Price: $103.87
Click here to buy from Amazon
Showing posts with label Photography. Show all posts
Showing posts with label Photography. Show all posts
Saturday, November 6, 2010
Fotodiox Battery Adapter for Hasselblad for 500EL/500ELM/500ELX/553ELX to Use 6v CR-P2 Battery
Price: $103.87
Click here to buy from Amazon
CF Lens Adapter to fit Zeiss V-System lenses to H-Series Bodies *
*This item is not a normal stock. We will order this item as needed from the factory. Extra time is needed for delivery.
Click here to buy from Amazon
Friday, November 5, 2010
Hasselblad Way (Camera Way Books)
The book represents the first systematic and complete treatment of Hasselblad camera equipment from the earliest days to the present. New equipment released by Hasselblad at the end of 1997 as the book was going to press has been included in an addendum.
Much new information is presented with 760 black-and-white and color pictures. All product component numbers, dates of manufacture of the lenses, and Hasselblad literature are listed. Description and photos of rare and unusual items such as prototypes and NASA cameras, add greatly to the interest of the book for Hasselblad enthusiasts.
Price: $39.95
Click here to buy from Amazon
Fenix TK45 High Performance Flashlight
Price: $195.00
Click here to buy from Amazon
Digital SLR Cameras and Photography For Dummies
The ideal guide for beginning DSLR camera users, with full-color examples of what you can achieve
Make the most of your Canon, Nikon, Sony, Pentax, or Olympus digital SLR camera! This guide explains the different lenses, the many settings and how to use them, the results you can get from using different controls, how to use lighting and exposure, and much more.
If you haven't purchased your camera yet, you'll also find tips on choosing a camera and accessories. And you'll find out how to make your pictures even better with Photoshop.
Price: $29.99
Click here to buy from Amazon
If you haven't purchased your camera yet, you'll also find tips on choosing a camera and accessories. And you'll find out how to make your pictures even better with Photoshop.
- Updated for all the newest camera models
- Introduces you to all the features common to DSLR cameras
- Illustrated with more than 300 full-color photos and screen shots
- Shares tips on composition, lighting and exposure controls, and file formats
- Explains Adobe Photoshop and how to create fine prints from your photos
- Offers advice on improving your photos and where to find help
Price: $29.99
Click here to buy from Amazon
Fotodiox Pro Lens Mount Adapter with Dandelion AF Focus Confirmation Chip - Hasselblad Lens to Canon EOS adapter, for Canon EOS 1d,1ds,Mark II, III, IV, 5D, MarK II, 7D, 10D, 20D, 30D, 40D, 50D, 60D, Digital Rebel xt, xti, xs, xsi, t1i, t2i, 300D, 350D, 400D, 450D, 500D, 550D, 1000D
Price: $299.95
Click here to buy from Amazon
Thursday, November 4, 2010
1984 Jerry Hall Hasselblad 2000 FC/M Camera Photo Print Ad
Price: $12.99
Click here to buy from Amazon
MR.HOBBY - Mr. Photo Studio GT05
Price: $129.99
Click here to buy from Amazon
Nikon MH-61 Battery Charger for Coolpix 3700, 4200, 5200, and P Series Digital Cameras
Price: $27.95
Click here to buy from Amazon
Sunday, October 17, 2010
Hasselblad System Compendium
The book represents the first systematic and complete treatment of Hasselblad camera equipment from the earliest days to the present. New equipment released by Hasselblad at the end of 1997 as the book was going to press has been included in an addendum.
Much new information is presented with 760 black-and-white and color pictures. All product component numbers, dates of manufacture of the lenses, and Hasselblad literature are listed. Description and photos of rare and unusual items such as prototypes and NASA cameras, add greatly to the interest of the book for Hasselblad enthusiasts.
Price: $49.95
Click here to buy from Amazon
Saturday, October 16, 2010
Fotodiox Pro Adapter, Hasselblad Lens to Canon EOS Camera Mount Adapter -- for Canon EOS 1d,1ds,Mark II, III, IV, 5D, MarK II, 7D, 10D, 20D, 30D, 40D, 50D, 60D, Digital Rebel xt, xti, xs, xsi, t1i, t2i, 300D, 350D, 400D, 450D, 500D, 550D, 1000D
Price: $199.95
Click here to buy from Amazon
Canon Powershot E1 10MP Digital Camera with 4x Optical Image Stabilized Zoom (Blue)
quality, a powerful 4x optical zoom that makes everything up close and unforgettable, and an advanced Optical Image Stabilizer that puts a non-stop life in sharp focus.
