Nik Collection 4 Review
Review Manufacturer: Nik Collection by DxO
Price when reviewed
$149 / €149
While some of the changes introduced with Nik Collection 4 add extra differences between the software interfaces, it remains an excellent suite of plugins. The changes made to the Control Points in Silver Efex Pro 3 and Viveza 3, which make targeting the area for adjustments easier, are a great move and it would’ve been nice to have seen them spread out across the rest of the suite. I expect that is to come as resources allow.
The Meta-presets which enable one-click adjustments of images by applying Nik Collection adjustments as Photoshop actions are an interesting idea, but it would be helpful if the names could be more descriptive and perhaps an option to see an example image added.
Dfine is also crying out for some sort of update that draws on DxO’s superb DeepPRIME noise reduction technology.
8 plug-ins in one Enables global and local adjustments Superb black and white conversions
New features not rolled out to all the plugins Multi-page TIFFs are very big
What is Nik Collection 4?
Nik Collection, a group of Adobe Photoshop plugins, was originally launched by Nik Software but in September 2012 it was acquired by Google. At the time this was largely thought to be to enable Google to get hold of Snapseed, an excellent mobile image editing app.
Nik Collection continued to be popular, possibly helped by the fact that in early 2016, Google made it free to download. However, in Spring 2017, Google confirmed that it wouldn’t develop the software any further.
Thankfully, in October 2017, DxO, the developer of the widely respected optical correction software now called PhotoLab, announced that it had bought Nik Collection from Google. There then followed a period of stabilisation during which DxO worked on correcting all the compatibility issues and glitches that had arisen during Google’s tenure. More recently, however, DxO has switched to developing Nik Collection further and the latest version, Nik Collection 4 was launched on 2nd June 2021.
Nik Collection 4 is a group of 8 plug-in software packages for Adobe Photoshop, Lightroom and DxO PhotoLab (formerly DxO Optics Pro). These packages enable a range of effects to be applied quickly and easily to images, they include Silver Efex Pro, Analog Efex Pro, Color Efex Pro, Dfine, HDR Efex Pro, Sharpener Pro, Viveza and Perspective Efex.
Silver Efex Pro, is the most widely known of the plugins and it’s a popular choice of software for converting colour images to black and white. Nik Collection 4 introduces the latest version of Silver Efext Pro, Silver Efex Pro 3. Similarly, Viveza is upgraded to Viveza 3.
The plugins can be summarised as:
Silver Efex Pro: for converting images to black and white, this is inspired by traditional darkroom techniques.
Analog Efex Pro: simulates the look of traditional film, cameras and lenses.
Color Efex Pro: a collection of colour correction and creative effect filters, plus retouching controls.
Dfine: noise reduction software.
HDR Efex Pro: High Dynamic Range (HDR) software for single images or a series of images.
Sharpener Pro: image sharpening with the ability to apply localised or global sharpening.
Viveza: local adjustment of colour and tone.
Perspective Efex: This was introduced with Nik Collection 3, it is geometric correction software with distortion correction, horizon straightening and volumetric distortion correction.
Latest version announced: 2nd June 2021 Product type: 8 Image-editing softwares, plug-in or standalone Plug-in compatibility: Adobe Photoshop, Adobe Lightroom Classic, DxO PhotoLab Software suite: Silver Efex Pro, Analog Efex Pro, Color Efex Pro, Dfine, HDR Efex Pro, Sharpener Pro, Viveza and Perspective Efex
What’s new in Nik Collection 4?
With Nik Collection 4, DxO has concentrated on making selective adjustments using the U-Point technology and Control Points in Silver Efex Pro 3 and Viveza 3 easier and more precise. In addition, these selective adjustments can be saved with the Presets so that they can be applied to other images. They can also be adjusted to ensure they work for the new image.
The U-Point Technology Control Points allow you to make selective adjustments without getting bogged down in creating a mask. You just click on the area that you want to adjust and the software selects the area for adjustment based on the colour and tone of where you clicked. You can also increase or decrease the size of the area affected by your adjustments.
With the latest incarnation of the Control Points, you can refine the selected area using Chrominance and Luminance sliders.
DxO has also introduced ‘Meta-presets’ with Nik Collection 4. This is a set of 10 Photoshop actions that are accessible from within Nik Collection 4 for quick, user-friendly adjustments.
