Luminar Neo is a powerful photo editing plugin for Photoshop and Lightroom. It also works as a standalone desktop application.
Many of the plugin’s top features use artificial intelligence (AI) to get the job done, starting with FaceAI and SkinAI.
These tools help you touch up portrait photos by applying corrections to your subject’s facial structure, eyes, lips, skin tone and skin texture.
The Portrait BokehAI tool turns the background behind your subject into a bokeh background blur. Control the bokeh’s depth of field, softness and opacity.
AI technology can even remove backgrounds automatically. Doing so enables you to turn your subject into its own layer.
The StructureAI increases the contrast of images to bring out details around human subjects.
There’s even another contrast-based AI tool called Supercontrast. This one combines six AI tools that define highlights, midtones and shadows, creating warmer and more vibrant final images.
Here’s a quick summary of some of the other features Luminar Neo offers:
ON1 Effects is a Lightroom and Photoshop plugin that can also act as a standalone desktop app.
The plugin is essentially a collection of image effects, filters, LUTs and presets.
A few of its effects are named Sun Glow, Golden Autumn, B&W Modern, Vivid Landscape, Color Twist, Hot Desert, Deep Forest, Street, Color Grade and Instant Film.
Every item available in the collection is customizable. You can also stack effects, filters, presets, borders and textures to create your own designs.
The plugin even enables you to select specific areas of your image to apply effects to.
You can also create and save your own presets.
Price: $69.99 on its own. The ON1 Professional Bundle, which comes with four additional plugins, costs $149.99. A 14-day free trial is available.
03. Nik Collection
Nik Collection is a set of eight individual Photoshop plugins packaged in an affordable bundle. It’s also available for Lightroom as well as desktop apps.
Here are brief descriptions of each plugin included in the bundle:
Color Efex – A set of 50 filters, 20 image recipes and 29 film grains. Each filter comes in six modes.
Silver Efex – Black-and-white photography filters, controls and settings. Also includes 20 filters and effects that mimic old film types, such as Kodak Tri-X 400, Ilford Delta 100 and Fuji Neopan.
Dfine – Noise reduction. Even enables you to reduce noise in specific areas of images rather than whole images.
Viveza – 14 color presets. Adjust colors, tones and saturation in specific areas of your photos. Save and export presets.
Analog Efex – Vintage effects and settings that enable you to recreate looks from “over 160 years of photography.” Save your own recipes and presets.
HDR Efex – Uses an advanced tone-mapping algorithm to create the multiple exposures required for a proper HDR image, all while using a single reference image.
Sharpener – Uses a two-step process for image sharpening: pre-sharpening and output sharpening. The latter step sharpens your image based on how you intend to use it. You can also sharpen specific areas of images.
Sliders and settings enable you to customize the tools available in every one of these plugins.
Price: $149. A 30-day free trial is available.
04. Pexels Pro
Pexels is a free stock image site that offers millions of quality, attribution-free stock images and videos.
This is Pexels Pro, a collection of tools that enable you to add the stock image library to a variety of different applications.
One of these is Photoshop.
Instead of searching for an image on Pexels.com, downloading it, then uploading it to your Photoshop project, you can search through the library directly from Photoshop.
Pexels sorting options for search are included as well.
Aurora HDR is an advanced HDR photo editor that can be used as a plugin in Adobe Photoshop as well as Lightroom.
Create an HDR photo from multiple brackets like usual, or create one from a single image with the plugin’s use of AI technology.
The plugin also offers over 20 tools, including HDR Denoise, Polarizing Filter, Color Toning, LUT Mapping, HDR Details Boost, HSL, Tone Curn, Dodge & Burn, and Vignette.
They allow you to create vibrant, no-noise, halo-free HDR images that emphasize details and boost clarity.
The plugin also includes over 80 looks that allow you to apply pre-curated styles to images in one click.
They were designed in collaboration with renowned photographers, including Serge Ramelli, Trey Ratcliff and Randy Van Duinen.
You can also work with multiple layers, blending modes and masking. The plugin even supports bulk image processing and raw images.
Camera Raw is a Photoshop plugin developed by Adobe themselves. It’s included with Photoshop and After Effects.
It essentially brings the power of Adobe Lightroom to Photoshop.
In fact, as Adobe states, “Adobe Lightroom is built upon the same powerful raw image processing technology that powers Adobe Camera Raw.”
That’s the beauty of Camera Raw. It enables you to work with raw images by constructing color images from the unprocessed, uncompressed grayscale images your camera produces when you take photos.
This gives you more control over the image editing process since the images you normally import into Photoshop are compressed by your camera.
Camera Raw even preserves original raw files as you make changes in Photoshop.
The only caveat is that Photoshop cannot save images in a raw camera file format. You must use PSD, JPEG, TIFF, PNG, PSB or PBM.
Processed files can be saved in DNG, JPEG, TIFF and PSD formats.
RH Hover Color Picker is a simple Photoshop plugin that acts as a lightweight alternative to Photoshop’s complicated default color picker tool.