Price: $351.72
Click here to buy from Amazon
Why you need To Be A Guerrilla Travel Photographer-And How To Become One
A Guest Post by Tony Page from Travel Signposts.
You know, as a Guerrilla Travel Photographer I often find myself thinking that some people who give us advice about taking photographs when we’re traveling need a reality check.
Okay, a lot of their advice is fine in an ideal situation, but the problem is we’re usually not in an ideal situation. There’s a lot of difference between the ideal when you’ve got plenty of time and the reality when you haven’t, and people don’t place enough emphasis on the latter.
Most of us are forced to be Guerrilla Travel Photographers by necessity. We can only fantasize about having all the time in the world to think about our shots, to wait for the right light, to choose different viewpoints, to have cooperative and colourful model talent, to try different technical approaches, all with a supportive crew behind us to carry our bags, bring us cool drinks, and mop our brow.
OK, I’m exaggerating, but you know what I mean. In the words of an immortal Australian,
“Tell ‘im he’s dreamin’!”
For most of us, although we love taking photographs when we are on the road, it is not the only thing competing for our attention. Lots of us have significant others, children or friends who while appreciating our hobby, are not committed to it in the same way we are. So we have to take our chances when we can, “seize the moment” and take advantage of any opportunities that come our way. We have to be Guerrilla Travel
Photographers.
Let’s have a bit more photographic how-to advice with an aggressively practical spin, that starts off with the assumptions that the light’s wrong, the subject’s difficult, we don’t have any time and we’re not using the latest and greatest gear. Sound familiar? Because that’s the likely reality for most of us.
And that’s what this post is all about …travel photography in a real world! In this and tomorrow’s post, I’ve put down a few guerrilla travel photography basics that I hope will start you thinking. And if you’ve got a few tips that will help, please share them in the comments. Good shooting!
It’s always worthwhile finding out something about the places you’re going to travel to before you leave home, whatever your reason for taking photographs. Obviously, you’d have to do more research if you were going to write a feature about the destination, but even if you are just travelling on holiday, getting some idea of the kind of things you might be photographing can be very useful and save a lot of time.
Where to Get Your Information
You already know the broad outline of places that you will be visiting, but you may have some flexibility as to the time. If so, it’s a good idea to check whether there are any festivals or special events going on at your destinations; these can often provide rewarding photo opportunities. Look up the local tourist boards on line, they often have calendars of events many months in advance, and travel websites frequently highlight upcoming festivals and other points of interest.
Even if you are not going on an organised tour, it can be worthwhile to check out tour itineraries covering the places you’re visiting: they will give you a good guide as to potential tourist sites and activities in which you may be interested. For Europe, have a look at Insight Tours, Globus and Trafalgar.
Gondolas near St Mark's Square, Venice. Visit the Tourist Office, it's just to the right of this shot. Photos like this from Travel Signposts give you an idea of what's available to shoot.
Get a Sneak Preview Before You Go
It’s also helpful to have an idea of what things look like before you’re standing in front of them. Get some ideas of what other photographers have thought was interesting by looking up your destinations on the big stock sites, like Getty or Corbis. Some travel websites also have galleries of photographs that can be helpful; for example, Travel Signposts has over 23,000 images of European and Mediterranean subjects designed to show you what places are really like, as opposed to simply glamorizing them.
I’m not suggesting that you copy these shots, but they will give you some idea of the different viewpoints and interesting features of your potential photographic subjects. This will really save you time when you finally get there, and as a guerrilla travel photographer, time is one of your most valuable commodities.
Before we get any further, let’s put another myth to rest. Some photographers seem to have a sort of macho belief that if you don’t use manual settings somehow you aren’t a REAL photographer. What a load of old cobblers! The only time I use manual settings is when I can’t get the camera to do what I want automatically. In many cases, I am quite happy to let the camera do the calculations while I concentrate on creating the image.