Improved Adobe Photoshop and Lightroom workflow
DxO has extended the ‘Last Edit’ function that enables users to re-apply the last Nik Collection preset they used in Adobe Photoshop to Adobe Lightroom Classic.
Also, the new Smart Copy & Paste feature enables the effect of a plugin to be re-applied to one or more images in Adobe Lightroom without having to launch Nik Collection.
Thanks to the availability of the Tiff Multipage file format, it’s also possible to make non-destructive image editing in Adobe Lightroom Classic. To do this, simply put a tick in the ‘Save and edit later’ box in the bottom right corner of the screen.
Then when you click on ‘Save’ the software will combine the input image with the Nik Collection 4 editing parameters and the output image in one file that can be re-edited.
How to use Nik Collection 4 in Photoshop or Lightroom
Once you’ve installed Nik Collection 4, a box is visible when you open an image in Adobe Photoshop. This box, aka the Nik Selective tool, was updated for Nik Collection 3. As well as looking much more modern and giving fast access to each plugin, it enables you to apply your favourite presets and last edits.
All you need to do is click on the plug-in you want to use. If you’ve closed the box, you can access the plug-ins via Filter > Nik Collection.
In Lightroom, access the Nik Collection packages via Photo > Edit in. Meanwhile, in DxO PhotoLab, the button to access Nik Collection is in the bottom right corner of the screen, next to ‘Export to Disk’.
Once you’ve opened one of the plugins, the basic editing options are arranged on the left of the screen. You can see the whole list of Filters or Presets, or click on one of the groups (Landscape, Wedding etc) to see a more restricted range. The newer En Vogue presets are located in the Recipes section. You can also see the presets you’ve used in the past by clicking on History. Just click on a preset see its impact applied to a preview of your image.
There may also be sub-options to chose between – also on the left of the screen. The refinement and local adjustment controls are located on the right of the screen with the preview in the middle.
One of the great things about using Nik Collection with Photoshop is that the effects can be applied globally, or you can select the Brush option to paint the effect on your image. If you make a mistake as you paint in the effect, you can click on the Erase option to brush it out and start again.
The effect is also applied as a layer in Photoshop so you can reduce the opacity or add a mask if you wish.
Nik Collection 4 Meta-presets
With Nik Collection 4, DxO has launched the Meta-presets concept with a set of 10 presets that can be applied directly from within Photoshop. The company is going to monitor their use and will add more or will add extra functionality if there’s sufficient demand.
To apply a Meta-preset you need to open an image in Photoshop and click on the arrow to the right of the Meta-presets option in the Nik Selective tool. This expands the list of presets available with icons indicating which Nik Collection plugins are used in their creation.
DxO has opted for a rather random collection of names for the presets which don’t really help with their selection. Names like ‘Golden Haze’ and ‘Purple Haze’ hint at their effect, but ‘Adoxical’ and ‘Kalopsia’ leave you guessing. Also, in the absence of a preview, there’s nothing for it but to click on an option to see what it does and if it works for your image.
One tip here is to create a duplicate layer to apply the Meta-prest to so that you can adjust its impact quickly via the layer opacity control or turn it off altogether.
With the Sharp and Intense Meta-preset applied
Making selective adjustments using Nik Collection
The selective adjustment controls in Nik Collection’s different software packages use Nik’s U-Point Technology via the Control Points to adjust targeted areas of the image.
After adding a Control Point by clicking on the tool in the column on the right of the screen when an image is open in a plugin, you need to click on the part of the image that you want to adjust.
In Analog Efex Pro, Color Efex Pro 4 and HDR Efex Pro 2 this adds a point with four sliding controls coming off it. If you click on the arrow at the bottom, you’ll reveal another four controls.
Clicking on a slider reveals the full scale and you’re able to adjust the setting as necessary. The top control governs the size of the area affected.
With Silver Efex Pro 3 and Viveza 3, however, the Control Point sliders are now located in the control panel in the column on the right of the screen. This makes the preview much cleaner, and it’s more logical, as all the controls are now in one place.
Silver Efex Pro 3 and Viveza 3 also gain the ability to target the adjustment using the luminance and chrominance sliders in the Color Selectivity section of the control panel. It’s helpful to use the mask to reveal the control point selection as you adjust the sliders and narrow down the selection for adjustment. This turns the image monochrome with the selected area in white.
