The Art of Iphone Photography
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Perfect Photo Suite
Perfect Photo Suite User Manual Copyright ©2015 on1, Inc. All Rights Reserved. Table of Contents Chapter 1: Welcome to Perfect Photo Suite 1 Chapter 2: Introduction 5 Using the Help System 6 Contacting onOne Software 7 Additional Help 8 System Requirements 9 Installation 10 Licensing and Registration 11 Opening Files 12 Smart Photos 14 Module Selector 15 Using as Standalone 16 Using with Adobe Photoshop 17 Using with Adobe Lightroom 18 Using with Apple Aperture 20 Using with Other Applications 22 Printing 23 Managing Extras 24 Preferences 27 Chapter 3: Perfect Browse 30 Getting Started 31 Browse Workspace 32 Using Perfect Browse 33 Photo Sources 34 Managing Files and Folders 35 Favorites 37 Albums 38 Recent Pane 39 Working in Thumbnail View 40 Persistent Thumbnail Cache 42 Working in Detail View 44 Navigating the Preview 45 Using the Info Pane 47 Metadata 48 Ratings, Labels and Likes 49 Filters 50 Sent to 51 Smart Photo History 52 Menus 53 Keyboard Shortcuts 56 Chapter 4: Perfect Layers 58 Getting Started 59 Perfect Layers Workspace 60 Perfect Layers Tool Well 61 Navigating the Preview 62 Navigator, Loupe, Histogram and Info 63 Preview Window Modes 65 Using the File Browser 66 Using Perfect Layers 69 Creating a New File and Adding Layers 70 Adjusting Canvas Size 71 Working with Layers 72 The Layers Pane 73 Transforming Layers 75 Crop Tool 76 Trimming Layers 78 Using Color Fill Layers 79 Perfect Eraser 80 Retouch Brush 81 Clone Stamp 82 Red-Eye Tool 83 Using the Masking Tools 84 Mask Preview Modes 86 Using the Masking Brush 87 Quick Mask -
July Meeting Rick Matteson June Meeting Scott Randell
A not-for-profit, volunteer, member-supported organization The Forum is pub lished monthly by LlMac. NEWSLETTER OF THE LONG ISLAND MACINTOSH USER GROUP All contents, except where noted, are copyright © 2012 by LIMac. Opinions ex- pressed are the views of the authors and do not neces sarily reflect those of LIMac. Contents may be reprinted for non-commercial use, with due acknowl- edgment to LIMac. The LIMac Forum is an independent publication and has not been authorized, sponsored or otherwise approved by Apple, Inc. July 2012 www.limac.org LIMac Inc. LIMac was established in 1984, Scott Randell Rick Matteson P.O. Box 2048 when the Mac was introduced. June Meeting July Meeting Seaford, NY , 11783-0180 Annual dues June always brings our annual visit from Dave Marra. For those Were you ever curious about what it takes to President for member ship are $36. of you who are new to LIMac, Dave is a Senior Systems Engineer design an app for iOS? Wonder no more, be- Bill Medlow (The first meeting is free.) for Apple. He always does an incredible presentation, and this year cause this month Justin Esgar, CEO/Pres- [email protected] For information,contact any JULY of the following: was no exception. Dave started by showing a video called “Class- ident of Autriv Software Development will Vice President room Rock” (you can view it here: http://www.youtube.com/Pro- enlighten us. (A footnote: Justin was a LI- George Canellis Membership jectRnL. It showed several musicians, and a vocalist making a re- Mac member in 1996, when he was a teen- [email protected] Donald Hennessy [email protected] cording using the iPad, and the GarageBand iPad app. -
Poisson Image Editing
Poisson Image Editing Patrick Perez´ ∗ Michel Gangnet† Andrew Blake‡ Microsoft Research UK Abstract able effect. Conversely, the second-order variations extracted by the Laplacian operator are the most significant perceptually. Using generic interpolation machinery based on solving Poisson Secondly, a scalar function on a bounded domain is uniquely de- equations, a variety of novel tools are introduced for seamless edit- fined by its values on the boundary and its Laplacian in the interior. ing of image regions. The first set of tools permits the seamless The Poisson equation therefore has a unique solution and this leads importation of both opaque and transparent source image regions to a sound algorithm. into a destination region. The second set is based on similar math- So, given methods for crafting the Laplacian of an unknown ematical ideas and allows the user to modify the appearance of the function