I use an older version of Photoshop. It is able to import and read a 16 bit depth file. Though it is limited in what it can do with this bit depth, it can do the levels and curves adjustments on an image. I want to have the best quality scan to start with for photo restoration in my older Photoshop. I won't be able to directly import the file with my older Photoshop from the scanner. If I scan a photo as a 16 bit 600 ppi image, I'm afraid color information will be lost when I open it in the older Photoshop. Is there any way I can open and save such a file without losing all that good color information? I know I would need to save it in a format that supports 16 bit depth like png versus jpeg.
I have PSE4 and I have been playing around with it for a few months. I know the basics but I'd really like to learn more about retouching and restoring old/faded photographs.
I'm working on a photo of a building from the late 1800s. The edge of the roof has a grainy halo around it. I'd like to extend this texture to the corner of the photo and eliminate the white background currently there.
I'm in the process of scanning in old photos and retouching them in Photoshop. I have many books on the subject and have been using Photoshop for 2 years now..
I'm curious as to what percenage are corrections made. When you look at a photo at 25% of the size it looks one way, but when you zoom into 100% it's obviously another.
Color print from 1972 with badly faded faces, fuzzy facial features, too. Would like the skin tones to look healthy, tried the wrming filter and got jaundice! I am a beginner with PS, need step by step instructions. You forum angels are the best!
I was hoping someone else might remember the URL of a site I'm looking for. It's a user group site for photoshop retouching and restoration. It posts photos that need work and anyone interested in trying their hand works to restore it and then reposts their version. The users then critique each poster's attempt.
I have recently acquired an image from around 1850 that I am restoring and I was wondering if anyone had advice on this one issue. The photo has alot of grain to it in the dark areas of the photo. When I start bringing the photo back to life the grain is even more noticeable obviously. Does anyone know of a good technique to remove this kind of extreme grain?
What I have is a photo of a classroom with pupils seated and teachers standing against a large windows on one side of the room.
The photo was taken pointing towards the windows so that the pupils near the camera are perfectly exposed but the ones nearest the window are too light and faded out.
I'm sure I read a tutorial some time ago about dealing with this type of thing but I can't find it anymore.
I really don't know what to do and where to start with this photo. After playing with it for hours, its seems all i did was sharpen it and bring up lots of noise.
Have you ever wanted to make a photo seem to have shorter depth of field? Prior to Photoshop CS6 this was no small feat to achieve digitally and end up with a pleasing and visually believable result.
Photographers know that setting the aperture wide can change the mood of a shot completely. Sometimes getting the DOF just right can make the difference between an "also ran snapshot" and an award winning photograph.
With today's smaller digital sensors - and even with big sensors if too small an aperture is available - sometimes we get an image that's exposed right, that's composed well, that's caught the moment. More of it is sharp than we'd like, and the background or foreground is simply distracting.
Enter the new Photoshop CS6 blur filters.With the Tilt-Shift variant, one can progressively blur pixels based on a definable gradient/mask, so that we get that familiar progressive front-to-back blur change.
Armed with this powerful new capability, and with the subject masking/separation facilities we've had for a couple of versions now, this becomes possible:
1. Separate subject from surroundings with a good mask - e.g., quick select, refine edge, make a new layer with just the parts you want to remain sharp showing on it. A good mask isn't difficult to make any more! Hide this layer when done.
2. Remove the subject, at least around the edges, from the background layer underneath, e.g., by selecting using the above mask, expanding the selection, and doing Content Aware Fill and/or Cloning. This is important because in the subsequent blur operation we don't want parts of the sharp subject blurring into the background. That just looks weird.
3. Use Photoshop CS6's Tilt-Shift Blur to visually shorten the DOF in the background layer, with the center point and unblurred region set to coincide with the position of the subject in the shot. Adjust the settings to taste, which isn't as much of a crap shoot any more since the blurs actually update in real time on screen.
4. Make the layer above visible, maybe do some things with the lighting (which is fairly easy, now that subject is separated from the background), and voila, a whole new feel to the photo.
