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Analog efex pro before and after4/20/2023 ![]() ![]() While it appeared right side up in the Image Capture window, when I opened it in Preview that app's Inspector > More Info > General & TIFF tabs both showed Orientation: 3 (rotated 180°), as did several others. Several of them are still on my phone so I reimported one using that app. In retrospect, I think I probably imported my 'upside down' photos from my iPhone 5s to my Mac using Apple's Image Capture app, not Photos. Maybe it's the orientation of the iPhone when I took the pic that caused it. Thanks R C-R! I'm sure the photo was never previously rotated in the Photos app, but it worked anyway. After doing that, the photo layer appeared right side up in the NIK filters. Even though it was already a rasterized pixel layer, doing that 'resets' the Move tool's rotate handle to the top, in effect resetting the pixel rotation to 0°. The fix was simple: choose the photo pixel layer, right click on it, & choose "Rasterize." from the popup menu. That became obvious in AP when I selected the Move tool, selected the photo pixel layer, & noticed that the Move tool rotate handle was at the bottom instead of the top. I had that issues but I figured out why: Like you, I had opened a photo from my iPhone, one that as it turned out I had to rotate 180° for it to appear right side up at some point in the past, probably in Apple's Photos app. ![]() Has anyone else had this issue? I don't see any tool to rotate the image within the plugin either. Unfortunately the photo appears upside down when used in Affinity Photo, like this: Of course having something like a arbitrary selector like in photoshop would be good, but I can’t image the math that would have to go behind supporting such a shape.Thanks for the video link, I managed to install the plugins. One gets used to it, but I can’t help but feel like a square/rectangle, octagon and triangle might be appropriate selection tools as well. It’s like dodging and burning using only a circle on a wand. You end up having to really make a series of small reticles to cover specific areas. My only beef with all the Nik Software plugs is that they only support a circle to determine an area for controls. I save all that work, go back to aperture, hit option V and send that duplicate to Sharpener Pro or other plugs if need be. If you’ve ever had or been in a darkroom, the steps are exactly the same. It’s really an approach like working with large format film: you always determine your exposure and development type based on the film you want to use to render the feel you want to express.Īfter the film I then go after the brightness, contrast, and structure, followed by control points (I think of control points like the dodging and burning step in a dark room) and then apply edge burn or vignette, then the border, followed by tone (I’m a selenium fan). Agfa film for example is much softer than Kodak Tmax 100, and you want to take that into account before you make any adjustments or you’ll end up with an image that looked noting like what you adjusted prior to applying film effect. Applying the film first changes the feel of the image’s contrast significantly. There is are a range of film simulations that not only simulate grain but also simulates the film’s response curve, particularly the foot and shoulder’s curves which affect black and white rendition and how well a film holds it’s details on the low and high end of the zone system scale. The trick I use in SEP2 is that before I do anything I decide if I want to apply a film effect first. I then hit option V like Joseph recommended, and send the copy to SEP2. Once I have what I like, and you can drop the saturation to 0 to see what it looks like in initial black and white if you ant to work in black and white, I send it to DFine to remove noise if the iso I used is 400+. I also do some dodging and burning in aperture to get the details I want in the image before it goes to any other plugins. I adjust the exposure to make sure that I don’t have any overblown highlights. I don’t mess around much with the moire setting since I don’t understand it well. Typically I’ll crank up the sharpness and edge all the way up particularly on landscapes. My workflow with it is to first make all the raw camera adjustments in aperture. It really feels like being in the darkroom again. The way you can take an image and apply black and white interpretations is nothing short of spectacular. From my other posts, it’s no secret that SEP2 is by far my fav plugin. ![]()
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