Friday, August 3, 2018

How to Use the Retouch Tool in iPhoto '09

How to Use the Retouch Tool in iPhoto '09

The good thing about scanning is that you can create digital files of old photographs. The bad thing is that no matter how hard you try to eliminate dust and reduce artifacts--they will still somehow be part of your digital image. Sometimes, old glossy prints might have fingerprints and other print artifacts on the surface of the photo that you cannot clean away; usually, however, there are just a couple of spots that can easily be cleaned in Photoshop or GIMP. Then there are those scans that cause you to just shrug and say to yourself they are not worth the effort. The technology in the iPhoto '09 retouch tool appears to be "magic" and very easy to use. It is so easy, in fact, you might want to look at some of those "dusty old" scans you shrugged off and rethink editing them. Here is how.

Instructions

    1

    This is an old concert picture of Jethro Tull. Look at all the dust at the bottom of the image and in the background. Editing this image on GIMP or Photoshop would require blowing the image up and selecting each adjacent color with the eyedropper and using a brush tool to paint the background. I have done this many times and it takes time to do it right. First, I cropped the image slightly to get rid of the white at the bottom right and the dust at the very top. To open the RETOUCH TOOL click the full screen button to activate the editor.

    2

    Select the size of the brush to a mid-level size. This is big enough to do large areas. You do not have to blow up the image at all or select a paint color. The technology will read the adjacent colors and intensity and make the changes automatically.

    3
    Retouch One Area At A Time

    You still need to work on sections at a time. First I did the bottom black section of the image. Just click on the dust and it is gone and blended. You can use it as a paintbrush and correct large areas at a time. Notice all the dust on the bottom is gone. There are still a couple of small spots, which I will tackle with a smaller brush later.

    4
    Adjust Brush Size

    Still using the large brush I begin working at the top and middle backgrounds. The spots that are close to the band I will tackle with a smaller brush size. After finishing with the large brush, I reduce the brush size to small size to get the dust around the artists' bodies and between the microphones.

    5
    Final Image

    Once you are done with the small brush, leave it for a few minutes and come back to edit all of the dust spots you missed. This is kind of like proofreading an article twice. You will always find something you want to tweak. When you are done, save the file to a new name. This method is so much easier then doing it by selection and airbrush. The retouch tool in iPhoto '09 is superior to any other retouch tool I have used. I am sure it is the nature of the software algorithms, but to me it seems like magic!


How to Use the Retouch Tool in iPhoto '09

The good thing about scanning is that you can create digital files of old photographs. The bad thing is that no matter how hard you try to eliminate dust and reduce artifacts--they will still somehow be part of your digital image. Sometimes, old glossy prints might have fingerprints and other print artifacts on the surface of the photo that you cannot clean away; usually, however, there are just a couple of spots that can easily be cleaned in Photoshop or GIMP. Then there are those scans that cause you to just shrug and say to yourself they are not worth the effort. The technology in the iPhoto '09 retouch tool appears to be "magic" and very easy to use. It is so easy, in fact, you might want to look at some of those "dusty old" scans you shrugged off and rethink editing them. Here is how.

Instructions

    1

    This is an old concert picture of Jethro Tull. Look at all the dust at the bottom of the image and in the background. Editing this image on GIMP or Photoshop would require blowing the image up and selecting each adjacent color with the eyedropper and using a brush tool to paint the background.

    Enhance your photography skill,The Top Secret Photography Techniques

    . I have done this many times and it takes time to do it right. First, I cropped the image slightly to get rid of the white at the bottom right and the dust at the very top. To open the RETOUCH TOOL click the full screen button to activate the editor.

    2

    Select the size of the brush to a mid-level size. This is big enough to do large areas. You do not have to blow up the image at all or select a paint color. The technology will read the adjacent colors and intensity and make the changes automatically.

    3
    Retouch One Area At A Time

    You still need to work on sections at a time. First I did the bottom black section of the image. Just click on the dust and it is gone and blended. You can use it as a paintbrush and correct large areas at a time. Notice all the dust on the bottom is gone. There are still a couple of small spots, which I will tackle with a smaller brush later.

    4
    Adjust Brush Size

    Still using the large brush I begin working at the top and middle backgrounds. The spots that are close to the band I will tackle with a smaller brush size. After finishing with the large brush, I reduce the brush size to small size to get the dust around the artists' bodies and between the microphones.

    5
    Final Image

    Once you are done with the small brush, leave it for a few minutes and come back to edit all of the dust spots you missed. This is kind of like proofreading an article twice. You will always find something you want to tweak. When you are done, save the file to a new name. This method is so much easier then doing it by selection and airbrush. The retouch tool in iPhoto '09 is superior to any other retouch tool I have used. I am sure it is the nature of the software algorithms, but to me it seems like magic!