Once you’re happy with the selection, you can adjust aspects such as the brightness, contrast and saturation etc, using the sliding controls in the panel on the right (or attached to the control point).
With Analog Efex Pro, Color Efex Pro 4 and HDR Efex Pro 2, aside from changing the size of the adjustment area, the only way to narrow the target area is to add other ‘negative’ control points that limit the impact of the first control point. Basically, you add Control Points with no adjustment to restrict the area that is adjusted by the first point.
Helpfully, you can duplicate control points to apply the same adjustment to different areas of the image.
Also, in Silver Efex Pro 3 and Viveza 3, if you decide to save your adjustments as a preset, you get to include the presets so they are also applied to other images.
If you decide to apply the preset to another image, the Control Point will appear on the preview. If the image has exactly the same framing, the Control Point should be in the correct location, but if not, you can drag it to where it needs to be. It’s also possible to adjust the Control Point settings.
Silver Efex Pro 3 review
Silver Efex Pro 3.0 is the black and white conversion plugin in Nik Collection. As soon as you open it, the image preview switches to monochrome.
On the left of the screen, there’s a column of presets available for selection. These are grouped to help you find the ones you like, but selecting the ‘All’ option lets you browse all the available options.
Beneath the preset previews, there are icons to access custom and imported presets as well as the ones you’ve used previously. That’s helpful because it saves you from having to browse all the options if there’s just one or two that you use most of the time. Just click on the preset that you like the look of to apply it to your image.
Adjusting an image in Silver Efex Pro 2.0
The adjustment tools are arranged in the column to the right of the image preview. These are arranged in groups called Global Adjustments, Selective Adjustments, Colour Filter, Film Types and Finishing Adjustments. Click on the triangle to the left of the group name to expand and collapse the stack to reveal or hide the controls.
Under Global Adjustments, you’ll find the brightness and contrast controls. These allow you to adjust the highlights, midtones and shadows separately, as well as the overall brightness.
The Colour Filters don’t apply a colour to your image, they work like a traditional glass filter in black and white film photography. They adjust the brightness and contrast of the image according to the colours it’s made up from. A filter brightens its own colour but darkens the opposite colour. Selecting the red or orange filter, for example, darkens a blue sky.
You can target specific colours for brightening or darkening by tweaking the hue slider to find the precise colour filter you want to work with.
There’s a list of 18 different films to choose from in the drop-down box in Film Types. Just scroll through them to find the one you want and apply it to your image. If you want, then use the Grain, Sensitivity and Levels and Curves controls to get exactly the look you want.
The Sensitivity allows you to adjust the ‘films’ response to individual colours. Sliding the control to the right brightens areas of that colour.
All the toning, vignetting and edge effect controls are located in the Finishing Adjustments section. You can select from a range of traditional toning effects to apply and then adjust it to your satisfaction. As well as the strength of the toning, you can change the silver hue and tone (strength) as well as the paper hue and tone.
Applying the Adjustment
When used with Photoshop, Silver Efex Pro 3.0 offers two ways to apply the effect you’ve created. The first applies the effect just as you see it. It’s what you get if you hit ‘OK’. Helpfully, the effect is applied as a layer so you can adjust the opacity and paint it in or out if you like.
If you select ‘Brush’ instead of ‘OK’, Silver Efex Pro creates a mask over your image as it returns to the standard Photoshop panel.
The Nik Collection panel shows buttons to allow you to select ‘Paint’, ‘Erase’, ‘Fill’ or ‘Clear’. Simply use the Photoshop Brush controls to paint in or erase the effect on your image.
Tapping ‘Fill’ paints in the whole effect, while ‘Clear’ removes it all. Once you’re happy, just tap ‘Apply’.
Silver Efex Pro 3 verdict
I tend to use the Film Types as the starting point and then adjust the image until it looks as I want it to. I then usually create a Custom Preset so I can apply it to other images. As the effect is applied as a layer, you have an extra level of control.
If I’m working in Adobe Photoshop, I’d rather use Photoshop’s or Adobe Camera Raw’s controls to make local adjustments before opening Silver Efex. However, Nik’s U-Point technology and the Control Points, including the new selection refinement tools, are easy to use.
Viveza 3 review
Viveza 3 works in a very similar way to Silver Efex Pro 3, but it’s designed to work with and output colour images.
