I had a couple of images where the auto-detection did not work, requiring me to manually select the facial features and target areas. Profiles turned too far away from the camera and semi-obscured features (think bangs over the eyes) will throw auto-detection for a loop. While this auto-detection is really pretty amazing, it’s not always perfect (and therefore my only real complaint). Simply put, Portrait Plus automatically detects the faces in your photos, and then identifies 24 key facial features. It has a simple, user-friendly interface designed for efficient, seamless integration with your portrait workflow. Portrait Plus from ArcSoft is a portrait retouching program that works as a stand-alone application (Windows and Mac) or as a Photoshop plug-in under the filters menu (Currently Windows only). As convenient as it is, though, it can have an impact on editing time, particularly when I’m dealing with a lot of photos at once. It’s a pretty straightforward approach to smoothing skin and removing blemishes and I use it all the time. A couple of months ago, I wrote an article detailing one of my favorite techniques for basic skin smoothing in Photoshop. Since we are in the business of making people look good, solid portrait retouching skills are perhaps some of the most important tools in your digital bag of tricks. One of the most difficult tasks in Photoshop is also one of the most common. Here are some photo sets that demonstrate the most common retouching techniques used at the Eagle.Portrait Plus from ArcSoft packs powerful facial retouching tools into a Any irreparable mistakes - just pull another print and start again. These paints were laid down directly on the print with soft brushes for lines and flat areas or an airbrush to achieve a light even mist. The majority of the retouching I have seen was done with opaque water-based paint (gouache), and occasionally with transparent dyes or watercolors, which give a nudge of lightness or darkness to separate areas of the picture without covering them completely. To the rescue came the photo retoucher, perhaps the photographer but more likely someone in the art department, to play with nature and make the photos clear and pleasing for the paper. But out in the world, in contrast to controlled studio conditions, there was much that was outside of their control: backgrounds, lighting, and accidents of color that create real visual confusion. It is clear the photographers took care to create an interesting composition from a candid situation, such as a news story or sports event in media res, or a more static picture in the case of posed shots, such as charity events, glamorous celebrity portraits, and cute animal pictures. I estimate around 30% of the Eagle photographs were retouched and it is interesting to see why and how it was done. Luckily for us, the traces of this work are fairly visible, telling the story of before and after even if we only see the final version. A newspaper on deadline has little time to spare, so most of the retouching we see happens on the print. But these techniques take great skill and time. Once a negative is in hand there are many techniques to improve it before ever making a print from it. The Eagle's photographers did their work from the very early 1900s to 1955, shooting the subject of a story as they found it, using their knowledge to get the best shot possible in unpredictable circumstances and trusting they would have a usable image when the film came back from the Eagle lab. By 1904 we see photos pepper the back pages, with advertisers being the early adopters, and by 1910 photos accompany the front page features. From the Eagle's beginnings in 1841 until the early years of the 20th century, illustration did the heavy lifting for advertising and feature articles. Photographs made their way into the Brooklyn Daily Eagle gradually. If we have quibbles with the image afterwards we can make spectacular adjustments with photo manipulation programs from simple Instagram filters to the big guns of Photoshop. Now, with the advent of digital photography, we can immediately see what we have taken, and have the chance to redo the shot until we have the best possible composition of what is in front of us. Once the prints were in hand, shuffling through them brought the realization of joyful accidents and unforeseen failures, like seeing a friend's portrait that seemed quite right when taken and in the print she sprouts a lamppost from her head. Radio tribute to Brooklyn - Photo: Brooklyn Collectionīack in the days of analog (film) photography, there was a lag, serendipitous or frustrating depending on how you looked at it, between taking a photo and seeing the result.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |