فوتوشاپ وب

نویسنده: AliBina

  • James Evangelista – A Photo Editor


    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  James Evangelista

    I create images that celebrate the spirit and beauty of the American Landscape, and like my father before me, photography is my passion and my career. In the world of solidity and structure, the silence of the desert, the play of light and shadow, and the forces of wind and water resounds with images that are stirring, touching, and profound. These are the places that occupy a special spot in my imagination. Places that seem to suggest more than just another beautiful spot. Transcending conventional clichés of location, each photograph is more than a record of natural beauty. Within the image, a feeling of vanishing moments when light, tide, and time hold one’s being in their grip and solicits a quiet and introspective moment that reflects the solitude of the work that I’ve done over the years.

    I find my photography restorative, and often, while I’m travelling, I am inspired when I see places where priorities – nature and traditions that respect and preserve the land, all seem sensible, humane and in balance. With decades of dedication to the craft, my photography reflects a mastery of technique and a deep connection to nature. I work to capture those moments where the camera and life come together to create a feeling that’s authenticate and real, and although the stories I tell through my photography may vary, my dedication to finding beauty and originality is constant.

    To see more of this project, click here

    Instagram

    Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

    Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

    As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

    Instagram





    Source link

  • 21 Photos That Will Inspire You To Photograph On A Windy Day

    21 Photos That Will Inspire You To Photograph On A Windy Day


    Windy days are not often considered to be a good day for outdoor photography, especially if one is shooting landscape, portraits, etc. When capturing photographs of any genre in general, photographers always aim to have the elements and subjects in the frame in sharp focus. But what if you can use the movements in the frame to your advantage to capture some creative photographs?

    Here are 21 photos, that will inspire you to capture stunning outdoor photographs on a windy day.

    The next time the weather gets windy, do not put your camera away and stay indoors. Some creative long exposure shots of the moving elements or even freezing the movement, can make for great storytelling photographs. Besides this creative idea, if you feel that you are running out of ideas to photograph anything, we recommend you to check out “The Creativity Catalog” by Photzy that will open your mind to the possibilities around you.

    Photo by Fer Nando 
    Photo by  John Fowler
    Photo by Ksenia Makagonova
    Photo by Ivo van Beek 
    Photo by Randy Fath
    Photo by Sinitta Leunen
    Photo by Shashank Kumawat
    Photo by Regine Tholen

    In order for photographers to keep their creativity running, they cannot be always travelling to exotic or new locations to capture new and exciting images. If you wish to come up with your own ideas and projects to kick-start your creativity, we recommend you to check out “The Creativity Catalog” by Photzy. This 209 pages guide covers 20 chapters that include creativity sparking assignments and ideas.

    Photo by Andreas Brunn 
    Photo by Les Anderson
    Photo by Terrillo Walls
    Photo by Brandon Stoll 
    Photo by Vera Davidova
    Photo by Abi Ismail
    Photo by Jamie Street 

    For photographers, walking through the same neighbourhood or familiar places everyday can seem pretty boring and this may sometimes lead to photographer’s block. Photographers should always be ready to see things differently or from a different perspective in order to capture unique and creative shots everyday. Movements can also be used as a compositional tool. The “The Creativity Catalog” by Photzy comes with assignments that will make you feel inspired and motivated.

    Photo by Peter Hoogmoed 
    Photo by Aaron Burden
    Photo by Eugene Golovesov
    Photo by Mohamed B.
    Photo by Matt Seymour
    Photo by Khamkéo
    Photo by Dan Page

    Further Reading:





    Source link

  • And Another – Stuck in Customs


    Discover more from Stuck in Customs

    Subscribe now to keep reading and get access to the full archive.









    Continue reading





    Source link

  • Are LiDAR Systems on Cars Destroying Camera Sensors?

    Are LiDAR Systems on Cars Destroying Camera Sensors?


    There’s a bit of growing unrest among photographers on whether LiDAR systems that are being fitted in new cars are actually capable of destroying camera sensors.

    LiDAR systems are used by car manufacturers with self-driving cars to build 3D models of the surrounding environment so that the car knows where to steer.

    A thread on Reddit talks about how a car photographer had several cameras destroyed after doing a car photo shoot.

    What seems to be happening is that the laser from a LiDAR is too much for certain camera sensors to handle, and results in irreparable damage to those sensors.

    As you can see from the video below, it certainly seems to be the case that LiDARs are destroying sensors in some scenarios.

    But what is the nuance here?

    In the first video, it is unclear what type of camera is being used to show the damage being done.

    https://www.youtube.com/watch?v=AM6XWKTDezs

    You will notice in the second video that the gentleman has trouble trying to damage his phone camera, whereas the LiDAR does damage the older iPad camera sensor.

    https://www.youtube.com/watch?v=EyqWoMLz9Eo

    Either way, it is clear that this doesn’t happen on every camera sensor every time it’s exposed to LiDAR lasers.

    It also becomes clear from the comments that using a filter such as a UV filter will not protect your camera sensor from such damage. UV filters are designed to protect from ultraviolet light around 400nm, whereas LiDAR light at around 905nm to 1550nm will pass straight through such protective filters.

    According to the gentleman in the second video, when he contacted Volvo about their LiDAR and the potential damage to camera sensors, they responded that they were aware of the situation and that people should be cautious about using cameras around LiDAR.

    Where do you think things go from here?





    Source link

  • Processing Portraits – A New Toy…


    I’m working on a new people-based photography project and decided I’d give Skylum’s Portrait Editor a try. New toys are always fun. 😀 Here’s one of the early results. Very pleased with the look given the demanding desert conditions that the tool had to deal with! More soon… and if you want to check out Aperty you can do so here.

    Trey Ratcliff - StuckInCustoms.com - Creative Commons Noncommercial contact licensing@stuckincustoms.com

    The post Processing Portraits – A New Toy… appeared first on Stuck in Customs.



    Source link

  • Issue 144 of Underwater Photography Magazine Available

    Issue 144 of Underwater Photography Magazine Available



    The latest edition of Underwater Photography magazine—Issue 144—is now available as a free download.

    The issue begins with a handy roundup of industry news and the latest imaging equipment. New gear highlights include the Nauticam housing for the Panasonic Lumix S1RII, Nauticam’s UltraBright Monitors, and the AOI Aura Light System multicolor light. We’re also excited to see Byron Conroy’s review of the new Nauticam Midrange Focus Optimizer (MFO-1)—an intriguing gadget that we hope to have a good play with ourselves one day!

    In other features, Peter Rowlands chats to veteran shooter and Ikelike Ambassador David Fleetham, the Backscatter team expounds the joys of fluoro using their new excitation filter for the Hybrid Flash, Lars Stenholt Kirkegaard goes on a fascinating nudibranch safari at Gulen Dive Resort in Norway, and Colin Munro recounts his search for the planet’s second-largest fish—the basking shark—off the west coast of Scotland and Southwest England.

    Getting your free copy of the latest issue of Underwater Photography magazine is a breeze: Simply sign up with your email to get access. If you’ve already signed up (and you’re logged in), you can download your copy directly here.  





    Source link

  • Photographic Composition: The Devil Is In The Details

    Photographic Composition: The Devil Is In The Details


    There is something I have observed, particularly with newcomers to photography. That is, they will often try to capture everything in a scene rather than isolate a subject. That trait tends to diminish as we become more experienced, but there is another thing we often do, concentrate on the subject as a whole rather than isolating details.

    We should be doing both, and so today I want to share with you why I think the devil is in the details.

    Photography Is Storytelling

    At first, we just want to take pretty, creative pictures. That’s a good thing. But as we develop, we begin to realise that photography is so much more than individual images. We can tell complete stories and control the narrative using our images alone. Of course, documentary photographers know this very well, but subconsciously,y anyone who takes photos also knows this.

    Imagine you are taking pictures at your child’s birthday party. You photograph his or her friends arriving, you photograph the cake, the blowing out of the candles, the beaming smile on their face as they open their presents. Without even knowing it you have told a story. And within that story, you will have isolated some details. Close up of the candles, hands ripping open wrapping paper.

    As photographers, we don’t have to apply storytelling to some long thought-out, socially aware documentary series, we can do it on a trip to the city or an afternoon at the beach. Telling a story can boost your creativity. Let me tell you why.

    Framwellgate Bridge in Durham, UK
    A wide, establishing shot. By Jason Row Photography
    Flowers on Framwellgate Bridge in Durham, UK
    Same location, same time, but a details shot. By Jason Row Photography.

    Spotting The Details

    Next time you watch a documentary film on TV, take a closer look at the shots that go into that production. There will be wide establishing shots, talking head shots, but also close-up detail shots.

    Now let’s apply that documentary style to taking a trip to the city. We can shoot a close-up of our home as we leave, reflected in the car mirror. We can take a close shot of traffic lights with an iconic building behind. In the city, we can shoot close-ups of people on transport, window dressing details, glimpses of a famous transport or city emblem. The list of detailed shots that we can get is virtually endless.

    Now, all of the above items are not necessarily things that I have shot before, they are ideas that popped into my mind as I wrote this article. That’s the point, by looking for the details in our scenes, not only do we open up so many more photographic opportunities, but also we are increasing and improving our creativity.

    But do I need anything special to photograph the details?

    Stunning reflections of the arches of Prebends Bridge in Durham, UK
    The whole bridge was pretty, but concentrating on the reflections made a stronger image. By Jason Row Photography.

    What Gear Will I Need?

    This is the great thing about shooting details as part of a story. You don’t necessarily need any new equipment. A camera with a standard zoom is ideal. If the zoom doesn’t bring you close enough, move closer. At the wider aspect of your zoom, you can shoot the detail by getting close and perhaps leave some room for something out of focus in the background that hints at your location.

    That said, a moderate telephoto or telephoto zoom will be helpful. You will be able to isolate details better and create a better separation with a shallow depth of field.

    If you really want to ramp up creativity, a small portable LED light can be great for adding some extra illumination to your scene and punching out some texture details.

    Of course, you can also find details in more macro situations. If you own a macro lens or close focusing lens, that’s fine; however, for the occasional macro, a set of close-up filters is a good budget alternative.

    Details Need Light

    As I alluded to in the last section with the LED light, details do need decent illumination. If, for example, you are shooting a gargoyle on a church, without good light, that gargoyle will just merge with the stone background. Add in a little directional light and the gargyle will cast a shadow on that stone, giving a feeling of depth.

    Top down, drone view of the Glasshouse concert venue in Gateshead UK
    Beautiful low light reveal the details in this drone shot. By Jason Row Photography

    The time of day is also going to affect how your detail shots look. Harsh light in the middle of the day will give well well-defined but jarring separation of your subject. Morning or evening golden hour is a much softer, warmer light, making your detail look more inviting.

    More importantly, the light should be constant with your wider, establishing shots. If you were shooting a documentary film, a shift in light and colour between two shots in the same narrative can jolt you out of the story. The same can be true to a certain extent when using still photography to create a story.

    The Narrative Is Important

    Whilst it’s very easy to shoot detail shots, shooting and maintaining the narrative is harder yet more creatively rewarding. Your detailed shots must fit the story. For example, going back to our trip to the city, as well as the traffic light shot, we should also have a wide, establishing shot of the iconic building behind. However, that wide shot should contain the traffic lights. They act as a visual clue to the next line in the story. Your wide and mid shots should contain or at least hint at the content of your close, detail shots.

    Kayaker paddles under Framwellgate Bridge in Durham UK
    Another variation of the same location. By Jason Row Photography

    Shooting Details Can Boost Creativity

    As I have said, details are everywhere, in every genre of photography. However, the real creativity comes when using those details to tell an ongoing story. Finding interesting ways to connect different images within a sequence is both challenging and highly rewarding.

    If you want inspiration on shooting details within a narrative, some of the very best at it are good wedding photographers. Look at how they will shoot the usual shots, bride, groom, and family, but also hunt out the little details, close-ups on the rings, the knife cutting the cake, and the bride preparing her hair. All of these are prime examples of detail shots as part of a narrative.

    So next time you are planning a shoot, think about turning it into a story. Think about how you can combine the shots you had originally planned with more close and detailed shots that combine well together. You will soon find yourself thinking outside of your own photographic box, and that can only be a good thing.

     





    Source link

  • A New Portrait Project – Stuck in Customs


    27


    Apr 2025 : Sunday

    And Exploring Skylum Aperty

    I’ve started work on a portrait project which is, let’s just say not insignificant, in its scope… because if I think about it too much, I realise it’s quite the crazy undertaking! So, while I was planning this out, I had to think about how my workflow might work. How do I make things as easy on myself as possible and keep the creativity as the priority, keeping the “how” out of the way as much as I can. I played with a few tools for a while and have now settled on Aperty. Before I get into that here’s a quick look at it:


    Skylum Aperty Example

    That image in the interface, pretty great end result from minimal time. It was clear to me from early on in the testing that my normal tools, like Lightroom and Luminar, which I use A LOT, offer great processing but Aperty and its focus on portraits, offers a slicker workflow and quicker almost one click solutions.


