Darktable 2.0 Darktable 2.0 Copyright © 2010-2012 P.H

Total Page:16

File Type:pdf, Size:1020Kb

Darktable 2.0 Darktable 2.0 Copyright © 2010-2012 P.H darktable 2.0 darktable 2.0 Copyright © 2010-2012 P.H. Andersson Copyright © 2010-2011 Olivier Tribout Copyright © 2012-2015 Ulrich Pegelow Copyright © 2013-2015 Jérémy Rosen Le fondateur du projet darktable est Johannes Hanika. darktable a été développé avec les contributions majeures de Aldric Renaudin, Alexandre Prokoudine, Ammon Riley, Andrew Toskin, Andrey Kaminsky, Antony Dovgal, Artur de Sousa Rocha, Axel Burri, Brian Teague, Bruce Guenter, Cherrot Luo, Christian Himpel, Christian Tellefsen, Dan Torop, David Bremner, Dennis Gnad, Dimitrios Psychogios, Dušan Kazik, Eckhart Pedersen, Edouard Gomez, Frédéric Grollier, Gaspard Jankowiak, Ger Siemerink, Gianluigi Calcaterra, Guilherme Brondani Torri, Guillaume Benny, Henrik Andersson, Igor Kuzmin, Ivan Tarozzi, James C. McPherson, Jan Kundrát, Jean-Sébastien Pédron, Jérémy Rosen, Jesper Pedersen, Jochen Schröder, Johanes Schneider, Johnny Run, José Carlos Casimiro, Jose Carlos Garcia Sogo, Josep Vicenç Moragues Pastor, Kaminsky Andrey, Kanstantsin Shautsou, Karl Mikaelsson, Loic Guibert, Marcel Laubach, Matthias Gehre, Matthieu Volat, Mauro Bartoccelli, Michal Babej, Michel Leblond, Mikko Ruohola, Milan Knížek, Moritz Lipp, Olivier Tribout, Pascal de Bruijn, Pascal Obry, Pedro Côrte-Real, Petr Styblo, Ralf Brown, Richard Hughes, Richard Levitte, Richard Wonka, Robert Bieber, Roman Lebedev, Rostyslav Pidgornyi, Sergey Pavlov, Simon Spannagel, Stuart Henderson, Tatica Leandro, Thomas Pryds, Tobias Ellinghaus, Tom Vijlbrief, Ulrich Pegelow, Victor Lamoine, Wolfgang Goetz, Wyatt Olson et de beaucoup d'autres. darktable est un logiciel libre : vous pouvez le redistribuer ou le modifier selon les termes de la Licence Publique Générale GNU telle que publiée par la Free Software Fundation, soit dans la version 3, soit (à votre choix), dans toute autre version ultérieure. darktable est distribué dans l’espoir qu’il sera utile mais SANS AUCUNE GARANTIE, sans même les garanties implicites de COMMERCIABILITÉ et de CONFORMITÉ à une utilisation particulière. Voyez la Licence Publique GNU pour plus de détails. Vous devriez avoir reçu une copie de la Licence Publique Générale GNU avec darktable. Si ce n’est pas le cas, voyez la page d’accueil GNU [http://www.gnu.org/licenses/]. Le présent manuel de l’utilisateur est sous licence cc by-sa , ce qui signifie Attribution, partage dans les mêmes conditions (« Attribution Share Alike »). Vous pouvez visiter la page de creative commons [http://creativecommons.org/about/licenses/] afin d’obtenir davantage d’informations. Table des matières Préface ..................................................................................................................... vii 1. Présentation générale ............................................................................................ 1 1.1. Appel du programme ................................................................................... 3 1.1.1. Exécutable darktable ..................................................................... 3 1.1.2. Exécutable darktable-cli ............................................................. 5 1.1.3. Exécutable darktable-generate-cache ........................................ 6 1.1.4. Exécutable darktable-viewer ....................................................... 6 1.1.5. Exécutable darktable-cltest ....................................................... 7 1.1.6. Exécutable darktable-cmstest ..................................................... 7 1.2. Interface utilisateur ..................................................................................... 8 1.2.1. Vues .................................................................................................. 8 1.2.2. Disposition de l’affichage .................................................................. 9 1.2.3. Bandeau ............................................................................................ 9 1.2.4. Préférences ....................................................................................... 9 1.3. Flux de travail de base avec darktable ........................................................ 10 1.3.1. Importer des images ........................................................................ 10 1.3.2. Étapes de base du développement .................................................. 10 1.3.3. Exportation des images ................................................................... 13 2. Table lumineuse .................................................................................................... 15 2.1. Présentation générale ................................................................................ 16 2.2. Concepts de la table lumineuse .................................................................. 18 2.2.1. Pellicules ......................................................................................... 18 2.2.2. Collections ...................................................................................... 18 2.2.3. Miniatures ....................................................................................... 18 2.2.4. Évaluation par étoiles et labels de couleur ....................................... 20 2.2.5. Filtrage et ordre de tri .................................................................... 21 2.2.6. Grouper des images ......................................................................... 21 2.2.7. Fichiers liés ..................................................................................... 22 2.2.8. Importation de fichiers liés générés par d’autres applications ........... 23 2.2.9. Copies locales .................................................................................. 24 2.3. Panneaux de la table lumineuse ................................................................. 26 2.3.1. Importer .......................................................................................... 26 2.3.2. Filtres de collection ......................................................................... 28 2.3.3. Collections récentes ........................................................................ 30 2.3.4. Informations de l’image ................................................................... 30 2.3.5. Sélection ......................................................................................... 31 2.3.6. Images sélectionnées ...................................................................... 31 2.3.7. Développement ............................................................................... 33 2.3.8. Styles .............................................................................................. 34 2.3.9. Géolocaliser ..................................................................................... 35 2.3.10. Éditeur de métadonnées ................................................................ 37 2.3.11. Mots-clés ....................................................................................... 37 2.3.12. Exportation de la sélection ............................................................ 38 3. Chambre noire ...................................................................................................... 43 3.1. Présentation générale ................................................................................ 44 3.2. Concepts de la chambre noire .................................................................... 45 3.2.1. Pipeline graphique, ordre des modules et pile de l'historique ............ 45 3.2.2. Interagir avec les modules ............................................................... 46 3.2.3. Préréglages des modules ................................................................. 47 3.2.4. Instances multiples .......................................................................... 48 3.2.5. Fusion ............................................................................................. 49 3.2.6. Opérateurs de fusion ....................................................................... 52 iii 3.2.7. Masque dessiné ............................................................................... 54 3.2.8. Masque paramétrique ...................................................................... 58 3.2.9. Combinaison des masques dessiné et paramétrique ......................... 60 3.2.10. Gestion de la couleur ..................................................................... 62 3.3. Panneaux de la chambre noire .................................................................... 66 3.3.1. Navigation ....................................................................................... 66 3.3.2. Instantanés ...................................................................................... 66 3.3.3. Développement ............................................................................... 66 3.3.4. Pipette globale ................................................................................ 67 3.3.5. Gestionnaire de masques ................................................................. 68 3.3.6. Histogramme ................................................................................... 71 3.3.7. Groupes de modules ........................................................................ 71 3.3.8. Plus de modules .............................................................................. 72 3.3.9. Panneau inférieur ............................................................................ 73 3.4. Modules ..................................................................................................... 75 3.4.1. Groupe
Recommended publications
  • Panoramas Shoot with the Camera Positioned Vertically As This Will Give the Photo Merging Software More Wriggle-Room in Merging the Images
    P a n o r a m a s What is a Panorama? A panoramic photo covers a larger field of view than a “normal” photograph. In general if the aspect ratio is 2 to 1 or greater then it’s classified as a panoramic photo. This sample is about 3 times wider than tall, an aspect ratio of 3 to 1. What is a Panorama? A panorama is not limited to horizontal shots only. Vertical images are also an option. How is a Panorama Made? Panoramic photos are created by taking a series of overlapping photos and merging them together using software. Why Not Just Crop a Photo? • Making a panorama by cropping deletes a lot of data from the image. • That’s not a problem if you are just going to view it in a small format or at a low resolution. • However, if you want to print the image in a large format the loss of data will limit the size and quality that can be made. Get a Really Wide Angle Lens? • A wide-angle lens still may not be wide enough to capture the whole scene in a single shot. Sometime you just can’t get back far enough. • Photos taken with a wide-angle lens can exhibit undesirable lens distortion. • Lens cost, an auto focus 14mm f/2.8 lens can set you back $1,800 plus. What Lens to Use? • A standard lens works very well for taking panoramic photos. • You get minimal lens distortion, resulting in more realistic panoramic photos. • Choose a lens or focal length on a zoom lens of between 35mm and 80mm.