I found a video tutorial on how to make a depth of field effect from a photo. However, the video quality was so bad I couldn't even see what they were doing and clicking on.
Any process or where I can look for step by step instructions to achieve this effect?
I have a picture which has been edited and saved (some stuff was drawn on it). However, when checking the picture in my folder (a small tab image), I am able to see the old (original) picture. Therefore, I know that the data of the old image must still be saved somehow/somewhere. (Note: the image was NOT edited on my computer).
is there any way I can 'undo' the editing and recover my old/original picture?
I had someone approach me for restoration work.. It will be a easy one for me.. What's the going rate.. I was thinking of doing on rate for the restoration and if they order their prints from me giving them a little break but if they don't does anyone know what this type of work is going for?
In the Elements Organizer program, some time ago I did a full catalog backup followed by a couple of incremental backups. When I restored, I lost about 2/3 of the entries I had already made. What would cause this and how do I prevenr such occurance in the future?
I have a restoration order I have done and everything is great except that I cannot get the background on the restoration to match the original "yellowed" color of the original photograph.
The original is an old time school class photo from the 1940s, with the pictures of each of the students in ovals on what looks to be Kodak Ektalure N paper.
Naturally it has yellowed over time and our customer would like the same yellowed look to the restorations.
I am sure there is a simple way to take a reading of some kind off of the original and use that reading in Photoshop to match the background "off white" color of the original.
Are many of you who are doing restoration work profiling your scanners?
I have a DVD of some old 1937 film footage. It was obviously taken as a direct transfer from degraded film stock. I have loaded it into Videostudio from the DVD (which VS has loaded as .mpg files) I have applied some sharpening and visual filters and want to export the footage. Is it best to export to DV and then use that to remake a DVD or burn the DVD direct from VS? I am assuming that trying to reburn the DVD will involve some re-encoding anyway, so either way isn't going to make a difference other than having a DV file to archive.
what I am trying to do with reference to the file conversion aspect and minimising loss of quality.
How to do a stream restoration design with corridor modeling. for the low flow channel pool, i will have alternate riffle and pool sections. my understanding is riffle for X feet, then pool for Y feet, then repeat, per the riffle to pool spacing requirements.
my question is regarding the left pool and right pool sections. please see attached images. for left pool, width A > width B and vice versa. A+B is the same for both left and right pools. left pool assembly has to be applied when the centerline alignment is curving outward to the left side, right pool when curving outward to the right side.
is there a way to specify in corridor modeling when an assembly is to be applied based on the direction of the centerline alignment curves?
I am currently working on a Stream Restoration project and am really struggling to find a flexible solution for modelling natural river corridors.
My Landscape Architect has provided me with a set of 2d-Polylines representing the proposed river alignment as well as some embankment lines. (Spline.jpg)
My first attempt was to create a corridor with a cross-section consisting of some generic links targeting my polylines. see attachment (Corridor.jpg). Obviously it results in a total mess. So I tried splitting the corridor in multiple sub-corridors targeting different lines as suggested by Dana Probert in her class on Stream Restoration. (Corridor1.jpg) However, given the curvature of these lines, the corridor simply never works as expected.
Question #1: is there any way to create a ‘smart subassembly’ which would prevent those bowties? Ideally I’d like it to be able to connect to subsequent vertices of the targeted line. Maybe the subassembly composer is capable of doing such magic tricks?
Since the corridor approach didn’t work I tried adding the Polylines as breaklines to a surface without any other definition. To assign some elevation data I converted them to Feature Lines. The original 2d-Polylines have been set to Fit -> Quadratic though and Civil 3d just refuses to accept them as they are. So I’d go splineedit -> convert to spline and then Flatten to convert them to Polylines back again.
This way I can convert my Polylines to Feature Lines, assign elevations in the elevation editor and add them to an empty surface. After playing around with the mid-ordinate distance and interpolation values I end up with something usable but difficult to manage (Surface feature line.jpg). The Flatten command converts my beautiful splines to a set of interconnected lines and arcs, which aren’t that easy to control. And for all this effort the resulting surface isn’t as smooth as expected (Object viewer.jpg).