  • Review: iPhoto 09 Macworld - Macworld - News, tips, and ...

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Thursday, August 2, 2018

Digiscoping With the Swarovski 20-60 Eyepiece

Digiscoping With the Swarovski 20-60 Eyepiece

Digiscoping describes the use of a digital camera and a telescope or binoculars to achieve high quality images of distant photographic subjects. Swarovski Optik offers a variety of spotting scopes, tripods, camera adapters and eyepieces for use in digiscoping. Using a 20-60 variable magnification eyepiece with a spotting scope and digital camera gives the photographer a variety of zooming options. The photographer can change the zoom on both the eyepiece and the camera to expand the total zoom possible.

Instructions

    1

    Connect the 20-60 eyepiece to the Swarovski spotting scope of your choice. Swarovski designed the 20-60 eyepiece for compatibility with the full range of Swarovski Optik spotting scopes. Align the mark on the eyepiece with the same mark on the bayonet of the scope. Insert the eyepiece clockwise until you hear an audible click. The eyepiece is now secure.

    2

    Choose a camera adapter that is appropriate for your camera. The 20-60 eyepiece will fit any of the Swarovski camera adapters, so the deciding factors are your camera and the type of spotting scope. The camera adapter allows the lens of the camera to fit flush with the 20-60 eyepiece, blocking out any light and providing a steady image transfer from scope to camera.

    3

    Adjust the zoom of the 20-60 eyepiece while looking through the camera view finder or with the camera and adapter removed. The camera adapter allows access to the eyepiece without removing the camera and adapter for quick zoom on moving targets such as birds or moving herds. However, when taking a picture of a stationary subject, you may find it easier to adjust the zoom by looking directly through the eyepiece lens. Removing the camera adapter also allows for finer control.

    4

    Adjust the zoom on the digital camera. With the 20-60 eyepiece at its maximum zoom of 60x, you can achieve even closer photographs by increasing the zoom on the camera itself. However, the integrity of the photograph may begin to deteriorate depending on the quality of the camera.


Digiscoping With the Swarovski 20-60 Eyepiece

Digiscoping describes the use of a digital camera and a telescope or binoculars to achieve high quality images of distant photographic subjects. Swarovski Optik offers a variety of spotting scopes, tripods, camera adapters and eyepieces for use in digiscoping. Using a 20-60 variable magnification eyepiece with a spotting scope and digital camera gives the photographer a variety of zooming options. The photographer can change the zoom on both the eyepiece and the camera to expand the total zoom possible.

Instructions

    1

    Connect the 20-60 eyepiece to the Swarovski spotting scope of your choice. Swarovski designed the 20-60 eyepiece for compatibility with the full range of Swarovski Optik spotting scopes. Align the mark on the eyepiece with the same mark on the bayonet of the scope. Insert the eyepiece clockwise until you hear an audible click. The eyepiece is now secure.

    2

    Choose a camera adapter that is appropriate for your camera. The 20-60 eyepiece will fit any of the Swarovski camera adapters, so the deciding factors are your camera and the type of spotting scope. The camera adapter allows the lens of the camera to fit flush with the 20-60 eyepiece, blocking out any light and providing a steady image transfer from scope to camera.

    3

    Adjust the zoom of the 20-60 eyepiece while looking through the camera view finder or with the camera and adapter removed. The camera adapter allows access to the eyepiece without removing the camera and adapter for quick zoom on moving targets such as birds or moving herds. However, when taking a picture of a stationary subject, you may find it easier to adjust the zoom by looking directly through the eyepiece lens. Removing the camera adapter also allows for finer control.

    4

    Adjust the zoom on the digital camera. With the 20-60 eyepiece at its maximum zoom of 60x, you can achieve even closer photographs by increasing the zoom on the camera itself. However, the integrity of the photograph may begin to deteriorate depending on the quality of the camera.



  • Digiscoping with Swarovski - YouTube

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Architectural Lighting Methods

Architectural Lighting Methods

When taking photos of architecture, you sometimes find yourself having problems with lighting. Indoor architecture and decor frequently suffers from low and uneven lighting conditions, and nighttime lighting is difficult to use for bringing out the beauty of a home or building.

Artificial Lighting

    Artificial lighting is commonly used for indoor architectural shots, and it's often utilized by combining the regular lighting inside the area with additional lighting brought by the photographer.

    Indoor architectural photos--particularly close-up and detailed shots--have the universal problem of underexposure. Underexposure happens when there is not enough light available inside the space you're shooting. Even when the human eye can see details, the camera cannot unless there is additional light provided for it.

    Indoor architectural photos generally use the existing wall lights and lamps because these help give dimension to the room and the items placed within the room. Photographers then add their own strobes, flashes or stationary hot lights to bring the overall lighting in the room up high enough for the camera.

    When lighting an interior architectural shot for ambiance, natural light from windows is either not used or only used in very small amounts--either from an overcast day outdoors or as filtered light coming in through stained glass windows for example.

Natural Light

    Natural lighting is useful for both indoor and outdoor architectural shots when certain conditions exist, or specific looks are desired in the photos.

    If you're taking a photo of a sunroom for example, or an open, airy great room with lots of sunlight streaming in the windows, that natural light can be used for taking interior photos that convey spacious room and brightness.

    For the exterior of an architectural structure, the low golden light available in early morning or late afternoon is excellent for highlighting details in the building's design and structure.

Night Shots

    Beautifully lit houses and buildings at night are almost irrisistable for photographers, because the building's lighting often looks almost magical in the dark of the night.

    Taking photos of lit buildings at night is actually not done at night, though. Instead, the best nighttime photos of architecture are taken just before sunset, at dusk. By taking photos of houses and buildings before the full dark of night sets in, the camera is able to pick up the intricate details of the architectural structure. If you wait until dark to take the photos, most of the details will be lost in the shadows.

Painting With Light

    One dramatic way to take photos in very dark interiors as well as when it's the full dark of night is to use a technique known as "painting with light."

    Set your camera on a tripod and compose the shot you want to take, then place it on bulb exposure. Press the shutter button, then walk around shining a flash light or firing a remote camera flash onto the areas of the architecture you want the photo to show. Evenly light all areas as desired, then go back to the camera and close the shutter.

    The camera will pick up details from the areas you shone light on. It's a wonderful lighting technique for architecture particularly, but it does take a bit of practice to create good photos with this method.


Architectural Lighting Methods

When taking photos of architecture, you sometimes find yourself having problems with lighting. Indoor architecture and decor frequently suffers from low and uneven lighting conditions, and nighttime lighting is difficult to use for bringing out the beauty of a home or building.

Artificial Lighting

    Artificial lighting is commonly used for indoor architectural shots, and it's often utilized by combining the regular lighting inside the area with additional lighting brought by the photographer.

    Indoor architectural photos--particularly close-up and detailed shots--have the universal problem of underexposure. Underexposure happens when there is not enough light available inside the space you're shooting. Even when the human eye can see details, the camera cannot unless there is additional light provided for it.

    Indoor architectural photos generally use the existing wall lights and lamps because these help give dimension to the room and the items placed within the room.

    Enhance your photography skill,The Top Secret Photography Techniques

    . Photographers then add their own strobes, flashes or stationary hot lights to bring the overall lighting in the room up high enough for the camera.

    When lighting an interior architectural shot for ambiance, natural light from windows is either not used or only used in very small amounts--either from an overcast day outdoors or as filtered light coming in through stained glass windows for example.

Natural Light

    Natural lighting is useful for both indoor and outdoor architectural shots when certain conditions exist, or specific looks are desired in the photos.

    If you're taking a photo of a sunroom for example, or an open, airy great room with lots of sunlight streaming in the windows, that natural light can be used for taking interior photos that convey spacious room and brightness.

    For the exterior of an architectural structure, the low golden light available in early morning or late afternoon is excellent for highlighting details in the building's design and structure.

Night Shots

    Beautifully lit houses and buildings at night are almost irrisistable for photographers, because the building's lighting often looks almost magical in the dark of the night.

    Taking photos of lit buildings at night is actually not done at night, though. Instead, the best nighttime photos of architecture are taken just before sunset, at dusk. By taking photos of houses and buildings before the full dark of night sets in, the camera is able to pick up the intricate details of the architectural structure. If you wait until dark to take the photos, most of the details will be lost in the shadows.

Painting With Light

    One dramatic way to take photos in very dark interiors as well as when it's the full dark of night is to use a technique known as "painting with light."

    Set your camera on a tripod and compose the shot you want to take, then place it on bulb exposure. Press the shutter button, then walk around shining a flash light or firing a remote camera flash onto the areas of the architecture you want the photo to show. Evenly light all areas as desired, then go back to the camera and close the shutter.

    The camera will pick up details from the areas you shone light on. It's a wonderful lighting technique for architecture particularly, but it does take a bit of practice to create good photos with this method.



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