All the Presets are arranged in a column on the left of the screen while the controls are on the right with the preview in the middle.
As with Silver Efex Pro 3, the Viveza 3 interface has been refreshed to make it look fresher and more modern. Clear icons at the top of the screen enable you to switch quickly between different views so you can see just the current image or you can compare it with the starting point.
There are also icons to adjust the size/magnification of the preview on the screen.
I was working with large images stored on a hard drive that was bought for its capacity rather than its speed, but the preview responded quickly to any adjustments that I made.
While it lacks the high profile of Silver Efex and the excitement of Analogue Pro, Viveza is easy to use and it’s effective.
The newly improved interface looks good while the refined Control Point layout and selection tools make it remarkably easy to adjust specific parts of an image without any obvious halos or overflowing edits.
Analog Efex Pro 2.0 review
Nik Collection Analog Efex Pro 2.0 works in a very similar way to Silver Efex Pro and Viveza. The big difference is that rather than applying the look of well-known film emulsions, there are some ‘classic camera’ effects. The aim is to produce an image that looks like it has been captured with an old camera. You can even add scratches and dust marks if you want.
The starting point is picking from a series of thumbnails on the left of the screen to apply a preset treatment to your image. At first glance, you’ll only see 9 presets, however, tap the arrow in the top left of the screen where it says ‘Classic Camera’ and a lot more are revealed. There’s a lot to choose from!
Alongside the list of cameras available for selection, there’s a list of effects that can be applied. Actually, some of these effects are probably best described as faults – Lens Distortion, Light Leaks, Dirt and Scratches etc. Selecting one applies a basic treatment to your image, but you can tailor and refine it using the controls on the left of the screen.
Try the Effects
There are some great effects available and there’s a good level of control. Bokeh, for example, allows you to position a target over the area that you want to be sharp. You can also specify the size of the graduation between the sharp and blurred areas.
Each effect reveals a different set of controls. Some, like the Basic Adjustments and Dirt & Scratches, for example, allow you to use Control Points to restrict the effect to a particular area. The parameters available under these Control Points varies depending upon the effect. It’s all very logical.
The fun part is that if you select ‘Camera Kit’ under ‘Build a Camera’ you can apply a series of effects and create a treatment to apply to other images in the future. If you’ve got a couple of hours to spare, you can really lose yourself in the creative process.
And of course, just like Silver Efex, Analog Efex applies its effects as a layer. This can be painted in if you select the Brush option or applied globally if you hit ‘OK’.
Analog Efex Pro 2.0 verdict
Analog Efex Pro 2.0 may not be the main reason why you invest in Nik Collection, but it’s addictive. It also produces some interesting, effective results. If you want to recreate the look of an old camera, you’ll find it can produce some realistic-looking results. It’s also perfect for giving your images a different, creative appearance.
Color Efex Pro 4 review
Color Efex Pro 4 got 10 new effects available under the En Vogue banner in Nik Collection 3. These are listed in the recipes section in the column on the left of the screen. As with the other effects, there’s a preview of the effect and you just need to click on the one you like the look of to apply it to your image.
I like the Blue Monday effect, but I think Contrast in B&W works better for the scene below.
Once the Recipe has been applied, you can adjust the settings using the controls in the column on the right of the screen. Clicking on the arrow next to the control type, for example, B/W Conversion, Dark Contrast and Tonal Contrasts with Contrast in B&W, reveals the controls. As usual, these are mostly sliding controls with the option to type in specific numbers if you like.
Adding a Filter effect
If you click on the Add Filter button on the right, or the Filter Library menu in the left column, the filter list is revealed ready for selection. I decided to apply a sepia effect using the Colorise filter. Initially, this applied a greenish tint, but it’s easy to change it by clicking on the coloured box in the Color section of the controls on the right. This brings up a box with three sliding controls (Red, Green and Blue). It’s just a case of adjusting the sliders until you get a colour you like – or you can type in a specific Hex colour code if you know what you want. Unfortunately, the image preview at the centre of the screen doesn’t change colour as you make your adjustments. You can only see the final effect after you’ve closed the box by clicking on the red close button in the left top corner of the control panel. If you want to tweak the hue, you have to reopen the control panel to access the controls then close it again.
Once that’s done, you can adjust the Strength of the colour – I knocked it back to 7% for my image below. You can also add Control Points to adjust the opacity of the filter across different points of the image.
