Re: Color Efex Pro 30 For Capture Nx 2 Keygen
Kenneth Calimlim
My primary goal for nature photography has always been creative exploration. Filter and adjustments in Nik Color Efex Pro sets you free to explore creative possibilities with your nature photos. These filters and adjustments are not canned Instagram filters found on your smart phone. Instead, they give you a variety of adjustment slides to put you in complete creative control. Their U-Point technology makes local adjustments selection a hassle of the past. With this technology and the NIK Collection, you can see the creative possibilities with your nature photography.
In one version I decided to emphasize the warm natural tones. This makes the purple field in back pop, as well as deepens the greens in the mid- and foreground. I feel a lot of movement, cheer, and joy when I look at this picture. In another version, I wanted a darker mood. So I brought down the brightness, lowered the sharpness, and drew out the blues in the photo. The purple field in back takes on a different mood entirely and the softer hills in front feel lusher than before.
Graduated Neutral Density filters built into NIK Color EFex can be used to balance light for your landscape photos. Here is an example of how a graduated ND filter along with polarizer and pro contrast filters in NIK Color Efex Pro can be used to take your landscape photography to the next level.
I love flower photography and this morning glory vine gave me a lot to work with in Nik Color Efex Pro. Solarization, color enhancement, and glow applied in various ways in the set, created two vastly different flower photos. Each tells a different story and each speaks to me differently and can be used as part of the Fine Art Nature Photography collection.
Padma Inguva is a flower photographer who first picked up a camera to capture the fruits of her labor in her New Jersey garden. Her curiosity and perfectionism have driven her to spend thousands of hours in shooting and processing floral portraits and she loves sharing her gained insights with others. Her Meetups, webinars, workshops, and mentoring sessions cover topics like equipment selection, composition, lighting, and post processing. Her hope is that through photography, others can learn to see the beauty in little things and create for themselves an oasis in this constantly demanding life.
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I tend to not jump from one workflow to another too often, because every software package has its own learning curve, language, and quirks. It can be frustrating to learn how to do something in one program and then relearn it in another (along with different menu settings, key commands, ect.)
I had been using Lightroom 3 for developing of raw files since 2010, and was fine for my mirrorless Sony Nex camera. I then got the new Nikon and have been relying on that more than shooting MF film/drum scanning. Now I needed an updated RAW converter that supported the new camera and was still able to support OS 10.6.8 (long story).
Fortunately Capture One 7 can run on Snow Leopard. I think Capture 1 is a little clunky and the "development" stage can be unintuitive. At first I was simply converting the NEF to DNG with Capture 1, and then imported and developed as normal in Lightroom.
When I compared exported tiffs processed in Lightroom to those processed in Capture 1, the later were all sharper, with less apparent sharpening artifacts, along with better contrast and mid-tone separation.
After lots of testing, I found that while the initial de-mosaic processing of Capture 1 is actually better, but the black and white conversion isn't as good as what I am able to achieve in either Lightroom or Photoshop. I tried making multiple cloned variants with different B&W conversion settings to later mask out and blend in photoshop. None of that was as good as the B&W conversion done with Lightroom or exporting a full color tiff to convert Photoshop.
Capture One and Lightroom both have the ability to make local adjustments to the raw files before exporting, and I think capture one does it slightly better. It uses what are effectively adjustment layers and the ability to paint in the amount of adjustment. Lightroom does the same, but with adjustment brushes, that are not as easy to control (or figure out how much of an adjustment you are making). I prefer to use these tools to get the general lightness and darkness and contrast balanced, or local clarity increases in the this stage. Any additional tonal corrections and adjustments are then made in Photoshop, where adjustment layers and masks make this process easier/faster/more intuitive.
However, after multiple tests of this image using different conversion techniques, modifying the default settings within Silver Efex Pro seems to have a slight advantage over some of the techniques I've used in the past.
I will go into detailed workflows of some those black and white conversions with Capture 1, Silver Efex, and Photoshop in a future post. Until then, here are some screenshots comparing those different techniques.
I have included some 100% screen shots showing the difference in tonal separation and sharpness. Some of the deficiencies of the other conversions can be overcome with additional contrast control in Photoshop, but I still feel is it better to get it as good as possible before extensive dodging and burning/contrast control later on.
Well the verdict is still out. Some of the benefits of Silver Efex are the ability to define the emulation of the films spectral sensitivity in conjunction with color filtration, as well as changing the contrast curve of the "film". Most of the built in settings clip the shadows so I would not recommend using blind presets. The other contributing factor that might give Silver Efex the "edge" is the ability to increase the structure settings, which seem to give a different result than an additional sharpening layer and settings when employing a photoshop B&W conversion layer.
What's the best way to replicate the tonal enhancement Color Chrome creates in Capture One? To my eyes, it's a bit more than simply adjusting contrast and saturation but if I'm mistaken, feel free to explain!
"When expressing colors such as red, orange, yellow, or yellow green in high contrast, high brightness tends to exist. If contrast and brightness both reach their peaks, there is no room for tonality. As a result, the image becomes very flat.
But by analyzing the light and information received on the sensor surface, one can detect slight gradation. Color Chrome Effect uses this to create tonality while maintaining high contrast. As a result, an image is achieved without losing its depth.
I may be missing something, but I can switch the film curves (under base characteristics) in capture one 20 between the different film simulations. Than the raws looks almost exactly as the OOC jpegs from my X-T4. (Some differences in lens correction are still visible)
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