    [Show full text]
  • Darktable 1.2 Darktable 1.2 Copyright © 2010-2012 P.H
    darktable 1.2 darktable 1.2 Copyright © 2010-2012 P.H. Andersson Copyright © 2010-2011 Olivier Tribout Copyright © 2012-2013 Ulrich Pegelow The owner of the darktable project is Johannes Hanika. Main developers are Johannes Hanika, Henrik Andersson, Tobias Ellinghaus, Pascal de Bruijn and Ulrich Pegelow. darktable is free software: you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation, either version 3 of the License, or (at your option) any later version. darktable is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details. You should have received a copy of the GNU General Public License along with darktable. If not, see http://www.gnu.org/ licenses/. The present user manual is under license cc by-sa , meaning Attribution Share Alike . You can visit http://creativecommons.org/ about/licenses/ to get more information. Table of Contents Preface to this manual ............................................................................................... v 1. Overview ............................................................................................................... 1 1.1. User interface ............................................................................................. 3 1.1.1. Views ..............................................................................................
    [Show full text]
  • Stereo Panography
    STEREO PANOGRAPHY How I make 360 degree stereoscopic photos Thomas K Sharpless Philadelphia, PA [email protected] WHY SPHERICAL PHOTOGRAPHY? ● Omnidirectional view of a place and time ● Very high resolution possible ● Immersive experience possible WHAT IS A SPHERICAL PHOTO? ● A 360 x 180 degree image ● Processed and stored in a flat format such as equirectangular or cube map. ● Viewed piecewise on a screen using panorama player software with interactive pan and zoom. ● When viewed in a virtual reality headset, you feel that you are inside the picture. SPHERICAL IMAGE FORMATS TOP: 360x180 DEGREE EQUIRECTANGULAR MAP BOTTOM:SIX 90x90 DEGREE CUBE FACES VIEW SPHERICAL PHOTOS ON THE WEB The bathroom panorama, on 360Cities.net Are You Asleep In There? -- Ed Wilcox Same room, different artist, on Roundme.com Now And At The Hour Of Our Death -- Ashley Carrega HOW TO MAKE A SPHERICAL PHOTO ● Use a fish-eye or ultra-wide lens ● Rotate the camera around lens pupil while taking enough photos to cover the sphere ● Use stitching software to combine the photos into a seamless spherical image A PRO PANORAMIC CAMERA SONY A7r FULL FRAME MIRRORLESS CAMERA SIGMA 15 MM 160 DEGREE FISH-EYE LENS A COMPACT PANORAMIC CAMERA SONY ALPHA, SAMYANG 8mm/2.8 160 DEG. FISH-EYE PANORAMIC TRIPOD HEAD NODAL NINJA NN6 WITH MULTI-STOP ROTATOR PANORAMA BUILDING SOFTWARE ESSENTIAL ● PTGui pro ($$) or Hugin (free) ● Adobe Photoshop ($$$) or GIMP (free) VERY USEFUL ● Adobe Lightroom ($$) ● Pano2VR pro ($$) ● Image Magick (free) ESSENTIAL FOR 3D ● sView stereo panorama player (free) ● PT3D stereo stitching helper ($) OMNIDIRECTIONAL STEREO Combines two 19th century innovations: panoramic photos + stereoscopic photos Depends on 21st century digital technology Best viewed on a computer-driven stereopticon, that is, a virtual reality headset OMNISTEREO THEORY An omnistereo photo is a stereo pair of slit-scan panoramas.