over some domain, and its boundary conditions, the Pois- image seamlessly, within a selected region. These changes can be son equation can be solved numerically to achieve seamless filling arranged to affect the texture, the illumination, and the color of ob- of that domain. This can be replicated independently in each of jects lying in the region, or to make tileable a rectangular selection. the channels of a color image. Solving the Poisson equation also CR Categories: I.3.3 [Computer Graphics]: Picture/Image has an alternative interpretation as a minimization problem: it com- Generation—Display algorithms; I.3.6 [Computer Graphics]: putes the function whose gradient is the closest, in the L2-norm, to Methodology and Techniques—Interaction techniques; I.4.3 [Im- some prescribed vector field — the guidance vector field — under age Processing and Computer Vision]: Enhancement—Filtering; given boundary conditions. -
Digital Backgrounds Using GIMP
Digital Backgrounds using GIMP GIMP is a free image editing program that rivals the functions of the basic versions of industry leaders such as Adobe Photoshop and Corel Paint Shop Pro. For information on which image editing program is best for your needs, please refer to our website, digital-photo- backgrounds.com in the FAQ section. This tutorial was created to teach you, step-by-step, how to remove a subject (person or item) from its original background and place it onto a Foto*Fun Digital Background. Upon completing this tutorial, you will have the skills to create realistic portraits plus photographic collages and other useful functions. If you have any difficulties with any particular step in the process, feel free to contact us anytime at digital-photo-backgrounds.com. How to read this tutorial It is recommended that you use your own image when following the instructions. However, one has been provided for you in the folder entitled "Tutorial Images". This tutorial uses screenshots to visually show you each step of the process. Each step will be numbered which refers to a number within the screenshot image to indicate the location of the function or tool being described in that particular step. Written instructions are first and refer to the following screenshot image. Keyboard shortcuts are shown after most of the described functions and are in parentheses as in the following example (ctrl+T); which would indicate that the "ctrl" key and the letter "T" key should be pressed at the same time. These are keyboard shortcuts and can be used in place of the described procedure; not in addition to the described procedure. -
Film Camera That Is Recommended by Photographers
Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to. -
USER MANUAL AKASO Brave 6 Plus Action Camera
USER MANUAL AKASO Brave 6 Plus Action Camera V1.2 CONTENTS What's in the Box 1 Your Brave 6 Plus 2 Getting Started 4 Overview of Modes 5 Customizing Your Brave 6 Plus 8 Playing Back Your Content 15 Deleting Your Content 15 Connecting to the AKASO GO app 15 Offloading Your Content 16 Maintaining Your Camera 16 Maximizing Battery Life 17 Battery Storage and Handling 17 External Microphone 18 Remote 18 Mounting Your Camera 20 Contact Us 22 WHAT'S IN THE BOX Waterproof Handle Bar/ Brave 6 Plus Housing Pole Mount Mount 1 Mount 2 Mount 3 Mount 4 Mount 5 Mount 6 Mount 7 Mount 8 Charger 1 Helmet Mounts Battery Protective Backdoor Clip 1 Clip 2 Tethers Lens Cloth USB Cable Quick Start Guide AKASO Brave 6 Plus Action Camera Remote Bandages Quick Start Guide 1 YOUR BRAVE 6 PLUS 3 1 4 5 2 6 7 8 10 9 2 11 1 Shutter/Select Button 7 USB Type-C Port 2 Power/Mode/Exit Button 8 Micro HDMI Port 3 Up/Wifi Button 9 Touch Screen 4 Down Button 10 Battery Door 5 Speaker 11 MicroSD Slot 6 Lens Note: The camera does not record sound when it is in the waterproof case. 3 GETTING STARTED Welcome to your AKASO Brave 6 Plus. To capture videos and photos, you need a microSD card to start recording (sold separately). MICROSD CARDS Please use brand name microSD cards that meet these requirements: • microSD, microSDHC or microSDXC • UHS-III rating only • Capacity up to 64GB (FAT32) Note: 1. -
Image & File Type Cheat Sheet
