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You asked for it- and now it’s FINALLY here.
A tutorial on how to “Process DSLR Star Shots.”
I chose three images that represent the challenges I commonly face in editing my star shots, shot by three different cameras, and spanning different skill levels. I have recorded, with a screen capture program, my editing process from RAW import to JPEG export, with a voice narration explaining what is going on. In the image above you can see the beginning and end of each photo.
The image on the left was taken by Rich Worell in Maine. He saw my first tutorial on how to shoot star photos and got really excited to go out and give it a try. With his Nikon D40, he took this picture his first night. I asked him if I could use it as an example for this tutorial since it is very much like what many of our first pictures of the stars look like. With the beginner in mind, the editing on this shot will show you how to draw as much as you can from your image. It is also a great example of how to handle an image from an older generation DSLR.
The image in the middle is a traditional Milky Way picture, taken with my Canon 5d Markii. It was chosen to represent the potential in RAW files of the latest generation of DSLR’s and spend some time on how to turn those Milky Way shots into some attention grabbers. It also gives tips on eliminating undesirable light pollution and maintaining a consistent , natural gradient of color in the sky from the horizon to deeper space.
The image on the right is one of mine from earlier last year, taken with my Canon 30D. It represents a more complex image with a foreground element, mixed color hues, some Milky Way, and challenges of processing a RAW file from an older camera. In this video, I show tools that can give you customizable ways to correct tricky mixed color temperatures to bring balance to the image.
As I stated before, this tutorial will come by a donation. The information in the videos represents 3 yrs of shooting star photos, and all the time spent trying to edit them as best as I can. A donation of $20 will give you a password to play the video tutorials.
I know that is a bit steep in regards to videos online, but I have made these more as a personal workshop not just an online video. In fact, there are 14 videos in total, spanning more than an hour of on-screen, voice narrated star editing. In comparison to how much it would cost to attend a workshop in a classroom doing the same thing of watching someone edit on a big screen while they guide you through it- I believe the amount is quite fair.
I do all my editing on Adobe Lightroom 3. I believe it has the MOST powerful and simplest Noise Reduction, which is a huge priority for night shots. It also has great customizable masking tools that are intuitive and easy to use. Because of those factors, and that a 30 day fully functional, free download trial is available at Adobe.com, I have used that program for all processing on the tutorials.
If you are interested, you can find more information and instructions on how to make a donation and receive the password by going here:
Thanks for visiting and reading!
In Explore! July 23 #341
Tutorial used found here Winter princess tutorial
Used with thanks
Background 1 feainne
Background 2 Tumana
Model anettfrozen
Cloud brush Autonoe
Snow and light rays brushes www.obsidiandawn.com/
texture Pareeerica
This is my very simple tutorial on doll hair curling. This is the way I use all the time on 1/6 scale dolls. I'm sure every doll customizer has their own way. Use at your own responsibility!
You need small bag closers or pipe cleaners. In my experience pipe cleaners hold better, but they also leave little fuzz in the hair that you'll have to wipe out afterwards. I use whatever whenever I feel like it. It's useful to cut them in a really smile size for this project. I make them about one inch long. You can roll as small or big hair strands as you want, but the small ones make smaller and better lasting curls that can last a long time even in Saran hair without any products.
Step 1: Roll a strand of hair around the bag closer or pipe cleaner into a very tight croissant, starting from the end of the strand, and rolling hair over the end so that it doesn't unravel. Tie the ends of the closer around each other as close to the scalp as possible. I usually do 20-30 of these croissants.
Step 2: Dip the doll's head in hot water. Tea water is hot enough; there's no need to burn your fingers with boiling water. Dip the head in cold water right after; it should make the curls last better.
Step 3: Let the doll's hair dry for a few hours, preferably overnight. You'll feel it in your hand when the hair is not damp anymore. If you want loose curls, though, feel free to not wait so long. If you want any product in the hair, spread it over the croissants when the hair has dried and let it set for as long as it takes for the particular product to dry. You can put a hair net on the doll's head to make the curls hold their tight positions better when they dry.
Step 4: Open the croissants gently... and you get teeny tiny curls! It's best to divide them in two if you want a natural look, or you can leave them bigger and tie them into a beautiful updo - not necessarily on the male dolls, though. ;-) Note that if you do big curls, it matters which way you open the croissants. You'll see why when you try it. I'm always annoyed by factory curls because they all open in the same direction. Personally, I like to vary it to make the curls frame the face in a flattering way.
Hopefully this is useful for someone. :-)
Per giocare un pò, ecco una micro guida per aiutarvi a colorare il silicone, praticamente con tutto... buon divertimento a tutti :)
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P.S. Alkhymeia is my old name, Mirabilis Jewelry is my new name :)))
1 - Seguimos cosiendo el segundo color.
2 - Rematar los dos extremos y cortar un trozo de fieltro, piel o ultra suede.
3 - Pegar con pegamento textil el trozo que vayamos a poner y coserlo toda la vuelta.
4 - Así queda rematadito y es muy agradable al tacto.
5- Trabajo finalizado.
6 - Sólo queda montarlo al gusto .
Para hacer el cordón, he seguido este tutorial que me ha descubierto Ana :
Como eu tinha falado no post da unha de Dálmatas, me pediram o tutorial dessa unha aqui nesse blog: daniele-daiane.blogspot.com/2010/09/daily-nail.html
Espero que ajude vcs! :D
1. Pinte a unha com algum esmalte clarinho. Eu acho que usei uma camada de Batida de Coco e uma de França, ambos da Colorama.
Faça manchinhas em todas as unhas. Pra isso, use um palitinho. Faça algumas bolinhas aleatórias, duas bolinhas grudadinhas e alguns borradinhos, variando dos tamanhos.
2. Escolha uma unha para fazer a coleira. Com um pincel e tinta pra nail art ou esmalte vermelho, faça um risquinho horizontal.
3. Com um pincel fino e tinta pra nail art ou esmalte preto, faça o contorno do traço vermelho. A dica que eu dou para fazer contornos finos é deixar o pincel quem retinho para cima e fazer o traço só com a pontinha dele, sem encostar muito na unha.
Faça uma bolinha com esmalte dourado logo abaixo do traço vermelho. Na verdade, eu usei tinta 3D dourada da Acrilex, daquelas que a gente usa pra trabalhinhos na escola.
4. Passe um pouquinho de esmalte com glitter no traço vermelho. Eu usei o Hits 368 de glitter forte vermelho.
Depois de passar o glitter, com pincel e esmalte dourado (ou a tinta 3D) faça um risquinho meio tortinho, como se fosse uma vírgula, bem no centro do traço vermelho e logo em cima da bolinha dourada.
Faça um número dentro da bolinha dourada com esmalte ou tinta preta.
Se a decoração foi feita com tinta pra nail art, passe uma camada de incolor para proteger os desenhos.
Twitter: @rubiaolivo
I am not sure if uploading this as a jpg will work...But if it does you can click on all sizes and then print these instruction out...
Will be making this in class this week...
Learn to blend multiple exposures in Photoshop using luminosity masks.
Free luminosity mask actions - www.throughstrangelenses.com/easy-panel-download-for-phot...
Learn to create stunning images, with instantly downloadable, high quality video courses: Cityscape Tutorials & Luminosity Mask Tutorial & HDR Tutorial
Tutorial part 1: www.youtube.com/watch?v=Ct4_V6JPisU
Part 2: www.youtube.com/watch?v=_f2hur8ASW8
Part 3: www.youtube.com/watch?v=M76jqEMXGbk
part 4: www.youtube.com/watch?v=nof3P6vTWo8
Part 5: www.youtube.com/watch?v=qSWE5qepbFM
Hope you enjoy:)
any questions just comment ...
<3
Here is an alternate version for creating a circle in LEGO using the "ring pop" (part 5264). This design pushes the curved portions to the corner of the model rather than having them on the top and sides making it useful for vertical assemblies. It could also be extended to create rather sturdy cylinder.
I have created 10 and 20 stud wide circles with this method but it could essentially be used to create a larger circles by using longer slope parts.
Swimsuit for my daughter. Part of my commitment to buy USA-made or make it myself to avoid supporting sweatshops and child labor abuses. It's simple, because I know absolutely nothing about making a swimsuit, but she loves it.
Blogged at www.everydaychaos.wordpress.com
***Update: Tutorial available at everydaychaos.wordpress.com/2010/06/14/the-summer-necessi... ***
Finished these fun pouches, all with hand-sewn zippers and hand quilting. The tutorial (link below) is in Chinese, but the photos are perfectly clear. I made the process faster by sewing strips of fabric together vertically, then cutting each set horizontally into three strips of squares for the three pouches rather than piecing individual squares. Hope that makes sense.
If you're not super comfortable with putting narrow single binding on small items, I highly recommend Kerry's fantastic tutorial (also linked below), which made me love applying binding! Many of the fabrics you see here, including beautiful feedsack prints, were gifts or swaps from wonderful online friends. Thanks to them!
Tute: www.sewlover.com/patchwork/project/2013-08-12/450.html
Kerry's binding tute: verykerryberry.blogspot.com/2011/01/single-binding-tutori...
Found this little tutorial back on my laptop. I was asked to make a little tutorial last summer on how I make my models pose in my pictures. It was meant to be printed in a dollmagazine... Sadly in the end it didn´t get printed because of .... ..... whatever.... So I thought I´d share it with you guys.... Oh, and sorry for my very bad english,.. I never asked someone to correct it... lol
De cómo perforar piedras pequeñas sin “esollarse” los dedos:
www.elbienhablao.es/significado-esollar/
Cuando las piedras son pequeñas, si se sujetan con los dedos para taladrarlas, quedan demasiado cerca de la broca y es peligroso. Para evitar sustos, lo mejor es lo siguiente:
1-Pegar las piedras con silicona a una base (madera, corcho blanco, etc.) de forma generosa, que la silicona rebose por los lados para hacer de almohadilla. Esperar que seque bien.
2- Poner esa base en un recipiente pequeño, echar agua hasta que cubra las piedras (para que se refrigeren y no se rompan de la fricción) y perforarlas despacio con broca de diamante. Por último, se despegan perfectamente de la silicona como si fuera una cáscara.
Conviene hacer la prueba de la silicona con una sola antes de embadurnar todas, porque dependiendo de las piezas, la silicona podría pegarse de más, como me pasó con un disco de cristal, y en qué me vi para limpiarlo.
não sou muito bom com tutoriais mas quando fiz essa unha resolvi ir tirando fotos. Acho que da pra entender certinho como foi feito. Uma dica que não fotografei: pra fazer os losangos eu fiz primeiro mini bolinhas pra marcar as extremidades e depois liguei e pintei pra garantir um tamanho mais padrão.
Action "Set AllEdges01 AE3" - free download
©2005-2011 AlexEdg AllEdges (www.alledges.com)
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cachemash tutorial
by H.Manon
Cachemashing is my name for a somewhat more controlled approach to what Daniel Temkin identified as the Photoshop Truncating Glitch—an approach to image glitching that exploits a problem with early versions of Photoshop. Cachemashing is in my view a relatively pure or true form of glitching, because my control over the outcome is limited almost exclusively to the selection of input files, and to standard user-end changes to Photoshop settings. Once these decisions are made, Photoshop glitches a truncated jpeg file in ways that are difficult and at times impossible to predict. However, what makes this technique compelling is that, through practice, one may nonetheless develop and refine a personal approach, even if the final cause of the glitch remains opaque—a mystery taking place behind-the-scenes of Photoshop’s interface.
I want to preface what follows by saying that I am not a programmer. Although I am fairly savvy as a Photoshop user, my understanding of the program’s internal workings are almost nil. I'm sure if I knew more about the causes of this technique I would be less interested in it. The fun here is really in the "not knowing why."
In this tutorial I mainly describe how I arrived at the image above (a glitched “Currier and Ives” style print of a duck hunt). These specific techniques could be altered in numerous ways and still produce the effect of a cachemash.
What you need to cachemash:
1) Photoshop 6.0 or earlier. I am running Photoshop Elements 1.0, which is the Elements version that corresponds with PS 6.0. My system is Windows XP, and I know that the technique also works when Photoshop 6.0 (or PE 1.0) is installed on Vista. I have not tested this technique on any other OS.
2) A truncated jpeg file in which the point of truncation appears close to the top, resulting in a mostly “blank” image when opened in PS. Jpegs are easy to truncate using code editing programs like Notepad++. My approach is to open the jpeg in Notepad++, delete a couple of lines of data somewhere just below the file header, save, and then open in PS. You have succeeded when you open the file and receive the golden message “This document may be damaged (the file may be truncated or incomplete). Continue?” Sometimes it takes ten or so tries to successfully truncate the file, rendering it partially damaged, but not too damaged to open.