    [Show full text]
  • Monitoring Photo Fl08
    Monitoring with Panoramas and Fixed Photopoints: Monitoring recreational impacts, and assessing habitat change from the office using panoramic and fixed photopoints. Chip Young Trail Specialist Florida Fish and Wildlife Conservation Commission (FWC) Office of Recreation Services Panoramic Photopoint = multiple photographs taken from one specific point, stitched together to form a single image. Fixed Photopoint = single photograph taken at a specific point in a specific direction (bearing). Why use fixed and/or panoramic photopoints for monitoring? !! Shows condition of area at one place and time. !! Shows change over time at a particular place. !! Possible to monitor many areas in a relatively short period of time in the field (to be later assessed from the office). !! Quick and easy. FWC lead management areas with developed recreational opportunities Shows condition of area at one time and place. Shows change over time at a particular place (site condition) FALL 2007 SPRING 2008 Shows change over time at a particular place (inventory). FALL 2007 FALL 2008 Situations where photopoints are utilized as an efficient way to monitor impacts. !! Trailheads !! Points along trail !! Parking lots !! Camping areas !! Wildlife viewing blinds !! Observation towers !! Boardwalks !! Boat ramps/paddling launches !! Picnic areas !! and many other use areas Trailheads SPRING 2008 FALL 2008 Points along trail SPRING 2008 FALL 2008 Parking lots FALL 2007 SPRING 2008 Camping areas FALL 2007 SPRING 2008 Wildlife viewing blinds SPRING 2008 FALL 2008 More wildlife
    [Show full text]
  • Metadefender Core V4.13.1
    MetaDefender Core v4.13.1 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2.
    [Show full text]
  • How to Digitize Objects?
    Access IT Training “Digitisation is the conversion of analogue materials into a digital format for use by software, and decisions made at the time of digitisation have a fundamental impact on the manageability, accessibility and viability of the resources created.” MINERVA Technical Guidelines for Digital Cultural Content Creation Programmes Project Planning Preparing for the Digitization Process . The selection of materials for digitization . The physical preparation of materials for digitization . The digitization process Storage and Management of Digital Master Material Metadata, standards and resource discovery Delivery formats Publishing on the Web Re-use and re-purposing Intellectual Property and Copyright How bad it can be? Digitization strategy . How to develop internal digitization strategy? Setting technical requirements How to handle scanned material? Dealing with Digital Master copies Scanning equipment Files are too big . Long download time . File is too big for browser to handle ▪ e.g. huge PDF files Using inappropriate file formats for online delivery . proprietary/closed/not well known file formats may cause problems for users, webcrawlers, screen readers Files are too small . Unreadable content – to low resolution Digital Master material is removed after creation of web delivery formats Lack of text recognition . Even the best metadata is not as useful as properly recognized and indexed text “A digitization project has many dimensions and no two digitization projects are identical. Each project varies according to the type of materials being digitized, the timescale, budget, staff skills and other factors. […] Each project will need to develop a project plan to fit its particular circumstances.” MINERVA Technical Guidelines for Digital Cultural Content Creation Programmes Project digitization strategy should reflect specific (long and short term) goals and objectives Such a document can be created for one institution/project/country What can be inside digitization strategy? What will be digitized? .