Fish outside a Bosphorus restaurant, Istanbul, Turkey. Canon Ixus 400, automatic flash.
Don’t Be Scared Of Auto Modes
Although a point-and-shoot camera is more limited when it comes to shooting modes, for example aperture priority or shutter priority, careful use of the various screen modes provided can help you get your shot. I rarely use only manual settings on my DSLR, tending to leave the camera on shutter priority for casual shooting, to minimise camera shake and freeze subject movement.
I also make use of the program mode; many people don’t realise how flexible this can be. With Nikon cameras and many others, if you don’t like the particular aperture/shutter combination selected, you can simply adjust the exposure value by dialling in the aperture or shutter speed you fancy and the camera will adjust the exposure accordingly. No need to switch to aperture or shutter priority at all.
Learn To Use Exposure Compensation
One manual control it’s useful to know about is how to adjust exposure compensation. On point-and-shoots, it’s often only reached by menu if it’s there at all, but in DSLRs it’s usually on a dial or wheel. I’ll mention some ways I use this later, but basically you set it to artificially increase or decrease your exposure to make up for mistakes made by your camera’s meter, when it is fooled by the light reflected from a beach or snow, for example.
Lagoon at twilight, Raratonga, Cook Islands. Canon Ixus 400.
White Balance: Don’t Chop and Change
As far as colour balance is concerned, while it is true that the auto balance setting on some cameras is not too accurate in mixed light, you won’t go far wrong in most circumstances you will meet when traveling if you just leave it on auto. Of course, it’s easy to make adjustments later if you’re shooting in raw format, and even with point-and-shoots, broad adjustments for example, for a cloudy day or tungsten light, can provide acceptable results. But if you start switching it around every few minutes you’re going to buy yourself some grief when you’re on the road shooting guerrilla style.
The great advantage of shooting in the studio is that you can control the light. Unless you’ve got a lot of time, you can’t pick and choose your light when you’re traveling. If I had to pick the greatest challenge I find myself facing while photographing on the road, it would have to be trying to create great images with the wrong lighting conditions.
The Problem with the “Golden Hours”
You’ve probably heard about the “Golden Hours”, the hour just after sunrise and the hour just before sunset, when the light is particularly flattering for photography. The problem is, there are an awful lot of hours in between when most of us will need to take some photographs! What’s more, if you’re shooting in Europe in summer, don’t forget that sunrise can be before 5 a.m. and sunset around 10 p.m. – that’s quite a spread.
Temple of Hatshepsut, Egypt: The pattern of the people is reminiscent of a Lowry painting, and retaining the intensity of the light captured the atmosphere - can you feel the heat?
Only Mad Dogs and Englishmen Go Out In the Midday Sun
Harsh, contrasty sunlight can be the bane of the travel photographer, but it’s no use bemoaning the fact that you should be shooting four hours later when four hours later you’ll be 100 km away. The same goes for dull weather; as a rule grey skies and rain make it more difficult to get interesting images, especially in cities with all those grey buildings.
Where you do have the choice, it is helpful if you can split your photo shooting into two sessions at the beginning and towards the end of the day to take advantage of the better light. However, for many of us on vacation that’s frankly impossible. That’s why we have to take our chances as guerrilla travel photographers!
At Noon, a Polarising Filter Is Your Friend
Harsh overhead light at midday is not all bad news, however. Polarising filters work best when the light is at 90° to the subject. Consequently, they are at their most effective in intensifying colour when the sun is overhead. So slap on the polariser, look for subjects with strong colours and create your compositions accordingly. Any shadows will drop out, of course, but think CSI Miami/Ken Rockwell vivid colour schemes rather than subtle shades and you won’t go far wrong. And if you’re a point-and-shooter, it’s quite possible to hold a polarising filter in front of your lens (if a bit awkward), or just try shooting through your Polaroid sunglasses (that’s a real guerrilla photography tip).
Those deep shadows can also be used creatively to create striking graphic compositions. You can even do portraits, remember that great shot of Marlon Brando’s bald head coming out of the shadows in “Apocalypse Now”?
This post will be continued tomorrow where Tony will share another 4 tips for being a Guerrilla Photographer.
Tony Page is a professional photographer and writer. View his work at Travel Signposts. Tony will be launching a new eBook in the coming days (stay tuned on Sunday for details).
