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Director : Jordan Peele.
Producer : Edward H. Hamm Jr. , Sean McKittrick, Jason Blum.
Release : February 24, 2017
Country : United States of America.
Production Company : Blumhouse Productions, QC Entertainment.
Language : English.
Runtime : 103 min.
Genre : Comedy, Horror, Mystery, Thriller.

‘Get Out’ is a movie genre Comedy, was released in February 24, 2017. Jordan Peele was directed this movie and starring by Daniel Kaluuya. This movie tell story about A young black man visits his white girlfriend’s cursed family estate. He finds out that many of its residents, who are black, have gone missing in the past.

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I Heart Faces Fix-it-Friday

The wonderful folks at I Heart Faces has a weekly feature called Fix-it-Friday. Its a great opportunity to work on your post-processing skills and show off what you can do making a photo better.

The Original Photo

The Original Photo

This week’s photo is pretty good as is. The “Rule of Thirds” was followed. It’s making use of an interesting frame. Its well exposed given that its shot in shadows with a bright sunny background. Its sharp and most importantly, the subject has an interesting expression.

But it can be made better.

The first thing at issue in this case is the “Rule of Thirds”. There are some cases where it does not fit and this is one of those. No one rule fits every photo. In this case, I’ve got two reasons why I’m going to break that rule for this photo. First, the subject’s expression gets lost in the wider shot. This isn’t a photo of the landscape, its a photo of the child.

Secondly, we have a great “frame” to use. When you have a frame you generally want to balance your subject in the frame. In this case, all the extra rock becomes negative space, so:

Step 1: Crop

Now there are a lot of differing philosophies on cropping. Some photographers will crop to the optimum shape regardless of the shape of the photo. Maybe it should be square or a tall-skinny panoramic crop. Regardless the balance of things in the photo is the deciding factor.

Cropped to 5x7 shape

Cropped to 5×7 shape

The other way of cropping is to consider your output. Now for uploading a photo to a web site or a sharing site like Flickr you don’t need to think about this and the “Crop for optimal” works. But what if your going to print this photo? Well you have to think about the final display. Is this going into a 4×6 metal frame on your desk? Is it going to be matted and hung on a wall? Both require different crops and both can cause you to leave space that is less than optimal.

If your cropping for print, what size to you crop to? 4×6 is longer, skinnier photo than an 8×10 is. The 4×6 is 1.5 times longer than it is wide, the 8×10 is only 1.25 times longer. Then you have 5×7 which is in between.

For safety, cropping to 4×6 will always allow you to crop shorter, but to do so, means you have to have some negative space to crop out. So in some aspects, thinking about an 8×10 crop, but leaving enough space for a 4×6 will let you crop to any size, but you have to be willing to leave extra space at the top and bottom.

There is no right answer here, but its something to think about. I went for a 5×7 for this photo since it also was fairly optimal.

Its shaping up, but the contrast is a little flat and could use a little pop.

Step 2. Color Balance, Equalize, Add Contrast.

Color Corrected and Contrast added

Color Corrected and Contrast added

I also wanted to check the white balance and do a little touch up there. Using a simple white balance color adjustment and equalization, our image now has a little bit of pop.

This technique allowed me to remove just a touch of red cast in the original photo. Secondly, the histogram for the photo showed that there wasn’t any blacks in the photo. Its slightly over exposed (probably less than 1/3 stop). As part of the color correction step, the last step adjusts the black point which gives us richer shadows. Now the zipper is closer to black than grey and the other dark areas are richer.

That one step improved the photo considerably. But it still needs a little more contrast, so using the “Curves” Tool (CTRL-M or Apple-M) I applied a slight “S” curve to the combined RGB channel.

You could quit here and be very happy with the photo, but the frame is still pretty bright and following the advice of my first photography instructor, I chose to:

An S curve makes the shadows a bit darker and the lighter tones a bit lighter.

An S curve makes the shadows a bit darker and the lighter tones a bit lighter.

Step 3. Burn in the edges giving the photo a slight vignette.

Using a large brush soft brush (about the size of a quarter when the photo is at a “Fit to Screen” magnification) and the Burn tool set to “Mid-tones” and 12-14%, I gently went over the four corners, the edges working in towards the subject. Its easy to over do it, so I like a low percentage value so I can gradually add darker tones. If you mess up, use your undo to back up as needed.

Step 4. Selective Desaturation (optional)

This photo is about the kids expression. I could do various effects like Black and White, Urban Acid, Glow effects and so on. But I think anything would take away from the expression. About the only thing I would do is maybe continue to separate him from the background.

So far, I’ve applied my Curves and Layers using “Adjustment Layers”. Instead of changing the base image, we can apply these tools to their own layers. They do not increase the size of the file by much and you can come back later and change them if your taste changes. Adjustment Layers can also make use of masks.

A little vignetting with the Burn Tool

A little vignetting with the Burn Tool

If we think of layers as pieces of paper stacked on top of each other, the top sheet will hide the lower sheets. The only way to see the lower layers is to cut holes in the top layer. Thats what layer masks do, they allow you to make holes to let the lower levels show through.

I applied a Hue/Saturation Adjustment Layer on top of the background layer and set the saturation to -100 (Black and White). Then clicking on the white block in the middle of the layer palette for the Hue/Saturation layer, I used a large soft “Paint” brush with black as the color and painted the subject in. Of course I made mistakes, coloring outside the lines, so to speak. But by switching to a smaller brush and painting in white, I went back and painted over the mistakes. I continued using smaller and smaller brushes, switching between black and white until the child was in color, the rest of the photo was in black and white.

I did not want to leave the photo B&W with bright colors, I only wanted to fade the background colors a bit. I needed to get back to the Hue/Saturation/Lightness tool for that layer and bring some color back. By double clicking on the block on the left side of the layer palette for that layer, you are brought back to that adjustment tool at its current settings. I played with a few varying saturations and decided that -50% was the best.

Happy with the results, I saved the document at a Photoshop PSD file to preserve my layers. Then I saved a copy as a JPEG for posting on line.live streaming movie Our Brand Is Crisis 2015 online

Step 5. Blurring the background.

Now time to play a bit further. The background is a bit too much in focus, so I want to blur it a little. Of course, I don’t want the rocks, the ground or the subject defocused. I also have the ground texture that needs to fade a bit instead of just a hard blurred line.

For this, I selected the background layer and then I used the “Quick Mask” tool. This tool lets you apply masks to a regular layer and when your done creating the mask, you are left with a “Selection” that you can then work with just that area.

With Black as the background color and white as the foreground, click on the Quick Mask button and hit the Backspace key. This causes whole mask to fill with black, the background color. Which in effect selects the entire photo. Your photo will turn red and it will look like you’re looking through a red filter. What is in red is selected.

Now with a medium-to-large soft brush and white as the color paint out the parts you do not want selected. In this case, the subject the foreground “ground” and the framing rocks I wanted to keep, so I used the white brush. The regular photo colors come back in these keep areas (we are actually deselecting this from what we will eventually blur!!!).

Like working with any mask, you start with large brushes and then work with progressively smaller brushes, flipping back and forth between black and white to get just the right area selected.

Now with masks, in particular with large soft brushes, you will have some areas that are only partially painted so with a really big soft brush painting in white I clicked over the ground area to the subject’s right giving a gradient from black to white (red to clear in the mask).

To get out of quick mask mode and get your selection, you click the Quick Mask button again and you will see your marching ants marquee roughly selecting the area. Its “roughly” showing you the area because the marching ants can’t show the gradients between black and white.

Here comes the fun. You could at this point apply a blur filter, but that would actually affect the background layer and if you want to refine things more, you need yet another layer. So using the selection, I used CTRL-C (Apple-C) to copy what is in the selection, then CTRL-V (Apple-V) to paste it back in, creating a new layer. This new layer will just have the background area to be blurred.