    Skylum Aperty Wrinkle Example

    Above you’ll see exactly what I mean. On the left, a before, right is the after. 2 button clicks to apply some sympathetic tweaks to the image. Areas to pay particular attention to are the bridge of the nose, forehead and right of the eye. In some cases, the wrinkles disappear, in others the harshness (which was partially due to the environment) is reduced.


    Skylum Aperty Skin Example

    Now, don’t get me wrong… if transforming your models into smooth skinned alienlike creatures is your style, that’s possible too… but for more terrestrial based portraits, the tweaks applied by Aperty in just a few clicks feel appropriate, never overdone. Above, that’s the blemish and skin smoothing sliders at work.

    This being Skylum there are of course some fun additions to the normal options available too. You can for example have the software add some eyeliner to your model, or tweak their iris color as just two examples but that’s something for another day.

    For now, what I see from Aperty is a great tool for anyone working on people pictures. The tools flow in a really nice, logical way for a processing work and a lot of the clutter you’d find in more general processing applications doesn’t feature here. Yet you can still do great environmental portraits too, which is what I think I’ll leave you with today… oh, and one more thing. You can grab Aperty for a 50% discount here, plus a bonus month on the subscription and a bunch of extras. Have fun!


    Skylum Aperty Environmental Portrait Example





    Source link

  • Sony Announces Compact Full-Frame FX2 Cinema Camera

    Sony Announces Compact Full-Frame FX2 Cinema Camera


    Sony has unveiled the latest addition to its Cinema Line—the FX2. The compact full-frame video camera has a similar body design to the four-year-old full-frame FX3 and almost three-year-old cropped-sensor FX30. But where the FX3 borrowed the a7S III’s 12MP sensor and lacked an EVF, the FX2 takes the 33MP sensor from the a7 IV while featuring a video-camera-style 3.68-M-dot EVF, which can be tilted up to 90 degrees. Like the a7 IV, the FX2 supports Dual Base ISO (800 and 4000) when using S-Log3.

    With its a7 IV DNA, the FX2 promises to be a much more useful hybrid camera, offering not just high-end video recording and powerful video-focused tools, but also high-quality still image capture. (In addition, there’s a handy movie/still lever to switch between modes.) The FX2 can record up to 4K/30p and 1080/120p using the full width of the sensor, and supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes. Shooting 4K/60p entails an APS-C crop factor.

    To round things off, the FX2 offers a large dedicated record button, a full-size HDMI port, and an internal cooling fan. The camera has two memory card slots compatible with SD UHS-I/II cards, with one slot also capable of accepting a CFexpress 2 Type A card.

    Available in August, the Sony FX2 will be available for a body-only price of  $2,700.

     


    PRESS RELEASE

    Sony Electronics Introduces the FX2 Compact Camera, Expanding Cinema Line’s Versatility for Creatives

    The new FX2 has the look and operability of Cinema Line cameras with the ability to shoot high-resolution photos and comes equipped with an articulating eyepiece

    Sony Electronics Inc. is proud to announce today the latest addition to its established Cinema Line family, the FX2. The FX2 will offer a seamless entry point into the broader Cinema Line range, giving greater cinematic expression to independent creators or small crews needing a versatile camera.

    “The hybrid cinema camera was created based on user feedback and is engineered with unique features to support filmmaking, a new eyepiece, and enhancements for versatile production needs. The FX2 is intended to continue the Cinema Line’s goal of preserving authentic emotion in every shot and empower creators across all areas of content production,” says Theresa Alesso, President, Imaging Products and Solutions Americas, Sony Electronics Inc.

    FX2 Features: Full-frame Photo and Video Capabilities

    The FX2 comes with a full-frame sensor that delivers stunning imagery and beautiful bokeh effects. Equipped with a 33.0 effective megapixel1 back-illuminated Exmor R™ sensor with up to 15+ stops of wide latitude using S-Log3, it captures impressive detail in both highlights and shadows.

    Designed for versatile shooting environments, the FX2 offers Dual Base ISO at 800 and 4000, ensuring optimal performance in both bright and low-light conditions. Its ISO sensitivity for video can be extended up to 102400, making it ideal for challenging lighting scenarios. The camera supports a wide range of recording formats—including 4:2:2 10-bit All-Intra—and records in high-quality options, such as XAVC S-I DCI 4K at 24.00p, providing professionals with the tools needed for flexible, high-end production workflows.