View the original article here
You know, as a Guerrilla Travel Photographer I often find myself thinking that some people who give us advice about taking photographs when we’re traveling need a reality check.
Okay, a lot of their advice is fine in an ideal situation, but the problem is we’re usually not in an ideal situation. There’s a lot of difference between the ideal when you’ve got plenty of time and the reality when you haven’t, and people don’t place enough emphasis on the latter.
Most of us are forced to be Guerrilla Travel Photographers by necessity. We can only fantasize about having all the time in the world to think about our shots, to wait for the right light, to choose different viewpoints, to have cooperative and colourful model talent, to try different technical approaches, all with a supportive crew behind us to carry our bags, bring us cool drinks, and mop our brow.
OK, I’m exaggerating, but you know what I mean. In the words of an immortal Australian,
“Tell ‘im he’s dreamin’!”
For most of us, although we love taking photographs when we are on the road, it is not the only thing competing for our attention. Lots of us have significant others, children or friends who while appreciating our hobby, are not committed to it in the same way we are. So we have to take our chances when we can, “seize the moment” and take advantage of any opportunities that come our way. We have to be Guerrilla Travel
Photographers.
Let’s have a bit more photographic how-to advice with an aggressively practical spin, that starts off with the assumptions that the light’s wrong, the subject’s difficult, we don’t have any time and we’re not using the latest and greatest gear. Sound familiar? Because that’s the likely reality for most of us.
And that’s what this post is all about …travel photography in a real world! In this and tomorrow’s post, I’ve put down a few guerrilla travel photography basics that I hope will start you thinking. And if you’ve got a few tips that will help, please share them in the comments. Good shooting!
It’s always worthwhile finding out something about the places you’re going to travel to before you leave home, whatever your reason for taking photographs. Obviously, you’d have to do more research if you were going to write a feature about the destination, but even if you are just travelling on holiday, getting some idea of the kind of things you might be photographing can be very useful and save a lot of time.
Where to Get Your Information
You already know the broad outline of places that you will be visiting, but you may have some flexibility as to the time. If so, it’s a good idea to check whether there are any festivals or special events going on at your destinations; these can often provide rewarding photo opportunities. Look up the local tourist boards on line, they often have calendars of events many months in advance, and travel websites frequently highlight upcoming festivals and other points of interest.
Even if you are not going on an organised tour, it can be worthwhile to check out tour itineraries covering the places you’re visiting: they will give you a good guide as to potential tourist sites and activities in which you may be interested. For Europe, have a look at Insight Tours, Globus and Trafalgar.
Get a Sneak Preview Before You Go
It’s also helpful to have an idea of what things look like before you’re standing in front of them. Get some ideas of what other photographers have thought was interesting by looking up your destinations on the big stock sites, like Getty or Corbis. Some travel websites also have galleries of photographs that can be helpful; for example, Travel Signposts has over 23,000 images of European and Mediterranean subjects designed to show you what places are really like, as opposed to simply glamorizing them.
I’m not suggesting that you copy these shots, but they will give you some idea of the different viewpoints and interesting features of your potential photographic subjects. This will really save you time when you finally get there, and as a guerrilla travel photographer, time is one of your most valuable commodities.
Before we get any further, let’s put another myth to rest. Some photographers seem to have a sort of macho belief that if you don’t use manual settings somehow you aren’t a REAL photographer. What a load of old cobblers! The only time I use manual settings is when I can’t get the camera to do what I want automatically. In many cases, I am quite happy to let the camera do the calculations while I concentrate on creating the image.
Don’t Be Scared Of Auto Modes
Although a point-and-shoot camera is more limited when it comes to shooting modes, for example aperture priority or shutter priority, careful use of the various screen modes provided can help you get your shot. I rarely use only manual settings on my DSLR, tending to leave the camera on shutter priority for casual shooting, to minimise camera shake and freeze subject movement.
I also make use of the program mode; many people don’t realise how flexible this can be. With Nikon cameras and many others, if you don’t like the particular aperture/shutter combination selected, you can simply adjust the exposure value by dialling in the aperture or shutter speed you fancy and the camera will adjust the exposure accordingly. No need to switch to aperture or shutter priority at all.
