera which blocks part of the light. Using an obscuration layer you can alter the flow of light as if it is bending around or being blocked by other objects in the frame.
I use Knoll as well and I share my workflow with you:
1) I create a black layer
2) I convert it into a smart object
3) I put the blend mode in "Screen" mode
4) I apply Knoll (which in my opinion needs a defintive UI overhaul after all these years)
5) in the Knoll UI you find a fold out menu "Background Layer" and you choose they layer that you want the flare to be on (as a preview) -> so you see the layer on the actual layyer you want to apply it on and not the black layer
6) you edit the flare to your liking and you click apply
For a lot cooler flares export your image to after effects and use VIdeo Copilots Lens Flare. The workflow is a little bit more complicated since you have to use AE. But the flares are way cooler than Knoll and the interface is more refined (and more complicated)...
I use knoll, but I also suggest Optical Flares from Video Copilot. They can be a bit heavy handed, but you can deconstruct them and fully customize them to create realistic elements. It's cheaper too.
My 1 chief complaint is this strange banding that come off of some of the rays. When zoomed in you can see the actual 'rays' themselves and it looks find of phoney. Although I've never tried to do it on a blank layer with a layer blend option to use a 1 or 2 pix blur. I will try this in future uses.
Oniric generates its glows based on the luminosity of the input image constrained by a threshold setting. Oniric is so flexible that it lets you control the glow opacity, size, exposure, light dispersion, and color. It generates two kinds of glows: Diffuse glows and light streaks. When light streaks type is enabled, you are able to control the rotation and streaks details. Oniric uses a real inverse square law algorithm to simulate a realistic light falloff the same way light is perceived in real life."
Composite Nation reached out to me during the launch of Oniric to see if I was interested in reviewing it. As someone who creates a lot of fantasy and composite work, I was excited to give it a try, because light glow can be time-consuming to believably manufacture in Photoshop, and anything that speeds up my workflow sounds like a good idea.
Composite Nation has a couple of helpful tutorials on their website, and once I finished watching them, I felt comfortable getting to work. I had a few photos in my catalog that were good candidates for Oniric, but I also wanted to create a few new pieces specifically for running the plug-in through its paces. I wanted to know if it would be as good for delicate work as it is for larger effects.
The learning curve is pretty shallow, and after a couple of false starts, I found working with the plug-in easy. Before we get into the nuts and bolts of how Oniric works, though, let me show you what it does.
It's also important to note that Oniric mimics the color of whatever colors are brightest but that certain colors are inherently lower in luminosity, and Oniric will not find them as easily, as seen with the X-ray option selected.
Nicole York is a professional photographer and educator based out of Albuquerque, New Mexico. When she's not shooting extraordinary people or mentoring growing photographers, she's out climbing in the New Mexico back country or writing and reading novels.
Really would like to buy this but, I feel the same way about how much use am I really going to get out of it. If and when it goes on sale Ill probably pick it up. Until then I'm pretty sure I can mimic everything it does in PS.
It's certainly worth considering. I'm really grateful to have used it, because it's speeds up my workflow and makes a big difference in image quality and atmosphere, but *most* of what I make has some element of compositing to it, so that makes a difference.
Hi Kip, the thing is that real professional looking glows are not that easy to achieve in Photoshop. It's a very thorough and manual process. Everybody does them differently, but generally it's done by stacking layers in linear or color dodge and screen modes with gaussian blurs, and other stuff (this doesn't cover at all the process). I've been using this pluging for a while now and you can totally see a very talented artist was behind the project, since the glows look very realistic. The light fall off is just amazing. The thing is that it is a huge time saver, since you just move the sliders and you can achieve any look you want. It has become a huge part of my editing process now. Check out their webpage it is on sale now, if you're interested.
This reminds me a lot of Knoll Light Factory which I used with Photoshop for years until they stopped updating the Photoshop version of the plugin and it stopped working. I would buy this in a heartbeat if it had a stand-alone app but I am one of those users who has left Adobe behind...
When people say I'm too harsh about Adobe's lack of innovation and I see third party companies creating stuff like this, or all the red giant and Video Copilot plugins for premiere and after effects. They see it too and then come out with an updated selection tool and minor updates every six months. It's a joke and an insult.
I don't think Adobe has any intention of changing, they haven't released any new features that I'd say meaningfully move my workflow forward in years now and performance has become worse and worse with every new update. I finally just gave up a few months ago and am not using Affinity. (Which also isn't sensational but at least I'm not paying a monthly sub to Adobe anymore)
I would drop to the $20 photoshop and lightroom and switch to davinci if not for nodes and how insane they are to work with. Why can't Adobe just be like Facebook and buy every product that is doing something cool and add it in?
Ha, well, Adobe's pockets aren't nearly as deep as Facebook's ;) But also given their reluctance to even re-architecting Photoshop so that it runs well on modern tech infrastructure I imagine that trying to integrate acquisition technology would also be something they are afraid of doing.
Only reason I first moved to a subscription was buying a 2k monitor and the text and tools were too small to see because they only gave that adjustment to newer versions. They might not have as much as Facebook but I doubt they are spending as much with only small updates once a year while guaranteed money is pouring in.
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