Road Train !!!!!!!!!!

by Russell McMahon

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Simply select and copy the screen/glare you want to overlay, and paste it to a new layer. Set the Blending Mode to Hard Light. Then paste in your product image in a new layer and place it underneath the glare layer (you will obviously need to do some jiggery pokery to fit this image onto the screen in the photo). Result:


There are a few different ways to emphasize crepuscular rays in post production. 1) One of the ways those crepuscular rays can be enhanced is with any tool that can provide volumetric lighting effects. The one I use is a tool called Rays from Digital Film Tools. As you mentioned, this type of tool may be the type to add fake rays to a photo. However, I ...


You say "if we try to zoom in the images saved in different quality values, there is no difference", but, actually, that's just because you're not looking closely enough, or don't know what to look for. If you choose an extreme value (very low) the difference should be obvious. At higher settings, it's more tricky, but usually there's a difference there too ...

2 has 230 files from various camera manufactures. Please add to the collection if your camera isn't represented.


On the quality front, in general, it will be better to do it in camera when the sensor is particularly subject to hot pixels (those that only appear stuck when heated) or when there is other heat related noise introduced in the image. At that point, the current conditions in the camera are more accurately represented by a dark frame taken at the same time. ...


Since there are many variables that affect the sensor read noise, taking the dark frame at the same time increases the chances that it is also taken under the same conditions as the exposed frame, particularly with regard to the temperatures of various areas of the sensor.


In order to match the type and character of noise accurately, the dark frame subtraction should be done at the same time as the exposure. So doing it in camera should yield better results.


I would do it in Photoshop. Use the lasso tool to highlight an area around the sun-beam, basically a cylinder on the angle of the sun-beam (or collection thereof). create a new layer called "mask" and fill it with a color. next i'd create an adjustment layer and i'd set that with higher contrast and a touch more saturation; also play w/ levels a bit. ...


The package RawTherapee, since version 4.0.9, will use Adobe .lcp profiles. Please see: Support for Adobe LCP lens correction profiles It is available in the Ubuntu repositories.


If you are able to do it as bulk work without much technical skill needed, I'd say about $15 to $20 an hour for the work is reasonable. If it requires more in depth touchup and artistic work, the cost per hour should go up accordingly, probably around $50 to $100 an hour for consulting work, depending on level of technical skill needed. As a flat rate, I'd ...


The intention behind L* was to make for a device independent colour space with a more neutral or 'flat' representation than available with Adobe RGB or sRGB. This is done by replacing the gamma with a set of calculated luminance values for the grey axis. The L* colour space is said to exhibit less compression or blocking in when you make changes such as ...


I think the problem lies in your expectation that the Portra film shots are going to strongly show the effects of different color temperatures. While it's true that Portra 160 (or any commonly-available color film these days) is daylight balanced, color prints and scans of color negatives are always color corrected as part of the process. The photo you're ...

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