Vecto� Raste� WEB USES SOURCE flies OUTPUT flies for logos, charts, icons, or for most web graphics IMAGE & any hard-edged graphics displayed on the screen FILE TYPE PRINT USES SOURCE files HI-RES flies CHEAT SHEET to be sent to the printer can be printed at 300dpi FILE TYPES .ai .eps .pdf .svg .jpg .gif .png .tif WEB PRINT MORE ABOUT FILE TYPES .ai Adobe Illustrator Default file typeof Illustrator, a popular vector-based program .eps Encapsulated Postscript Vector file which can be opened outside of Illustrator .pdf Portable Document Format Self-contained document which preservesvector images as 72dpl 300 dpl well as fonts or graphics needed to display correctly Images intended for the web Images intended for print only need to have a need to have a resolutlon of resolution of 72 dpi (dots per 300 dpi (dots per inch), as .svg Scaleable Vector Graphics inch), which is the maximum the printing process allows XML-based vector image format supportedby modern web resolution of monitors for much greater detail browsers .jpg Joint Photographic Experts Group WHEN SENDING IMAGES TO A DESIGNER••• Sometimes displayed as .jpeg-this raster image format is best fordisplaying photographic images on web browsers Don't put images in a Word doc It is difficult to extract them and results in lower quality. .gif Graphics Interchange Format Raster image format best forsimple images made up of solid Always send a larger image than needed colors with no gradients Raster images can be sized down without a loss in quality,but when an image is stretched to larger than its original size, a .png Portable Network Graphics significant loss in quality occurs. -
Cyanotypes Handout
Cyanotypes Background/Context Cyanotype is a photographic printing process that produces a cyan-blue print. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints. The process uses two chemicals: ferric ammonium citrate and potassium ferricyanide. Equipment needed Ferric Ammonium Citrate Scales 3 containers for mixing (ideally brown glass bottles) Potassium Ferricyanide Measuring Jug Plastic Spoons Protective Equipment: Facemask, Brushes & Sponges Glass or Clear Perspex Gloves & Apron Sunlight or UV Source Water trays Heavy papers approx 300 gsm Found materials such as threads, Acetate/Tracing Paper Black pens/china graph pencils leaves, feathers, buttons etc Mixing the Chemicals Using a plastic spoon mix 25g of ferric ammonium citrate with 100ml of water. In a separate container mix 10g potassium ferricyanide with 100ml water. Mix the two solutions together with a 1:1 ratio immediately before use. Chemical solutions can be stored separately in glass brown bottles for months but ammonium ferric citrate will grow mould which will need sieving out. Coating the Papers Wear gloves when applying the solution. In a dark room or room with a low level light the solution can be applied to paper using a brush - or for even coverage use a sponge brush. Keep the coated papers in the dark and ideally leave to dry flat. Dry coated papers can be kept in a light sealed black bag until exposed in sunlight or using a UV light box. Exposing your Image Using sunlight: Place your objects or acetate image on top of the coated side of the paper and place a piece of glass or clear perspex on top. -
Cyanotype Detailed Instructions
Cyanotype Detailed Instructions Cyanotype Formula, Mixing and Exposing Instructions 1. Dissolve 40 g (approximately 2 tablespoons) Potassium Ferricyanide in 400 ml (1.7 cups) water to create STOCK SOLUTION A. Allow 24 hours for the powder to fully dissolve. 2. Dissolve 100 g (approximately .5 cup) Ferric Ammonium Citrate in 400 ml (1.7 cups) water to create if you have Chemistry Open Stock START HERE STOCK SOLUTION B. Allow 24 hours for the powder to fully dissolve. If using the Cyanotype Sensitizer Set, simply fill each bottle with water, shake and allow 24 hours for the powders to dissolve. 3. In subdued lighting, mix equal parts SOLUTION A and SOLUTION B to create the cyanotype sensitizer. Mix only the amount you immediately need, as the sensitizer is stable just 2-4 hours. if you have the Sensitizer Set START HERE 4. Coat paper or fabric with the sensitizer and allow to air dry in the dark. Paper may be double-coated for denser prints. Fabric may be coated or dipped in the sensitizer. Jacquard’s Cyanotype Fabric Sheets and Mural Fabrics are pre-treated with the sensitizer (as above) and come ready to expose. 5. Make exposures in sunlight (1-30 minutes, depending on conditions) or under a UV light source, placing ob- jects or a film negative on the coated surface to create an image. (Note: Over-exposure is almost always preferred to under-exposure.) The fabric will look bronze in color once fully exposed. 6. Process prints in a tray or bucket of cool water. Wash for at least 5 minutes, changing the water periodically, if you have until the water runs clear. -