Question #2: is there a way to convert splines to feature lines, or better yet – add splines as breaklines to a surface and derive their elevation from a profile?
My current solution to this problem is converting the 2d-Polylines to splines, and then back to Polylines via Splineedit. This way I get a Polyline with tons of straight but short segments. I convert them to feature lines, assign elevations and add as breaklines to the surface definition. The resulting surface is super smooth. It just isn’t easy to modify because of the amount of vertices that have to be moved to do any adjustments.
Question #3: Do you know of any better ways to approach this subject? All of the methods I’ve tried would have worked perfectly with a simple corridor. It’s the curvature that renders them useless.
How do I go about backing up the following before I install the Illustrator CS5 HTML5 Pack with Illustrator?: 15.0.1
Backup the following files: (restoration of these files are required for any future update) <Install>Adobe Illustrator CS5Plug-insExtensions Art Style.aip <Install>Adobe Illustrator CS5Plug-insExtensions CharParaStyles.aip <Install>Adobe Illustrator CS5Plug-insExtensions Layers Panel.aip <Install>Adobe Illustrator CS5Plug-insIllustrator Formats SVG File Format. aip <Install>Adobe Illustrator CS5Support Files ContentsWindowsSVGExport.dll
I just wanted to copy the file and put them in a new folder as backup. Will this be suficient or do I have to do something entirely different to back up these files? If so, I am uncertain how I would go about it if it includes the whole file location name as indicated above.
When opening photos through Bridge into Photoshop CS5, all photos open in 8 bit mode. Bridge shows my photos in 16 bit Mode. How can I change the default settings in Photoshop CS5 to open into 16 bit Image Mode?
If I click on Open image on a 16 bit image in Raw Photoshop opens as 16 bit. But if I open it from within photoshop or from Bridge, it opens as 8 bit (when it was a 16 bit TIFF image)
i'm trying to add a degree of depth to this image and also trying to create everything that is white to be transparent. i'm kinda lost, any suggestions would be appreciated. Photoshop 7.0
Photoshop seems to be converting pictures that I open to 8-bit from 24-bit: before the problem I think it was converting to 16-bit because Photoshop doesnt seem to support 24-bit but I cant remember.
I've been using Photoshop CS4 for about 4-5 weeks now without any problems and this just seems to have come out nowhere. The problem doesn't seem to be related to Camera Raw at all because I don't use it to import my pictures, so the "Workflow Options" don't seem to have any effect on the converting. I've also tried to delete the preferences file and that doesn't help either.
A friend of mine asked me if a could find a quality pic (intenet) of some gold bars. I searched iStockPhoto and downloaded one .eps file whitch I wasn't too happy with. Then I searched Google (large images) without a result. In desperation I searched Microsoft Office Clipart and found something (.jpg) I might be able to improve. I've used PS7 for some time but with this 8 bit image I feel "blocked" on where to start making the image looking more natural colourwise. Could someone please put me on the right track? Thank you. (I hope I've got the linking to the img. OK)
getting the best results when creating 3D images in Photoshop. I've been experimenting in the creation of 3D images using a 2D source using Photoshop CS5. The output is intended to be a lenticular print.
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I've achieved some good results by converting my single 2D image into multiple layers, creating 3D postcards and adjusting the parallax and focal plane. This gives a good illusion of depth in the image, but (in my experience at least) I can't get a layer to look like it's popping out of the screen.
I've also tried using a single image and creating a depth map from a greyscale image. This does work to make it look like the image pops out of the screen, but I can't get the same illusion of depth that I get in the other case without distorting the image.
What I'd like to do is combine both methods, using the depth map for the foreground layer and using parallax and focal plane settings for the background. Unfortunately I can't get this to work. If I use a semi-transparent layer as the basis for the depth map I get a light grey fringe around my target layer when I apply the greyscale mask and if I then try and set the parallax and focal plane settings as I would have in the first scenario, the layer with the depth map becomes unusable.
I took that picture earlier today. the problem is that the background looks to fake. like there no depth of field between the people and the background. i have attached another picture showing that there depth of field between the person face and the bricked background.