Learn To Use Exposure Compensation
One manual control it’s useful to know about is how to adjust exposure compensation. On point-and-shoots, it’s often only reached by menu if it’s there at all, but in DSLRs it’s usually on a dial or wheel. I’ll mention some ways I use this later, but basically you set it to artificially increase or decrease your exposure to make up for mistakes made by your camera’s meter, when it is fooled by the light reflected from a beach or snow, for example.
White Balance: Don’t Chop and Change
As far as colour balance is concerned, while it is true that the auto balance setting on some cameras is not too accurate in mixed light, you won’t go far wrong in most circumstances you will meet when traveling if you just leave it on auto. Of course, it’s easy to make adjustments later if you’re shooting in raw format, and even with point-and-shoots, broad adjustments for example, for a cloudy day or tungsten light, can provide acceptable results. But if you start switching it around every few minutes you’re going to buy yourself some grief when you’re on the road shooting guerrilla style.
The great advantage of shooting in the studio is that you can control the light. Unless you’ve got a lot of time, you can’t pick and choose your light when you’re traveling. If I had to pick the greatest challenge I find myself facing while photographing on the road, it would have to be trying to create great images with the wrong lighting conditions.
The Problem with the “Golden Hours”
You’ve probably heard about the “Golden Hours”, the hour just after sunrise and the hour just before sunset, when the light is particularly flattering for photography. The problem is, there are an awful lot of hours in between when most of us will need to take some photographs! What’s more, if you’re shooting in Europe in summer, don’t forget that sunrise can be before 5 a.m. and sunset around 10 p.m. – that’s quite a spread.
Only Mad Dogs and Englishmen Go Out In the Midday Sun
Harsh, contrasty sunlight can be the bane of the travel photographer, but it’s no use bemoaning the fact that you should be shooting four hours later when four hours later you’ll be 100 km away. The same goes for dull weather; as a rule grey skies and rain make it more difficult to get interesting images, especially in cities with all those grey buildings.
Where you do have the choice, it is helpful if you can split your photo shooting into two sessions at the beginning and towards the end of the day to take advantage of the better light. However, for many of us on vacation that’s frankly impossible. That’s why we have to take our chances as guerrilla travel photographers!
At Noon, a Polarising Filter Is Your Friend
Harsh overhead light at midday is not all bad news, however. Polarising filters work best when the light is at 90° to the subject. Consequently, they are at their most effective in intensifying colour when the sun is overhead. So slap on the polariser, look for subjects with strong colours and create your compositions accordingly. Any shadows will drop out, of course, but think CSI Miami/Ken Rockwell vivid colour schemes rather than subtle shades and you won’t go far wrong. And if you’re a point-and-shooter, it’s quite possible to hold a polarising filter in front of your lens (if a bit awkward), or just try shooting through your Polaroid sunglasses (that’s a real guerrilla photography tip).
Those deep shadows can also be used creatively to create striking graphic compositions. You can even do portraits, remember that great shot of Marlon Brando’s bald head coming out of the shadows in “Apocalypse Now”?
This post will be continued tomorrow where Tony will share another 4 tips for being a Guerrilla Photographer.
Tony Page is a professional photographer and writer. View his work at Travel Signposts. Tony will be launching a new eBook in the coming days (stay tuned on Sunday for details).
View the original article here
Thursday, October 14, 2010
Understanding Exposure: How to Shoot Great Photographs with a Film or Digital Camera (Updated Edition)
Price: $25.95
Click here to buy from Amazon
Wednesday, October 13, 2010
Droste Effect – Photoshop
I an earlier blog post I introduced Pixel Bender a new extension for Photoshop CS4 
and CS5
from Adobe Labs. In this post I’ll show you a filter which lets you create a Droste effect with an image. The filter is free to download and once it is installed you can apply it from inside Pixel Bender. It was created by Tom Beddard who is author of a lot of really wonderful filters – you can see more of them here.
The Droste effect is an image effect named after a Dutch cocoa company called Droste. In 1904 it produced packaging for its cocoa product showing a woman carrying a tray with a box of cocoa and a cup on it. A small version of the package appeared on the cocoa box on the tray and so on – each version of the image being successively smaller than the last.