Raw file with the Blue Monday Recipe in Color Efex Pro applied
Color Efex Pro 4 verdict
Color Efex Pro 4 works in a very similar way to Silver Efex Pro and is something of a crossover with Viveza as it’s primarily for creating colour images. It’s very easy to use and while there will always be personal preferences, the Recipes and other presets deliver good results. I especially like the warming and cooling effect of Blue Monday, but as usual, it’s a case of finding which settings work best for your images. Happily the presets preview renders quickly and you can soon find the one you want to work with.
There are few quirks, such as the Colorise adjustment not offering a preview, but on the whole, the software performs well and is stable.
Define 2.0 review
Dfine is Nik Collection’s noise reduction plugin. Its strength comes in part from the level of control but mostly from the ease with which you can vary the level of noise reduction that’s applied across an image. That’s helpful because areas with lots of detail often only need a light treatment. Meanwhile, areas of uniform tone can take (or demand) a heavier-handed approach.
With the image below, which was shot at ISO 102,400, the bricks need less noise reduction applying than the car and the lighter of the two doors.
Like the other plugins in Nik Collection, you can add Control Points in Dfine to apply different levels of noise reduction to different parts of the image. DxO hasn’t rolled out the Control Point changes it has made for Silver Efex Pro 3 and Vivieza 3 to Dfine, so after selecting the Control Point option (with the Reduce tab selected) and adding a point, you need to use the sliders attached to point on the preview to control the level of contrast and colour noise.
However, I find it faster and easier to apply a blanket treatment and then paint it onto the image.
When the Measure tab is selected, the drop-down box next to Method can be set to Manual or Automatic. The Automatic option can work well. It bases the level of noise reduction that’s required on its assessment of four areas of the image. It usually looks at the highlights, shadows and mid-tones.
The selected areas are highlighted on the image. If you like, you can drag these selection boxes to the areas you consider the most important. If you do this, the Method drop-down option switches to Manual. You can also resize the boxes if necessary.
Once you’re happy, click on ‘Measure’. Dfine will then measure the noise and apply a noise reduction algorithm. This can be tweaked using the sliding controls and Control Points found in the Reduce section.
Move the cursor around the image to see a before and after comparison in the Loupe window.
Once you’ve found the level of noise reduction that you want, you have the option to click OK to apply it, or select Brush to paint it in. I like to use the Brush as it creates a mask and you can quickly switch between painting in the effect or erasing it.
Helpfully, you can also Photoshop’s brush opacity control at the top of the image to apply the effect more subtly.
Dfine 2.0 verdict
There are probably fewer occasions when you’ll use Dfine than some of the other plugins in Nik Collection, but it’s very handy for low-light photography. Although you can take complete control if you want, the automatic setting often works well.
I find the Loupe frustrating because you can’t keep an area selected while you adjust the treatment. You can still build up a picture of the degree of noise reduction that’s required globally, but it’s harder to assess the Control Points.
It would be great to see DxO update Dfine with its DeepPRIME technology that delivers superb results in DxO PhotoLab 4 and DxO PureRAW software, but it might be rather processor-hungry.
Perspective Efex review
Perspective Efex draws on DxO’s Viewpoint 3 software for its engine and controls. It enables correction of barrel and pincushion type distortion, volume deformation resulting from using wide-angle lenses and perspective distortion. It also enables wonky horizons to be straightened, and there’s a Miniature effect to replicate the impact of using a tilt and shift lens.
Making distortion corrections often necessitates some cropping and Perspective Efex can do this automatically to avoid blank areas in the image. Alternatively, there’s a cropping tool with user-selectable aspect ratio options.
DxO has a database of measurements made from a huge range of camera and lens combinations. These measurements enable the company’s engineers to apply corrections to images to address optical imperfections like barrel and cushion distortion.
In order to make automatic distortion corrections, Perspective Efex needs to have the correct module for the camera and lens combination used to capture an image. The software automatically detects what was used and prompts you to download the module. If there’s no data available, you can use the slider controls to make the adjustments by eye.
Even if you think there’s no distortion, you often see a little correction being made as you hit the ‘Auto’ button.
Volume deformation is something you may see at the edges of images shot on wide-angle lenses. It makes people and objects towards the edge of the frame look unusually wide and horizontally stretched while those in the middle look natural.