It appears as a small pop-up that hovers over your layer. Minimize the dialogue box when you decide on a color, or lock it in place.
After choosing a color to work with, use the sliders on the plugin’s interface to control hue, saturation and brightness. No more percentages and confusing controls!
Price: $16
08. Fontself
Fontself is a Photoshop plugin that allows you to make your own fonts. It also comes in an Adobe Illustrator version.
The way the plugin works is simple: you drag and drop shapes in Photoshop until you create glyphs in the style you want.
You can even create alternates and ligatures for each original glyph.
There are also spacing and kerning settings you can adjust. They help you apply appropriate spacing to individual fonts and font pairings.
You can apply your own metrics for kerning or borrow them from an existing font.
Finally, Fontself includes support for OpenType SVG fonts. This means you can apply colors, shades and gradients to your fonts.
The best part about this plugin is the fact that it allows you to export your font as an OTF file so you can use it elsewhere.
Price: $78
09. Ink
Ink is a great Photoshop plugin for designers who use the app to make UI designs for developers.
As you create your design, Ink documents technical aspects of your project.
These include the HTML5 effects you used, widths, heights, font names, font styles, font sizes, font colors and more.
You, as the designer, can choose which properties to output and showcase to the developer you’re working with.
It prevents confusion with the technical measurements and properties within a Photoshop project when you hand it over to your developer. Overall, it makes defining these properties much simpler.
Price: Free
Final Thoughts On Photoshop Plugins
Photoshop plugins improve your workflow and give you access to more advanced features not available in Photoshop by default.
Take a look at your current workflow, and consider a few ways you could improve it. You can also consider strategies and techniques you’re curious about but have never tried before.
The most powerful plugins on this list have similar price points, so budget is not a reliable deciding factor here.
If you’re growing tired of Photoshop altogether, check out our list of Photoshop alternatives.
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That again was no use: he but got another smile and a friendly look of the sort he no longer wanted. I said I thought I could gallop if Harry could, and in a few minutes we were up with the ambulance. It had stopped. There were several men about it, including Sergeant Jim and Kendall, which two had come from Quinn, and having just been in the ambulance, at Ferry's side, were now remounting, both of them openly in tears. "Hello, Kendall." We have this great advantage in dealing with Plato—that his philosophical writings have come down to us entire, while the thinkers who preceded him are known only through fragments and second-hand reports. Nor is the difference merely accidental. Plato was the creator of speculative literature, properly so called: he was the first and also the greatest artist that ever clothed abstract thought in language of appropriate majesty and splendour; and it is probably to their beauty of form that we owe the preservation of his writings. Rather unfortunately, however, along with the genuine works of the master, a certain number of pieces have been handed down to us under his name, of which some are almost universally admitted to be spurious, while the authenticity of others is a question on which the best scholars are still divided. In the absence of any very cogent external evidence, an immense amount of industry and learning has been expended on this subject, and the arguments employed on both sides sometimes make us doubt whether the reasoning powers of philologists are better developed than, according to Plato, were those of mathematicians in his time. The176 two extreme positions are occupied by Grote, who accepts the whole Alexandrian canon, and Krohn, who admits nothing but the Republic;115 while much more serious critics, such as Schaarschmidt, reject along with a mass of worthless compositions several Dialogues almost equal in interest and importance to those whose authenticity has never been doubted. The great historian of Greece seems to have been rather undiscriminating both in his scepticism and in his belief; and the exclusive importance which he attributed to contemporary testimony, or to what passed for such with him, may have unduly biassed his judgment in both directions. As it happens, the authority of the canon is much weaker than Grote imagined; but even granting his extreme contention, our view of Plato’s philosophy would not be seriously affected by it, for the pieces which are rejected by all other critics have no speculative importance whatever. The case would be far different were we to agree with those who impugn the genuineness of the Parmenides, the Sophist, the Statesman, the Philêbus, and the Laws; for these compositions mark a new departure in Platonism amounting to a complete transformation of its fundamental principles, which indeed is one of the reasons why their authenticity has been denied. Apart, however, from the numerous evidences of Platonic authorship furnished by the Dialogues themselves, as well as by the indirect references to them in Aristotle’s writings, it seems utterly incredible that a thinker scarcely, if at all, inferior to the master himself—as the supposed imitator must assuredly have been—should have consented to let his reasonings pass current under a false name, and that, too, the name of one whose teaching he in some respects controverted; while there is a further difficulty in assuming that his existence could pass unnoticed at a period marked by intense literary and philosophical activity. Readers who177 wish for fuller information on the subject will find in Zeller’s pages a careful and lucid digest of the whole controversy leading to a moderately conservative conclusion. Others will doubtless be content to accept Prof. Jowett’s verdict, that ‘on the whole not a sixteenth part of the writings which pass under the name of Plato, if we exclude the works rejected by