You can blur this however you want. I used a Lens Blur, Octagon Shape, 5 Radius. It wasn’t enough so I re-applied the filter (Ctrl-F or Apple-F) several times until I had the right amount of blur. In doing so I found there was some area where my subject was still being blurred, so I used the eraser tool on the blur layer to apply a little touch up.

Step 6. Save and Publish.

The final result

The final result

Rob’s Rapid Photoshop Color Correction Technique

Of course I can’t take credit for this. I learned it from another photographer and I know others who use it as well.ir-leasing.ru

The best way to color correct is of course to use a calibrated monitor, color management, but for many, color management is overly complex. Since we don’t all have calibrated monitors and all our viewers won’t have managed systems anyway, we need to know how to color correct “By the Numbers”.

Color correction “By the Numbers” is a common practice used by image technicians who prepare images for four-color print systems that you see for newspapers and magazines. The inks and papers may vary from run-to-run or from day-to-day. They use a technique of using levels and curves to make sure the image calls for the right amount of inks by sampling areas of the image and working the color channels until they get certain numbers, for example they adjust until skin tones are a certain mix of Cyan, Yellow and Magenta.

Well we can do a similar process for our images. Since most of you are probably outputting photos for web use, or printing at mini-labs, if we are to avoid color management, we need to work in the sRGB color space. Most camera’s will default to sRGB and for those that can use other color spaces, like Adobe RGB, set it to sRGB then set Photoshop (or your image editing tool) to use sRGB and you will have the best bet of having your colors consistent through your whole workflow.

Now most pro’s will not use sRGB since it has a limited color range, but these same pro’s are working with color management. If you want maximum performance, sRGB won’t be for you. Think of hese different color management workflows as the difference between music on a CD and music on vinyl. Most people think CD sound is clearer, though there is a loss of information. For some, vinyl provides a more rich sound, despite the static and noise. sRGB is like the CD, Adobe RGB and Color Management is the vinyl.

This technique works well under most circumstances. Where it becomes problematic is when either you’ve overexposed the photo where there are blowouts or where there isn’t anything “white” in the photo. The technique can be used for these, but you have to be careful. But for this tutorial we are going to keep it simple and assume we have whites to work with.

In our example photo above, we have a photo with a yellow cast to it. There are several candidates for white. The boards should be white. The ice of course should be white and there are several white targets in the two different uniforms. The camera was set to Auto White Balance and under arena lights, things can get off from frame to frame.

To do a quick color correct, use the “Levels” tool. You can bring this up by pressing CTRL-L on a PC or Apple-L on a Mac. Its also under the menu as “Image->Adjustments->Levels”. If you want to do an adjustment level you can as well.

This tool has several things we need to pay attention to. First, at the top of the dialog is a drop-down selector that defaults to RGB. This means that any changes you make will affect all three color channels, Red, Green and Blue the same. This is good if you just want to correct exposure but it won’t remove any color cast.download full film iBoy

This tool can also work on each channel individually. You can select the Red channel, make adjustments, select the Green channel, make adjustments, then work on the Blue channel. This is what we are going to do.

The next important part of this dialog is the Histogram. It represents the range of tones in the image. The far left edge of the block represents 0, or the darkest possible values, the right side represents 255 or the brightest values.

An well exposed photo of an average scene will have a nice “bell” shaped curve, with the top of the curve at the center and the curves tapering off to the bottom at the left and right edges. If you see the bulk of the curve on the left side of center, its probably underexposed (which may be what you intended or a natural dark background). Generally if its to the right its over exposed.

Below the histogram curve are three small triangle / drop shaped icons. One is black on the left, one is gray in the middle and one is white on the right. These droppers can be grabbed by your mouse and moved to adjust the tones.

The quick color correct method involves going to the Red channel and sliding the white point dropper left until it meets the point where the histogram bottoms out on the left side. If the histogram touches the left side or spikes back up, leave this channel alone and visit the green channel using the select at the top. You can also use the short cuts of CTRL-1 (red), CTRL-2 (green), CTRL-3 (blue) and CTRL-~ (RGB combined) to quickly move between the channels.

Repeat the process on the green channel, moving the white point left. Then take care of the blue channel. If the photo has a color shift, then you should notice the shape of the histograms will be different for each channel. When its done, the three channel histograms should be similar.

If your photo has specular highlights (like reflections on chrome) there will be a spike at the left/white edge. Since these points are blown out (and are supposed to be), its okay to move the white point past them to the real point where the tones bottom out since they will still be blown out.

After you visit each color channel adjusting the white points, then go back to the combined RGB channel (CTRL-~ or Apple-~) and bring the black point in until it touches the bottom out point on the left side. This will add contrast to the photo (if that’s desired).

Since you’re not looking at the actual colors on the screen, but the values of the histogram, you get reasonably accurate colors even on an un-calibrated monitor. If there are no whites, this won’t work.

If you have Photoshop CS3 or later, an additional tool you can use with levels is to hold down the ALT key while sliding the droppers. The photo will turn black and as soon as you seen any spots of color (it will be red color while on the red channel, green on the green channel etc.) then adjust it to the point where you’re on the border of color spots and no color spots. This will be a little more accurate than just using the histogram.

Click “Okay” when done and voila!

Fix-it Friday — i Heart Faces Feature

The source image....
The source image....

This week I had the honor to be the photo judge for a photo blog called I Heart Faces (http://iheartfaces.blogspot.com/), a blog dedicated to portraiture.  This week’s theme was “Wonder” and after sifting through nearly 400 photos in both an adult and kid’s category, the top ten in each category was selected and the winners will be announced on Saturday.

But the blog has a cool feature called “Fix it Friday” where the blog owners post a photo and challenge members to fix it.  This week I decided that the “Fix It” would make a good post, so here goes.

Step 1. Convert to sRGB
The photographer was working in Adobe RGB color space.  Most professionals prefer to work in Adobe RGB since it supports a wider range of colors (gamut), but if your primarily working on photos for the web or your likely to print your photos at a local mini lab and don’t want to mess with color Management, an sRGB workflow (sRGB is the color space for web browsers) while not allowing the maximum colors, keeps things simple and easy.  Think of it in music terms.  Adobe RGB is like Vinyl LP albums and sRGB is like CD’s.  The keen ear, not offended by the scratches and hiss of an LP will find a fuller sound from the LP’s and the CD’s are clipped a little.  But most people prefer to not have the scratches and hiss in favor of the clean sound.

My photoshop setup detected the Adobe RGB file and gave me the option to convert it when I loaded it.  If I left it Adobe RGB and you looked at it in your browser the colors would look muted.  Since this is heading to the web, sRGB conversion was a no-brainer.

Step 2. Crop to 8×10
You can see in the original, that the photo is centered horizontally, and there is a little space above the subject’s head.  Not caring for the empty or negative space on either side of the subject,  I decided that a vertical crop was in order.  I couldn’t reasonably get the photo to a rule of thirds crop and keep it horizontal and I’m not sure I would have liked it anyway since it would have just shifted the negative space from one side to the other.  I also like to crop to print sizes, 4×6, 5×7 or 8×10 since I have to assume at some point I will want to print the photo.  For this one, an 8×10 crop let me crop the photo fairly tightly.  This put the subjects eyes on a rule-of-thirds line.

Step 3. Blemish Removal
Using the Rubber Stamp or Clone tool, I cleaned up a couple of blemishes and cleaned up some other skin coloration issues.

