Silver Effects Pro 2. Several of us here use it. In my book, it’s the bee’s
knees. You start on the left side of the interface with a whole mess of
presets. Pick one that seems closest to what you want. Then shift to the right
side where you have a bodacious supply of buttons and sliders and control
points and filter emulators and film emulators and tinting, vignetting and
border options. This is where the admonishment from yesterday concerting
Lightroom, i.e., you gotta learn them sliders, holds true. Almost any look is
possible with SFX and the right paper, and as AG pointed out to me a year or so
ago, the results are discernibly not from wet darkrooms because they don’t
contain the flaws that come out of a wet darkroom. <Down, AG! You said it, not
me. <g>>
The other difference with SFX is that it is not necessary to emulate the look
of wet darkroom. You’re working on a new plane of black & white. You can go for
the look you think best fits the image. If you want to make it look like wet
darkroom, you can—Epson’s Exhibition Fiber and Canson’s Baryta Photographique
are exceptionally good b&w papers, and only the AGs of the world will notice.
But you’re not constrained to that. You can go pretty much anywhere you want.
EDITOR’S NOTE: This is not intended in any way to disrespect those who choose
to work in wet darkrooms with that stuff we call film to achieve their black
and white vision. It is only to point out—with a little teasing of the Schnozz
along the way—that it’s not necessary for your fingers to smell of fixer to
make outstandingly, outrageously good black and white prints with a digital
camera, a computer, and software.
--Bob Whitmire
Certified Neanderthal
On Jun 17, 2014, at 8:33 PM, Chris Trask <christrask@xxxxxxxxxxxxx> wrote:
> He did recommend a B&W post processing software by the name of "Silver
> Affects Pro". I'm going to look into that tomorrow when I have a WiFi
> connection.
--
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