the ancients themselves, can be fairly doubted by those who are willing to allow that a considerable change and growth may have taken place in his philosophy.’116 To which we may add that the Platonic dialogues, whether the work of one or more hands, and however widely differing among themselves, together represent a single phase of thought, and are appropriately studied as a connected series. Before entering on our task, one more difficulty remains to be noticed. Plato, although the greatest master of prose composition that ever lived, and for his time a remarkably voluminous author, cherished a strong dislike for books, and even affected to regret that the art of writing had ever been invented. A man, he said, might amuse himself by putting down his ideas on paper, and might even find written178 memoranda useful for private reference, but the only instruction worth speaking of was conveyed by oral communication, which made it possible for objections unforeseen by the teacher to be freely urged and answered.117 Such had been the method of Socrates, and such was doubtless the practice of Plato himself whenever it was possible for him to set forth his philosophy by word of mouth. It has been supposed, for this reason, that the great writer did not take his own books in earnest, and wished them to be regarded as no more than the elegant recreations of a leisure hour, while his deeper and more serious thoughts were reserved for lectures and conversations, of which, beyond a few allusions in Aristotle, every record has perished. That such, however, was not the case, may be easily shown. In the first place it is evident, from the extreme pains taken by Plato to throw his philosophical expositions into conversational form, that he did not despair of providing a literary substitute for spoken dialogue. Secondly, it is a strong confirmation of this theory that Aristotle, a personal friend and pupil of Plato during many years, should so frequently refer to the Dialogues as authoritative evidences of his master’s opinions on the most important topics. And, lastly, if it can be shown that the documents in question do actually embody a comprehensive and connected view of life and of the world, we shall feel satisfied that the oral teaching of Plato, had it been preserved, would not modify in any material degree the impression conveyed by his written compositions. breakfast in the kitchen by candle-light, and then drove the five The bargaining was interminable, something in this manner:— Then follows a long discussion in Hindi with the bystanders, who always escort a foreigner in a mob, ending in the question— There was a bright I. D. blanket spread on the ground a little way back from the fire, and she threw herself down upon it. All that was picturesque in his memories of history flashed back to Cairness, as he took his place beside Landor on the log and looked at her. Boadicea might have sat so in the depths of the Icenean forests, in the light of the torches of the Druids. So the Babylonian queen might have rested in the midst of her victorious armies, or she of Palmyra, after the lion hunt in the deserts of Syria. Her eyes, red lighted beneath the shadowing lashes, met his. Then she glanced away into the blackness of the pine forest, and calling her dog to lie down beside her, stroked its silky red head. The retreat was made, and the men found themselves again in the morning on the bleak, black heath of Drummossie, hungry and worn out, yet in expectation of a battle. There was yet time to do the only wise thing—retreat into the mountains, and depend upon a guerilla warfare, in which they would have the decided advantage. Lord George Murray now earnestly proposed this, but in vain. Sir Thomas Sheridan and other officers from France grew outrageous at that proposal, contending that they could easily beat the English, as they had done at Prestonpans and Falkirk—forgetting that the Highlanders then were full of vigour and spirit. Unfortunately, Charles listened to this foolish reasoning, and the fatal die was cast. "They said they were going for our breakfast," said Harry. "And I hope it's true, for I'm hungrier'n a rip-saw. But I could put off breakfast for awhile, if they'd only bring us our guns. I hope they'll be nice Springfield rifles that'll kill a man at a mile." "Dod durn it," blubbered Pete, "I ain't cryin' bekase Pm skeered. I'm cryin' bekase I'm afeared you'll lose me. I know durned well you'll lose me yit, with all this foolin' around." He came nearly every night. If she was not at the gate he would whistle a few bars of "Rio Bay," and she would steal out as soon as she could do so without rousing suspicion. Boarzell became theirs, their accomplice in some subtle, beautiful way. There was a little hollow on the western slope where they would crouch together and sniff the apricot scent of the gorse, which was ever afterwards to be the remembrancer of their love, and watch the farmhouse lights at Castweasel gleam and gutter beside Ramstile woods. "Yes, De Boteler," continued the lady, "I will write to him, and try to soothe his humour. You think it a humiliation—I would humble myself to the meanest serf that tills your land, could I learn the fate of my child. The abbot may have power to draw from this monk what he would conceal from us; I will at least make the experiment." The lady then, though much against De Boteler's wish, penned an epistle to the abbot, in which concession and apologies were made, and a strong invitation conveyed, that he would honour Sudley castle by his presence. The parchment was then folded, and dispatched to the abbot. "A very pretty method, truly! You know not the miners and forgers of Dean Forest!—why I would stake a noble to a silver-penny, that if you had discovered he was hidden there, and legally demanded him, he would be popped down in a bucket, to the bottom of some mine, where, even the art of Master Calverley could not have dragged him to the light of day until the Forest was clear of the pack:—but, however, to speak to the point," perceiving that the steward's patience was well nigh exhausted—"I saw Stephen Holgrave yesterday, in the Forest." HoME欧美一级 片a高清
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