Step 4. Bright Eyes – Dodged whites, overlay layer – iris lightening 50%
Next, I attacked the dark eyes.  Using the Dodge tool (12% midtones, soft brush a little larger than the area to lighten) I lightened the whites a bit.  Then it was time to tackle the irises. To solve this, I add a new layer above the background, set the blend mode to “Overlay” and check the “Fill with 50% gray” check box.  Then pick a paint brush a little smaller than the iris and with the color white, paint on the overlay layer around the iris’s making sure to stay away from the outer and inner edges of the iris.  This will typically be too bright and sometimes can have an odd color shift.  So I typically set the overlay layer to 50% opacity to not go overboard with the eyes.  You can adjust to taste.

Step 5. Flatten
Then flatten the image.  I find that the overlay layer gets in the way for future actions.

Basic Corrections Added
Basic Corrections Added

Step 6. Equalized (3 channel white balance)
Looking at the Levels tool, the histogram shows that the tones don’t make it to black, nor do they make it to white.  An easy fix, called equalization stretches the tones to range from black to white giving the image a little more contrast.  But in this case, I took a peak at the histogram for each color channel, Red, Green and Blue (you can pick the color channel from a drop down on the layers tool (CTRL-L or Apple-L) or you can use the short cuts CTRL-1 for the Red channel, CTRL-2 for the Green and CTRL-3 for the Blue channel. CTRL-~ gets you back to the combined RGB view.

Well the Red and Green channels needed more stretching than the Blue channel, so using the White point dropper I visited each channel, dragging the dropper from the right side of the histogram box until it touched where the histogram bottomed out on the light side.  This is a very quick color correcting white balance method, presuming there are whites in the photo!  I then went back to the combined channel view and slid the black point dropper in until it met the histogram.  This did wonders for the color.

Now I have a good photo, suitable for printing or uploading to the web.  But lets take it further and see what we can make out of it.

The Result
The Result

Step 7. Screen layer 50%
I was in a particularly high-key mood today, so I decided to lighten the image.  After playing with some contrast curves and not liking what I saw, I felt it was time to try this tried and true method.  Duplicate your background layer and set the blend mode on the new layer to Screen.  This is like over exposing the photo by a full stop and it doesn’t blow out highlights.   In this case, it was still a bit too much.  I used the opacity to adjust to taste, and as it worked out 50% made me happy.

Step 8. Alabaster Portrait Action from Action Central.
Next I tried a couple of canned actions that I have. First up was Urban acid, so working on a duplicate copy of the image, the Urban acid script ran and the results were pretty good, but I still wasn’t feeling it.  I went to another script I have called “Alabaster Portrait” that I got from Action Central (http://www.atncentral.com).  And after running that script, I was very happy with my results.

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  • I Don’t Feel at Home in This World Anymore (2017)

  • Duration
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    Genre
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  • In Cinemas
    January 19, 2017
    Language
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  • Country
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Movie ‘I Don’t Feel at Home in This World Anymore’ was released in January 19, 2017 in genre Comedy. Macon Blair was directed this movie and starring by Melanie Lynskey. This movie tell story about When a depressed woman is burglarized, she finds a new sense of purpose by tracking down the thieves alongside her obnoxious neighbor. But they soon find themselves dangerously out of their depth against a pack of degenerate criminals.

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Director : Jordan Vogt-Roberts.
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Language : English.
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Movie ‘Kong: Skull Island’ was released in March 8, 2017 in genre Science Fiction. Jordan Vogt-Roberts was directed this movie and starring by Tom Hiddleston. This movie tell story about Explore the mysterious and dangerous home of the king of the apes as a team of explorers ventures deep inside the treacherous, primordial island.

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Photoshop Tutorial – Simple Textures Making a Vintage Photo

I’ve been wanting to take some of my photos that I’ve photoshoped for effects purposes and detail for you the steps involved with screen shots. I’m a professional software trainer. This shouldn’t be hard.

The starting point for our vintage photo

But it is. A lot of the steps in getting from the RAW photo to Finished art involves a lot of experimentation. Given a history tool in Photoshop and the ability to capture screen shots you would think it would be easy, but it is near impossible to do. I applaud those who have done Photoshop tutorials online.