    [Show full text]
  • Op E N So U R C E Yea R B O O K 2 0
    OPEN SOURCE YEARBOOK 2016 ..... ........ .... ... .. .... .. .. ... .. OPENSOURCE.COM Opensource.com publishes stories about creating, adopting, and sharing open source solutions. Visit Opensource.com to learn more about how the open source way is improving technologies, education, business, government, health, law, entertainment, humanitarian efforts, and more. Submit a story idea: https://opensource.com/story Email us: [email protected] Chat with us in Freenode IRC: #opensource.com . OPEN SOURCE YEARBOOK 2016 . OPENSOURCE.COM 3 ...... ........ .. .. .. ... .... AUTOGRAPHS . ... .. .... .. .. ... .. ........ ...... ........ .. .. .. ... .... AUTOGRAPHS . ... .. .... .. .. ... .. ........ OPENSOURCE.COM...... ........ .. .. .. ... .... ........ WRITE FOR US ..... .. .. .. ... .... 7 big reasons to contribute to Opensource.com: Career benefits: “I probably would not have gotten my most recent job if it had not been for my articles on 1 Opensource.com.” Raise awareness: “The platform and publicity that is available through Opensource.com is extremely 2 valuable.” Grow your network: “I met a lot of interesting people after that, boosted my blog stats immediately, and 3 even got some business offers!” Contribute back to open source communities: “Writing for Opensource.com has allowed me to give 4 back to a community of users and developers from whom I have truly benefited for many years.” Receive free, professional editing services: “The team helps me, through feedback, on improving my 5 writing skills.” We’re loveable: “I love the Opensource.com team. I have known some of them for years and they are 6 good people.” 7 Writing for us is easy: “I couldn't have been more pleased with my writing experience.” Email us to learn more or to share your feedback about writing for us: https://opensource.com/story Visit our Participate page to more about joining in the Opensource.com community: https://opensource.com/participate Find our editorial team, moderators, authors, and readers on Freenode IRC at #opensource.com: https://opensource.com/irc .
    [Show full text]
  • DVD-Ofimática 2014-07
    (continuación 2) Calizo 0.2.5 - CamStudio 2.7.316 - CamStudio Codec 1.5 - CDex 1.70 - CDisplayEx 1.9.09 - cdrTools FrontEnd 1.5.2 - Classic Shell 3.6.8 - Clavier+ 10.6.7 - Clementine 1.2.1 - Cobian Backup 8.4.0.202 - Comical 0.8 - ComiX 0.2.1.24 - CoolReader 3.0.56.42 - CubicExplorer 0.95.1 - Daphne 2.03 - Data Crow 3.12.5 - DejaVu Fonts 2.34 - DeltaCopy 1.4 - DVD-Ofimática Deluge 1.3.6 - DeSmuME 0.9.10 - Dia 0.97.2.2 - Diashapes 0.2.2 - digiKam 4.1.0 - Disk Imager 1.4 - DiskCryptor 1.1.836 - Ditto 3.19.24.0 - DjVuLibre 3.5.25.4 - DocFetcher 1.1.11 - DoISO 2.0.0.6 - DOSBox 0.74 - DosZip Commander 3.21 - Double Commander 0.5.10 beta - DrawPile 2014-07 0.9.1 - DVD Flick 1.3.0.7 - DVDStyler 2.7.2 - Eagle Mode 0.85.0 - EasyTAG 2.2.3 - Ekiga 4.0.1 2013.08.20 - Electric Sheep 2.7.b35 - eLibrary 2.5.13 - emesene 2.12.9 2012.09.13 - eMule 0.50.a - Eraser 6.0.10 - eSpeak 1.48.04 - Eudora OSE 1.0 - eViacam 1.7.2 - Exodus 0.10.0.0 - Explore2fs 1.08 beta9 - Ext2Fsd 0.52 - FBReader 0.12.10 - ffDiaporama 2.1 - FileBot 4.1 - FileVerifier++ 0.6.3 DVD-Ofimática es una recopilación de programas libres para Windows - FileZilla 3.8.1 - Firefox 30.0 - FLAC 1.2.1.b - FocusWriter 1.5.1 - Folder Size 2.6 - fre:ac 1.0.21.a dirigidos a la ofimática en general (ofimática, sonido, gráficos y vídeo, - Free Download Manager 3.9.4.1472 - Free Manga Downloader 0.8.2.325 - Free1x2 0.70.2 - Internet y utilidades).