To create the Droste effect you must first have Pixel Bender installed so, if you don’t, visit my earlier post to learn where to find it and how to install it. Then, you’ll need to download the Droste filter from: http://tinyurl.com/pbdroste.
Unzip the folder and copy the .pbk file to your Program Files\Adobe\Adobe Photoshop CS5\Pixel Bender Files folder. Restart Photoshop and the Droste filter will be in place.
Start with an image that is square with some element of interest centered in the middle of the image. I chose a flower against a neutral background – start with something simple as you learn how the filter works – then plan to use a more complicated image later on.
Make a note of the size of the image by choosing Image > Image Size and write down the image width and height.
There is a physical limit to the size images you can use with Pixel Bender which is 4096 x 4096 so make sure your image is smaller than this. I suggest you start with smaller images still as they render faster.
To run the filter, choose Filter > Pixel Bender > Pixel Bender Gallery and select Droste from the dropdown list. If you have used the filter previously, hold Alt (Option on the Mac) and click on the Reset button to reset the filter settings.
Set the Size [0] and Size [1] sliders to match the width and height of your image – my image is 530 x 530 pixels.
By default, you should see a typical Droste file image with straight edges.
To turn the straight edges into a curved spiral, deselect the TransparentInside checkbox.
If the image is off center, the spiral will look askew at this point. To change the center point of the image and align it with the center of the spiral, adjust the centerShift [0] and [1] sliders – each of these operates in a different dimension. Adjust the center of the image until the spiral looks correct.
To adjust the placement of the final image, use the Center [0] and [1] sliders.
If you do not have an image spiral that completely fills the image area you will see some black background color outside the spiral. You can control the color used for this background by setting the BackgroundRGBA values. The [0] setting controls the Red value, [1] controls Green, [2] controls Blue and [3] controls the opacity of the background. The default is that all sliders are set to 0 and the Opacity slider to 1 which gives the black color. You can view the current background by setting Levels to 2 and the LevelsStart value to 1. Then create your own background color and, when you’re done, increase the Levels value to back up again to around 7.
To make the spiral tighter or looser, adjust the RadiusInside value. Set it to a very small value to get a small number of loops and to something like 50 to get one with lots of loops. The default setting is 25.
Decreasing the OutsideRadius twists the spiral more tightly. The default value of 100 makes the spiral looser.
Periodicity is the number of times the image repeats in each loop of the spiral. If you set this to 2 the image will be repeated twice per spiral – the Default value is 1.
The Strands value sets the number of loops in the spiral. If you set this to 2 you will have two interlocking spirals and if you set it to three you’ll get three strands/spirals and so on.
Other interesting effects include using the RotatePolar value. By setting it to, 90 as shown here you will get different spiral loops on the screen. Having done this, you can then select RotateSpin to adjust the effect.
If you enable HyperDroste then adjust the FractalPoints value, you will create an image that is reminiscent of a fractal style image.
If desired adjust the Zoom value to zoom into the design.
Use RotateSpin and RotatePolar with FractalPoints and HyperDroste to fine tune the effect.
When you have a design you like, click Ok button to apply the Droste effect to your image.
Once you know how the controls in the Droste filter work you’re ready to apply it to a more complex image.
To get best results, start with a square image with something of interest in the center and make sure to set the image dimensions in the filter before working with the other sliders.
Helen Bradley is a Lifestyle journalist who divides her time between the real and digital worlds, picking the best from both. You can view her site at helenbradley.com. She writes and produces video instruction for Photoshop and digital photography for magazines and online providers world wide. She has also written four books on photo crafts and blogs at Projectwoman.com.
View the original article here
and CS5 from Adobe Labs. In this post I’ll show you a filter which lets you create a Droste effect with an image. The filter is free to download and once it is installed you can apply it from inside Pixel Bender. It was created by Tom Beddard who is author of a lot of really wonderful filters – you can see more of them here.The Droste effect is an image effect named after a Dutch cocoa company called Droste. In 1904 it produced packaging for its cocoa product showing a woman carrying a tray with a box of cocoa and a cup on it. A small version of the package appeared on the cocoa box on the tray and so on – each version of the image being successively smaller than the last.
Make a note of the size of the image by choosing Image > Image Size and write down the image width and height.