    The FX2 can also continuously record for up to 13 hours in 4K 60p2 thanks to its internal cooling fan and effective heat dissipation structure. The FX2 offers variable frame rate settings, allowing up to 60 fps in 4K (for a maximum 2.5x slow-motion effect) and up to 120 fps in Full HD (for up to 5x slow motion). It supports Log shooting in Cine EI, Cine EI Quick, and Flexible ISO modes, offering versatile workflows for different production needs. To further the cinematic expression of the camera, creators can import up to 16 user LUTs for on-camera preview, enabling precise color monitoring on set.

    Filmmakers can also easily and quickly create in-camera cinematic looks, with S-Cinetone™ set as the default, along with a range of Picture Profile and Creative Look presets. A de-squeeze display function is available, supporting both 1.3x and 2.0x anamorphic lenses for accurate framing.

    Improved Usability for Comfortable Solo Operation

    The FX2 features the same compact, flat-top design as Sony’s Cinema Line FX3 and FX30 cameras, ensuring familiarity and compatibility across setups. Built-in mounting points (UNC 1/4-20 x3) support a cageless configuration, offering greater flexibility for rigging. An optional top handle (ILME-FX2) enhances mobility and control, especially during handheld or dynamic shooting. Its lightweight, portable build—measuring approximately 5 1/8 x 3 1/8 x 4 1/8 in and weighing approximately 1 lb 8.0 oz—makes it ideal for solo operators or small crew productions.

    The camera offers advanced focus features designed for precision and creativity. Its new Real-time Recognition AF (auto focus) delivers fast and reliable performance with improved accuracy for human subjects, although its intelligent subject recognition extends to animals, birds, vehicles, and insects, with an Auto mode available for effortless detection. For even more control, tools like focus breathing compensation, AF Assist, and customizable autofocus transition speed and sensitivity give creators the flexibility to fine-tune focus for expressive, cinematic imagery. The FX2 comes with Active Mode and Dynamic active Mode, which is new to the Cinema Line, and are both designed to ensure smooth and steady handheld shooting.

    The Auto Framing feature automatically crops and tracks a subject to keep them in a prominent position when the camera is mounted on a tripod, producing footage that looks like it was shot by an experienced operator. The Framing Stabilizer function automatically keeps the subject in the same position within the frame, which can be useful, for example, when the camera operator is moving alongside the subject.

    From a still image perspective, the camera features an additional log shooting option with a newly added ‘Log shooting’ menu. This feature allows creators to shoot high-resolution 33MP stills, optimized for color grading in post-production. The FX2 also offers smooth operation with a MOVIE/STILL mode lever, allowing for a quick switchover between still and movie shooting. Depending on the selected mode, the displayed menu items will automatically adjust. Additionally, mode selection is made easy with a long press of the Fn button, which recalls and changes the shooting mode.

    FX2 Features: Improved but Familiar Hardware Inherited From Sony’s Cinema Cameras

    The FX2 is equipped with a new high-resolution 3.68-million-dot tiltable EVF3 (electronic view finder) designed specifically for video production, offering a wide viewing angle and enhanced immersion thanks to its included deep eyepiece. Complementing the EVF is a 3.0-type vari-angle touchscreen LCD, making it easy to frame shots from virtually any angle. Intuitively arranged controls on the top panel and grip, along with tally lamps for clear recording status, support efficient on-set operation. The camera also introduces a customizable “BIG6” home screen that provides quick access to essential shooting parameters, such as FPS, ISO, shutter speed (angle or speed), Look presets, white balance, iris, and neutral-density (ND) filter settings. Addressing the growing demand for vertical content creation, the FX2 supports vertical menu display during shooting—ideal for social media formats. The handle-equipped model further enhances professional usability with two XLR/TRS terminals and a 3.5mm stereo mic jack, enabling 4-channel, 24-bit digital audio capture.

    The camera offers extensive expandability and connectivity options, including an HDMI Type-A terminal capable of outputting up to 4K 60p 4:2:2 10-bit video and 16-bit RAW4 for high-end recording and monitoring. For seamless data transfer and remote control, it supports dual-band Wi-Fi (2.4 GHz and 5 GHz5) as well as wired LAN via a compatible adapter6. Additionally, the USB Type-C port enables SuperSpeed USB up to 10Gbps data transfers and supports USB Power Delivery (PD)7, while built-in USB and network streaming support enables live broadcasting and remote production workflows.