Real-Time Burst Photo Selection Using a Light-Head Adversarial Network
Real-time Burst Photo Selection Using a Light-Head Adversarial Network Baoyuan Wang, Noranart Vesdapunt, Utkarsh Sinha, Lei Zhang Microsoft Research Abstract. We present an automatic moment capture system that runs in real-time on mobile cameras. The system is designed to run in the viewfinder mode and capture a burst sequence of frames before and after the shutter is pressed. For each frame, the system predicts in real-time a \goodness" score, based on which the best moment in the burst can be selected immediately after the shutter is released, without any user interference. To solve the problem, we develop a highly efficient deep neural network ranking model, which implicitly learns a \latent relative attribute" space to capture subtle visual differences within a sequence of burst images. Then the overall goodness is computed as a linear aggre- gation of the goodnesses of all the latent attributes. The latent relative attributes and the aggregation function can be seamlessly integrated in one fully convolutional network and trained in an end-to-end fashion. To obtain a compact model which can run on mobile devices in real-time, we have explored and evaluated a wide range of network design choices, tak- ing into account the constraints of model size, computational cost, and accuracy. Extensive studies show that the best frame predicted by our model hit users' top-1 (out of 11 on average) choice for 64:1% cases and top-3 choices for 86:2% cases. Moreover, the model(only 0.47M Bytes) can run in real time on mobile devices, e.g. -
'Cyanotype and Anthotype: Eco-Patterning with Mineral and Natural Dyes.' Proceedings: International Textile & Costume Congress
Cyanotype and Anthotype: Eco- patterning with mineral and natural dyes Item Type Article Authors Wells, Kate Citation Wells, K. (2015) 'Cyanotype and Anthotype: Eco-patterning with mineral and natural dyes.' Proceedings: International Textile & Costume Congress. 2015. Between Worlds: Innovation and Design in Textiles and Costume. Marmara University, Istanbul: 145 Publisher International Textile and Clothing Congress ITCC Journal Proceedings of the 3rd International Textiles & Costume Congress - ITCC 2015 Download date 28/09/2021 17:18:38 Link to Item http://hdl.handle.net/10545/601182 ‘CYANOTYPE AND ANTHOTYPE: ECO - PATTERNING WITH MINERAL AND NATURAL DYES.’ Wells Kate University of Derby College of Arts Markeaton Street Campus Derby DE22 3AW Abstract: The paper outlines collaborative research between two different disciplines: That of textile design and early colouration methods with historical photographic imaging techniques. The project considers the symbiotic relationship between natural plant extracts with ‘Anthotypes’ and raised colours specifically ‘Prussian Blue’ with ‘Cyanotypes’. The aim of which, is to consider the question: Could this kind of photographic image making be applied as a future, sustainable method of design generation, colouration and patterning of fabric for fashion and interiors? Looking at the substantive and the fugitive properties of the colouration materials along side different light wavelengths and analysing the success or failure of using Anthotypes and Cyanotype as an alternative sustainable surface design process can be attained: A form of Eco-patterning that relies upon light and natural substances/dyes not synthetic dyes as the colouring medium. 1. Introduction This paper discusses a research project, which considered the correlation between Natural and Mineral dyes with early 19th Century photographic processes ‘Cyanotypes’ and ‘Anthotypes’ as a form of eco-patterning that relies upon light and natural subsantnces as the colouring medium. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills......................................................