Volume deformation uncorrected
Volume deformation corrected using Nik Collection 3 Perspective Efex
In most instances, clicking on the Horizontal/Vertical correction button delivers a good result, but there’s also a Diagonal correction option that’s useful. In addition, there are sliding controls to adjust the level of correction to help you get a natural-looking result.
These tools are very useful for anyone who needs to use a wide lens to photograph a group of people. They could be a big help for wedding photographers.
The controls in this section enable you to correct some of the issues resulting from not shooting objects from a perpendicular angle. It’s very useful for architectural photography or cityscapes.
Again, there is an ‘Auto’ button that can do all the work for you but if there’s strong perspective distortion the end result is unlikely to be what you want. There are sliding controls to reduce or increase the correction in four different directions.
Perspective Efex makes the corrections by locating lines that it calculates should be vertical or horizontal and making them level. It can do a brilliant job, but there’s also a collection of tools that enable you to target the lines for correction.
These are very easy to use. After clicking on the option you want (the difference is the number of anchor points) a series of lines with anchor points appear on your image. You just need to click on each anchor point, in turn, to drag the lines to where they need to be. Helpfully, the area under the anchor point magnifies when it’s selected, which makes it easier to get the perfect alignment.
By default, Perspective Efex crops the image to exclude any blank areas appearing as a result of the correction, but you can turn off the auto-crop option to see what’s happening and identify the best final aspect ratio for the image.
It’s impressive what the Perspective Efex Perspective tools can achieve.
Again, Perspective Efex can correct a wonky horizon automatically and you can adjust the result using a sliding control. It’s also possible to position anchor points along a vertical or horizontal line to make it straight.
By default Perspective Efex crops images to the original aspect ratio to exclude any blank areas that appear as a result of the corrections. However, this can be deactivated and Crop tool can be used as a regular crop tool complete with a selection of selectable aspect ratios. You can also set a custom aspect ratio to use if you like.
Whereas the other tools in Perspective Efex correct problems, the tools in this section enable you to replicate the appearance of shooting with a tilt and shift lens to make the scene look miniaturised by applying blur to the foreground and background.
As usual, this enables you to position lines that define the boundary of the sharp and blurred areas. There’s also control over the degree of blur and the shape of the blur. What is unusual, however, is that the boundary lines don’t have to be parallel. By unticking the ‘Symmetrical position’ box you gain the ability to rotate them independently.
It’s a fun tool to play around with but I’ve never really found a need or real-world use for them.
Perspective Efex verdict
Perspective Efex is a useful inclusion for simplifying the correction of common problems like converging verticals, volume deformation when using wide-angle lenses and wonky horizons. The automatic corrections make life easy, but the controls are there if you need to tweak them.
Nik Collection 4 verdict
While there will always be some software that you use more often than others, with 8 plugins in the bundle, Nik Collection 4 offers exceptional value for money. It’s also capable of producing excellent results that are really only limited by your imagination. It’s very easy to use. But more than that, it’s fun to use it. The trickiest part is deciding which of the plugins to apply.
Nik Collection integrates very well into Photoshop and Lightroom Classic. The U-point technology is useful for making selective/local adjustments, however, it’s a shame that the changes introduced for it in Silver Efex Pro 3 and Viveza 3 haven’t been rolled out to the other plugins. It means that there’s less uniformity between the packages. Nevertheless, the changes are welcome and I look forward to them being introduced more widely.
While the plugins can be applied as Smart Objects or Layers so that their impact can be reduced, I’d like to see an option to reduce the global impact within each software package itself so you can visualise the final result more easily.
In the past, I’ve said that it would be handy if each software package in Nik Collection could be treated as a suite of presets and controls for one plugin. This would mean you can preview the impact of different recipes and filters in Silver Efex Pro, for example, and then switch seamlessly to Color Efex Pro to see what its presets can offer. The Meta-presets could be a step in that direction, but they’re only available for Photoshop and there are no previews of their impact available.
In a future incarnation of Nik Collection, I’d like to see some more harmonisation between the packages so that they’re used in a more similar way. I think some streamlining would also be good, for example, the functions of Color Efex Pro could be divided between Viveza and Silver Efex Pro so that there’s one destination for working on colour images and another for monochrome images. There’s an argument for integrating Analog Pro in a similar way.