    [Show full text]
  • Scape D10.1 Keeps V1.0
    Identification and selection of large‐scale migration tools and services Authors Rui Castro, Luís Faria (KEEP Solutions), Christoph Becker, Markus Hamm (Vienna University of Technology) June 2011 This work was partially supported by the SCAPE Project. The SCAPE project is co-funded by the European Union under FP7 ICT-2009.4.1 (Grant Agreement number 270137). This work is licensed under a CC-BY-SA International License Table of Contents 1 Introduction 1 1.1 Scope of this document 1 2 Related work 2 2.1 Preservation action tools 3 2.1.1 PLANETS 3 2.1.2 RODA 5 2.1.3 CRiB 6 2.2 Software quality models 6 2.2.1 ISO standard 25010 7 2.2.2 Decision criteria in digital preservation 7 3 Criteria for evaluating action tools 9 3.1 Functional suitability 10 3.2 Performance efficiency 11 3.3 Compatibility 11 3.4 Usability 11 3.5 Reliability 12 3.6 Security 12 3.7 Maintainability 13 3.8 Portability 13 4 Methodology 14 4.1 Analysis of requirements 14 4.2 Definition of the evaluation framework 14 4.3 Identification, evaluation and selection of action tools 14 5 Analysis of requirements 15 5.1 Requirements for the SCAPE platform 16 5.2 Requirements of the testbed scenarios 16 5.2.1 Scenario 1: Normalize document formats contained in the web archive 16 5.2.2 Scenario 2: Deep characterisation of huge media files 17 v 5.2.3 Scenario 3: Migrate digitised TIFFs to JPEG2000 17 5.2.4 Scenario 4: Migrate archive to new archiving system? 17 5.2.5 Scenario 5: RAW to NEXUS migration 18 6 Evaluation framework 18 6.1 Suitability for testbeds 19 6.2 Suitability for platform 19 6.3 Technical instalability 20 6.4 Legal constrains 20 6.5 Summary 20 7 Results 21 7.1 Identification of candidate tools 21 7.2 Evaluation and selection of tools 22 8 Conclusions 24 9 References 25 10 Appendix 28 10.1 List of identified action tools 28 vi 1 Introduction A preservation action is a concrete action, usually implemented by a software tool, that is performed on digital content in order to achieve some preservation goal.
    [Show full text]
  • Open Source Digital Data Collection for Field Sciences
    Open source digital data collection for field sciences. Isaac I. Ullah, PhD This work is licensed under a Creative Commons Attribution 4.0 International License. San Diego State University 1 Why Open Science? “Often described as ‘open science’, these new norms include data stewardship instead of data ownership, transparency in the analysis process instead of secrecy, and public involvement instead of exclusion. … We believe that there is much to be gained, both for individual researchers and for the discipline, from broader application of open science practices. … [W]e have identified three elements of open science that cross-cut [these] themes: open access, open data, and open methods.” (emphasis added) - Ben Marwick + 48 coauthors, “Open Science in Archaeology.” SAA Archaeological Record, September, 2017. SAA Open Science Interest Group. 2 Wiki: https://osf.io/2dfhz/ Digital Data Collection as an Open Method The benefits of paperless technology for the field sciences are obvious: 1. Faster in-field collection, little to no need for “post production” of data. 2. Better data standardization, fewer recording and transcription errors. 3. Ability to “course correct” based on real-time data analysis. 4. Near-instant upload, backup, and real-time long-distance collaboration. However, with the adoption of this new technology, we have an important opportunity choice. Will we support the idea of Open Science by ensuring our paperless data collection workflows are: 1. As transparent as possible so that potential errors can be assessed? 2. Reproducible by others, right down to the hardware components? 3. Freely scalable and changeable so that they can responsively grow along with our disciplinary needs? 4.