I don’t like to be denied, so here we go with a simple tutorial using a texture layer to make a vintage photo.

The first thing to do is to find the photo you want to work with and get it loaded into Photoshop*.  I started with this photo of a goose.
Next  you need are some textures. If your not doing this for commercial purposes, I highly recommend using “Textures for Layers”.  Its a Flickr group that provides a great stock of textures just for this purpose.  The texture in use is  ©Jerry Jones

For some effects you will use multiple textures.  The basic principle is that you will use your photo as a base layer and add a texture layer on top.  Then using various layer compositing techniques you can vary the opacity and blend modes to get just the effects you want.  So follow these simple instructions.

Step 1.  Load your photo.

Step 2. Load your texture.

Step 3. Using the Move tool,  “Drag and Drop” your texture onto your photo.  Your texture will likely not be the  same size or shape as your photo.  I find the “Quick Transform Tool” an easy fix.  Drag the texture layer to the top-left corner of your image, then use CTRL-T (or Apple-T) to enable “Quick Transform”.  Then drag the bottom right handle to the bottom right of your photo.  The texture will resize to fit your base image.  Click the Check mark at the top to accept the changes.

Step 4.  On the layers pallet, select a blend mode using the unlabeled drop down that defaults to “Normal”.  You need to try different blend modes to see the different effects.  For this one, I chose “Overlay”.  Multiply and Screen are other good ones to try as well.  You might want to also adjust the Opacity of the texture layer for different intensities.

At this point you should have a pretty good idea what your photo will look like.  You might need to use the eraser tool to erase holes in the texture if some of the texture is placed poorly, like right on the subjects face.

Step 5.  Since I am making a vintage photo and I have a texture that works well for that.  The overly saturated, colorful goose is out of place.  So I quickly made it B&W by first using the “Move (arrow)” tool and clicking on the “Background” layer in the layer palette then bringing up the Hue-Saturation-Lightness tool (CTRL-U/Apple-U) and slid the Saturation slider all the way to the right (-100%) to desaturate the base image.

Step 6.  Save your work.  I like to keep my original with layers as a Photoshop PSD file.  This is a lossless format that preserves all the detail and all the layers, masks, channels, etc.  Then I resize it for web viewing and Save As a JPEG.   I generally do not “Save for Web or Devices” for photos since others like looking at the EXIF data and if I embedd caption information, services like Flickr will take advantage of that.  “Save for Web or Devices” strips all that to keep the image small.  Now if I were building a web site, all the icons and bling would be stripped down for performance.

And your final results:

So go forth an play.Watch movie online The Transporter Refueled (2015)

* You don’t need Photoshop to create these types of photos.  The GIMP, Photoshop Elements, Corel Paint Shop Pro and other tools should be able to perform these steps.

I shall NOT be defeated….

Fireworks -- The Visionmountainsphoto.ru

Okay, so I hate myself for not taking my camera. But you know, I can do some cool things with Photoshop. But first let me say…..

As a professional photojournalist, what I did above is very unethical. This is not a photo, but a photo illustration. I would never attempt to pass this off as real. Disclaimed. I can now live with myself.

The photo scene is a mash up of three photos. The foreground photo, with the fountain, the statues playing in the water, fence was shot the night after the fireworks at Broadway at the Beach in Myrtle Beach, SC

The two fireworks shots are older shots which can be found in my Flickr photostream. Here are the two photos.

The two fireworks source photos.

The photos were added as separate layers on top of the original and placed to where they looked natural. Then using the eraser tool, I erased the edges so they blended in and opened holes to let the fountain and such so through.

So, its kinda what I saw, just a day later!!!

The point of this exercise through isn’t the act of making something in photoshop or making up for my forgetting the camera.  I did this to illustrate my previous comments about fireworks being boring unless they are anchored somewhere.

Looking at the two source photos, they are themselves okay as far as fireworks photos go, but they are nothing to write home about, but looking at the mashup with a foreground subject the photo is much more attractive