    Social Responsibility

    Aligned with Sony’s global environment plan, ‘Road to Zero’, this product supports the company’s vision for achieving a zero environmental footprint by 2050. The manufacturing process reflects this commitment through facilities powered entirely by renewable energy sources8.

    The camera system incorporates comprehensive accessibility options, including a Screen Reader function9 and Display Magnification, to support visually impaired users across an expanded range of menu items. Additional intuitive controls enhance usability for all shooters, featuring:

    • Real-time recognition autofocus that reduces manual adjustments

    • Streamlined touch interface operations for direct menu navigation

    • Tactile button design with clear differentiation

    These inclusive design elements ensure professional imaging tools remain accessible to creators of all abilities while maintaining full operational capability

    The FX2 will be available early August for a suggested retail price of $2,699.99 USD and $3,499.99 CAD body only or $3,099.99 USD and $3,999.99 CAD with XLR handle. It will be sold directly through Sony and at a variety of Sony’s authorized dealers throughout North America.

    1 For stills. Max. 27.6 megapixels for movie.

    2 Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto power off temperature: High, Cooling fan: Auto. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit) Actual performance varies based on settings, environmental conditions, storage, and usage. Batteries are consumable products and their capacity degrades over time as they age. Sony does not guarantee the life span of the battery.

    3 Adjustable from 0° to +90° for flexible shooting angles.

    4 The output image will be in the APS-C size /Super 35mm equivalent angle of view.

    5 The 5 GHz band may not be available in some countries or region

    6 A commercially available USB-LAN adapter is required.

    7 A USB PD compatible external power supply device with 9V/3A or higher output capacity and a USB Type-C cable that can handle 3A or more is required

    8 Further reducing environmental impact, the product utilizes recycled packaging materials that minimize plastic content without compromising protection. These sustainable practices demonstrate our dedication to eco-conscious production while maintaining the highest quality standards.

    9 Download of compatible language file may be necessary. Please refer to the Help Guide for details.





    Source link

  • More from my in progress Project


    Hey awesome reader. A little more from me on Aperty, which if you read the previous post you’ll know I’m using for a current project. A couple of things this time round. Firstly Sklyum let me know that the offer I mentioned expires in the next day or so. Therefore, if you want to grab it, now’s the time. Secondly, I wanted to cover some of other features that stood out in my time so far with the software…


    Skylum Aperty Example

    Last time I talked about a couple of features which really help with processing workflow. Fixing common issues with skin, etc. This time let’s focus a bit on the eyes. I LOVE a good iris in an image… or two depending on how you look at it. Sometimes that can be a challenge though, like the image above. Originally, with such a bright day in the African desert, the lovely Rose had some significant reflections in her eyes. Not a problem with Aperty, just a few button clicks and we’ve got some nice iris replacement. You can also keep things more natural and enhance what’s already there if you have a good clear image however here replacement was needed to remove the distracting reflection.

    Skylum Aperty Example Iris

    The before and after can be a little odd, so here’s the final version.


    Skylum Aperty Eyeliner Example

    Aperty also has some cool creative enhancements, like the ability to add a flash of color via generated eyeliner. Again a click or two and a move of a slider and it’s done. It’s not my sort of thing usually, I tend to stick with whatever look the person had, however this software magic tickles my tech brain in a fun way. Nicely done Skylum!


    Skylum Aperty Wrinkle Example

    Wrapping things up for now, I think the best way I’d sum up Aperty is that at its core it is a great bit of software for those processing people photos (including groups, street photography, etc) on a regular basis. Especially those who do sessions with the same model, or have a consistent look to go for over a large range of images. For example, being able to apply some sympathetic, natural skin smoothing and blemish removal quickly and easily across a batch of images of the same person is a real time saver. Oh, and the batch processing feature is included in the price, not as a charged extra as with some competing software. The speed and lack of clutter in the UI is also great, getting you (well, me in this case) to the more creative, fun processing as quickly as possible.

    So, that’s it for now. As I mentioned, their current offer with 50% off and some free stuff ends tomorrow-ish. So it’s now or never for that. Be sure to share some of your creations with me… by email, or tag me on socials. Have fun! 🙂 And finally, here are a few more of my creations. 🙂


    Skylum Aperty Example 1


    Skylum Aperty Example 2


    Skylum Aperty Example 3





    Source link