    [Show full text]
  • Creative Classroom Tips And
    Hugin http://hugin.sourceforge.net/ Windows XXX Goal: an easy to use cross-platform panoramic imaging toolchain based on Pan- Linux orama Tools. With Hugin you can assemble a mosaic of photographs into a com- Apple iPad plete immersive panorama, stitch any series of overlapping pictures and much Open Source XXX more. Free Software Classroom Tips Essentially the program provides the user with the tools to digitally sow a number of overlapping images together to form a panorama. COMPUTERS Digital literacy Mouse skills Inclusion in animations BUSINESS ECONOMICS Prepare a Business Plan for the establishment of a viable photography busi- ness Cost of printing large photographs as banners Profit margins Dr Ron Beyers MD YESA MOST SUBJECTS [email protected] Preparation of material for presentations Port Elizabeth Tel: (041)581 1983 Mobile: (083)310 8843 Fax: (041) 581 2024 OTHER www.yesa.org.za Best when used with a photo editing package such as Paint.Net Pivot Stickfigure Animator http://pivot-stickfigure-animator.en.softonic.com/ Windows XXX Pivot Stickfigure Animator is a great animation application that allows you to Linux create stick figure animations that range from the simple to impressive - with a Apple iPad little time and patience. Open Source XXX Working on the normal basics of stick figure animation, create individual frames Free Software of action and then view them in sequence, producing the animation. Think of a story, design the frames and watch your work of art in action! Classroom Tips COMPUTERS Creating stick animations Digital literacy Mouse skills LANGUAGES Learners create a scene and then describe it to the rest of the class.
    [Show full text]
  • Grafika Rastrowa I Wektorowa
    GRAFIKA RASTROWA I WEKTOROWA Grafikę komputerową, w dużym uproszczeniu, można podzielić na dwa rodzaje: 1) grafikę rastrową, zwaną też bitmapową, pikselową, punktową 2) grafikę wektorową zwaną obiektową. Grafika rastrowa – obraz budowany jest z prostokątnej siatki punktów (pikseli). Skalowanie rysunków bitmapowych powoduje najczęściej utratę jakości. Grafika ta ma największe zastosowanie w fotografice cyfrowej. Popularne formaty to: BMP, JPG, TIFF, PNG GIF, PCX, PNG, RAW Znane edytory graficzne: Paint, Photoshop, Gimp. Grafika wektorowa – stosuje obiekty graficzne zwane prymitywami takie jak: punkty, linie, krzywe opisane parametrami matematycznymi. Podstawową zaletą tej grafiki jest bezstratna zmian rozmiarów obrazów bez zniekształceń. Popularne formaty to: SVG, CDR, EPS, WMF - cilparty Znane edytory graficzne: Corel Draw, Sodipodi, Inscape, Adobe Ilustrator, 3DS LISTA PROGRAMÓW DO GRAFIKI BITMAPOWEJ Darmowe: CinePaint , DigiKam , GIMP , GimPhoto , GIMPshop , GNU Paint , GrafX2 , GraphicsMagick , ImageJ , ImageMagick , KolourPaint , Krita , LiveQuartz , MyPaint , Pencil , Pinta , Pixen , Rawstudio , RawTherapee , Seashore , Shotwell , Tile Studio , Tux Paint , UFRaw , XPaint , ArtRage Starter Edition , Artweaver , Brush Strokes Image Editor , Chasys Draw IES , FastStone Image Viewer , Fatpaint , Fotografix , IrfanView , Paint.NET , Picasa , Picnik , Pixia , Project Dogwaffle , TwistedBrush Open Studio , Xnview Płatne: Ability Photopaint, ACD Canvas, Adobe Fireworks, Adobe Photoshop, Adobe Photoshop Lightroom, Adobe Photoshop Elements,
    [Show full text]