There is a physical limit to the size images you can use with Pixel Bender which is 4096 x 4096 so make sure your image is smaller than this. I suggest you start with smaller images still as they render faster.
To run the filter, choose Filter > Pixel Bender > Pixel Bender Gallery and select Droste from the dropdown list. If you have used the filter previously, hold Alt (Option on the Mac) and click on the Reset button to reset the filter settings.
Set the Size [0] and Size [1] sliders to match the width and height of your image – my image is 530 x 530 pixels.
By default, you should see a typical Droste file image with straight edges.
If the image is off center, the spiral will look askew at this point. To change the center point of the image and align it with the center of the spiral, adjust the centerShift [0] and [1] sliders – each of these operates in a different dimension. Adjust the center of the image until the spiral looks correct.
To adjust the placement of the final image, use the Center [0] and [1] sliders.
Decreasing the OutsideRadius twists the spiral more tightly. The default value of 100 makes the spiral looser.
Periodicity is the number of times the image repeats in each loop of the spiral. If you set this to 2 the image will be repeated twice per spiral – the Default value is 1.
Use RotateSpin and RotatePolar with FractalPoints and HyperDroste to fine tune the effect.
When you have a design you like, click Ok button to apply the Droste effect to your image.
Once you know how the controls in the Droste filter work you’re ready to apply it to a more complex image.
To get best results, start with a square image with something of interest in the center and make sure to set the image dimensions in the filter before working with the other sliders.
Helen Bradley is a Lifestyle journalist who divides her time between the real and digital worlds, picking the best from both. You can view her site at helenbradley.com. She writes and produces video instruction for Photoshop and digital photography for magazines and online providers world wide. She has also written four books on photo crafts and blogs at Projectwoman.com.
View the original article here
Tuesday, October 12, 2010
GoPro HD Helmet HERO
Product Features
- Frame rates: [30fps] 1080p, 960p, 720p; [60fps] 720p, WVGA
- Resolutions: [1080p] 1920 x 1080; [960p] 1280 x 960; [720p] 1280 x 720; [WVGA] 848 x 480
- Formats: [Video] H.264 (.mp4); [Audio] 48khz AAC
- Exposure control:
- Sensor: 5 Mega-pixel CMOS image sensor
- Processor:
- Effective focal length:
- Field of View: [960p, 720p, WVGA] 170 degrees; [1080p] 127 degrees
- Mic type: Internal, mono with automatic gain control
- Recommended Use: HD memories
- Manufacturer Warranty: 1 Year
Click here to buy from Amazon
Smith Victor FL250 One Light Fluorescent Kit (55 Total Watts), with 10" Flood Light with Stand, Fluorescent Bulb - 120V AC
Price: $169.95
Click here to buy from Amazon
Photoshop CS5: Oil Painting with pixel Bender
Accept the license terms, and the extension will automatically be installed in the correct Photoshop CS5-program folder.
When you are finished, close the extension manager, Photoshop close and open it.
With pixel Bender-open an image and select filter > Pixel Bender > Pixel Bender Gallery.Here you will see a list of filters in the drop-down list box that are looking at CircleSplash. Select the filter oil paint and then adjust the settings.Styling, you can change the length and angle of the brush strokes – the larger values best look.Clean the softness of the effect is adapted and usually looks good on about 7 or 8. Colorization more or less, you can apply color to the image.BrushScale changes the size and the length of the dark brush strokes-a small value indicates dun lang lighter brush strokes and a larger value shorter thick dark brush strokes. BrushContrast will the contrast of the brush strokes and probably better can be left on a value of 1.
In short, adjust the sliders until you get a result that you want.If you are not sure how a slider affects the image drag it all the way to the left or right to see the effect. from there.
When you are finished, click OK to apply the result to the image. Unlike most filters those images to look like an oil painting painting to convert, this is a good in identifying edges in the image, so that the painting looks more realistic.
Helen Bradley is a lifestyle journalist who her time between the real and digital world, choosing the best of both. you can display for its Web site at helenbradley.com. She writes and produces video instruction for Photoshop and digital photography for magazines and online providers worldwide. She wrote four books on Photo crafts and blogs on projectwoman.com.
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Monday, October 11, 2010
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