42

Going from negative film to a printed image is a two-step process. First, the negative is developed — the latent image on the film brought out and then fixed in place. Now you have a piece of translucent film with a negative image on it. Second, to go to a the final print on paper, you then essentially repeat the process, shining light through the negative ...


25

There isn't really any surefire way, other than meticulous bookkeeping, or following consistent habits. Some ideas: Use your mobile phone to take images of the rear LCD info page showing the file name for the first and last image each of you take each time you operate the camera. For instance, if you take a dozen pictures, when you're done shooting for a ...


25

Short answer because there are many good explanations already: The brightest part of your picture is the background. The brightest part of the second picture is the subject.


24

I'd guess it's as simple as selecting the subject in Photoshop - with a tad more care & attention than I've used below, then leeching out the saturation in the background & tonally balancing towards a sepia effect. As a very quick demo I did the same thing but made it a pretty garish purple instead. Once you have your mask you can treat inside &...


19

This is known as "banding". Dark parts in the picture have a small range of values (in a JPG, you only have 256 values per color), when you lighten them, you increase the gap between consecutive values as much as the values themselves. Since the gaps more or less follow a line they are very noticeable by our eyes. Several fixes are possible : If you have ...


17

I thought an illustration would be helpful. It's the same principle as an overhead projector, another mostly obsolete piece of technology: Where instead of textbook text on a transparency, the source image is a film negative, which is also transparency. The screen in the image would in turn be another paper film, which is developed in the regular process....


15

There is an additional element not taken into account in other answers, the color grading. First, let us compare the two histograms. Here is the kitty one. And here is your photo's As you can see, the kitty's one, even if there are zones that are clearly on a dark shadow, like behind the trunks you do not have any black. This is perceived as a higher ...


14

Nikon D3400 (and, I assume, other models) lets you select the active folder to store files in. Just change folders when you change photographers. More generally, you can use two memory cards and change cards when you change photographers.


12

One solution that might work if you don't switch too frequently: Take a selfie whenever you take the camera. Then you know all following pictures have been made by the person of the most recent selfie. (Maybe you should think about a "sign" if you do frequently take pictures of eachother.) I did this at a previous job, where we first also used to keep a ...


10

The second photo is much sharper than the first. This is probably a combination of: A sharper lens. The examples I've seen of the Tamron 70-300mm f/4-5.6 Di LD are not sharp enough to produce the second photo, even when perfect technique is used. Cheap 70-300mm zoom lenses, such as your Tamron, are almost universally softest at 300mm compared to other ...


8

Not in the darkroom, but at the retouching (spotting) table. If you're working with large format film, you can paint them out on the negative. But that's risky. Most of the time you retouch the print. I never did any of it myself, but in college there were artists who would advertise their services in the photography department. I saw some of them in ...


7

Visible color of an object looks like something objective — if it looks yellow then it looks yellow, why change it in the first place? I just don't see how this color alteration is useful. This is the fundamental misunderstanding. Visible color is not objective at all. That sounds surprising if you haven't really stopped to consider or investigate, but it ...


7

That's because you inadvertently selected the "Perspective Clone" tool instead of "Perspective".


6

Straight away I should mention that lunar photography is different that astrophotography of deep-sky objects. The types of frames you are describing (calibration frames) are extremely helpful for deep-sky objects but not as useful for lunar photography. You probably wont need to worry too much about noise in lunar photography because you can take those ...


6

Many differences have been suggested already, many of which I agree with, breifly. One's a gorilla, the other's a big cat. Cats look cool, they can't help it. Gorilla is landscape, cat is portrait. Gorilla is cropped, including missing a hand. Cat is full. I can see [or rather, thankfully, not see] the reasoning behind this - gorilla 'parts'… somewhat ...


6

The moon is really a special case, because it is mostly grey. So you can remove chroma noise by just picking a channel (green, usually). This also removes some of the chromatic aberrations on the edges (when they are sharp, which isn't he case here). You can also average the three color channels: copy the image to obtain three layers, and using the channel ...


5

As far as sorting files by time, but not date, I know of no file or image manager that has such a feature. However, it is possible to move or rename files into folders based on your desired parameters. The "standard" tool for processing files based on Exif data is exiftool. Normally, I would move files into folders based on the date images were taken: ...


5

There may have been CRI issues. The lights are slightly yellowish, so have a relative deficit of blue. Since the hat is already dark, it doesn't reflect as much blue as you would have liked. Your white balance may also have been off just enough to affect the appearance of the hat. Objects reflect and absorb light, so the lighting in the scene isn't quite ...


5

Didn't the photographer use flash? A common practice to make subjects "stand out" is to use flash for proper subject exposure, and to use camera settings to slightly underexposure the background. That is my guess here, instead of post processing.


5

No need for post processing. Relative to the camera, the motorcycle and rider are not moving (unless the rider waves the selfie-stick) so they are sharp. The background (clouds and landscape) are changing very little due to the distance, so they also look sharp. The road and nearby shoulder to move quickly relative to the camera, so are subject to motion ...


5

This is named banding. And it's caused in your case by overprocessing the image. What you can do is to take the photo in RAW and postprocess it. When postprocessing mask the sky and do not increase the exposure there. At the end night sky is dark. You can also take two photos, one as it is and one for the buildings. And mix them keeping sky dark and ...


5

There are photoshop plugins around like imatag or digimarc, which offer this as a professional service. The software encrypts a bit of information in a bit pattern and then hides this pattern in your image numerous times. This will work ok as long as there is enough variation in the image, which usually is true for photographies. The information is somewhat ...


4

It's the effect of changing the white balance that you are seeing in the color shift of the different modes. The camera has to guess the white point of the image in order to render the JPG in automatic mode. In the Landscape mode it is guessing you are outside under natural light. In Sunset mode it guesses the light is yellow at sunset and renders the colors ...


4

Has anyone else found that using a white background in their photo editing software is a good way to judge the brightness of the print to come? No. That is a bad idea. You need to see the relationship between the elements of your image, not the relationship with the surroundings, which you can not control. That line of reasoning is the same as put some ...


4

I could not find a solution with raw files, I know the recent version of hugin is supposed to support raw files using dcraw but I cannot test it myself. The next good solution in my opinion is to convert all of your raws to tif files or other lossless image format and use them. For my method I mainly hugin_tools on the terminal but I also use the GUI so ...


4

Normal enlarging processes are kind of a reversal of taking a photo. In a camera you gather light from a 'large area' in front of the camera, and focus it down onto a small area of film or digital sensor to collect the light. And in regular film photography that will capture an inverse image. Film is made with a clear or at least very transparent base so ...


4

There area few ways of making such photographs. You could, for instance, use a large aperture to create a shallow depth of field whereby you blur out the background. The human eye doesn't like to look at things that out of focus. By creating a shallow DOF, you will put visual emphasis on your subject. Another way is by creating contrast between your ...


4

If your images simply had a magenta cast, then simply adding in some green would balance it out and you could be on your way. Unfortunately, you are not so lucky. Your images are magenta in color because the other dye layers in the film have broken down. You have magenta information but have lost the cyan and yellow. Simply adding green will not suffice. ...


4

Yes, it is possible. The key to getting the reflection to mirror all of the subject at the same size is to shoot at as low an angle to the surface of the water or other flat, reflective surface, as possible. The higher the camera is above the reflective surface and the larger the angle between the lens' optical axis and the reflective surface, the greater ...


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