3) At least one non-truncated image file that you want to form the mashed-up content of the final image. These are the files you will load into the PS cache.
4) A computer that has sufficient speed and RAM to process the size of image you want to produce.
The procedure:
1) Open a truncated jpeg in Photoshop. The truncated file I used for the “duck hunt” cachemash is 4500 x 4822 pixels @ 300 ppi. The compression rate of the truncated file does not seem to matter. The original image content also does not seem to matter, since the truncation renders it blank.
2) The message pops up: “This document may be damaged (the file may be truncated or incomplete). Continue?” Click OK. You will see a blacked-out image, with perhaps a tiny line of color at the top (depending on how near to the top you truncated the file).
3) Now is when you can get creative, in a fascinatingly limited way. Open any file or set of files. Manipulate them as usual in PS, or not. Then close them. For the “duck hunt” image, I pre-sized a jpeg at a width of 8984 (almost but not quite twice the width of the truncated file). This is the trick to obtaining something like a “full frame” cachemash in which the cached image is fully or mostly visible in the final version.
4) Use the filter called Gaussian Blur on the truncated file. A blur radius setting of 0.1 pixels is ideal. This procedure “fixes” the mashed image, in the photographic sense of the word; it stabilizes the data which, up to now, tended to load randomly into the void space of truncated file. The result is a mash-up of certain files and parts of files that have been temporarily stored in the PS cache. (Note: I use Gaussian Blur at 0.1 because of all the possible filters, this one seems to least alter the final image, while still “fixing” it. However virtually every PS filter will "fix" a truncated file).
5) The truncated file is now cachemashed. If you like the results, save to the file format of your choice.
6) Undoing the Gaussian Blur returns the truncated file to its volatile state.
7) Redoing the Gaussian Blur will give new results each time. However (and this is what makes the technique really interesting), the more you undo and redo, the more your “fixed” images also become part of the PS cache. You might think of this as “caching the cache.” If you undo and redo fifty times, the image will be really minced up. But, if at any point you open a new non-truncated jpeg in PS, that jpeg will become part of the cache, and may appear largely in tact as a portion or layer of the mashed image.
Some other tips and observations:
1) In the process of doing and undoing, you will see that when the PS cache attempts to “fill in” the truncated image, it does so in a cycle. The length of the cache cycle is controlled by the size of the cache you elect in Preferences > Memory & Image Cache. I mostly keep cache levels set at 8 (this is max) and RAM used by PS set at 100%. Striking embroidery-like effects can be achieved by reducing RAM used by PS down to 15% or so.
2) Incorporating high contrast RGB images (color or b/w, doesn’t matter) yields brighter colors in the final “fixed” version. Low contrast images produce subtler, more muted colors.
3) Introducing Inverted (i.e. negativized) images to the cache produces interesting results, as do images to which Gradient Map has been applied.
4) It is very unusual to produce a final cachemash that is grayscale, but it sometimes happens.
5) The non-truncated sliver of the truncated file will appear as a black band at the top of the final “fixed” version. I usually crop this out, but this is the only post-processing I do. All of the other effects in images I have posted to Flickr happened prior to the moment of glitching, which I take to be the moment at which PS “fixes” the images.
6) It is possible to create the same cachemash twice. Just open the same files in the same order with the same settings on the same machine. This suggests that there is nothing random about cachemashing. At the same time, if you begin by caching an image that is even one pixel larger or smaller, the results after several cycles of do-and-undo could be radically different.
7) If you overlay the PS crop tool on top of a truncated file, and there is data in the cache, the space within the cropped area will weirdly animate. When you press “crop,” the animation will stop because the image is now fixed.
8) When the final colors you achieve are saturated reds, blues and greens, it is sometimes possible to experience the optical illusion called chromostereopsis.
I will continue to add observations on this page as they come to me.
Good luck!
HM
Hi Bee's
Hoje no FofuriceRules tem o tããão esperado TUTORIAL da Nail Art de Ovelhinha o/
Deu tudo certo no vestiba, agora é esperar :3
To super cansada, então se eu me ausentar um pouco da internet é porque to recuperando as forças,
nada mais digno né? SDLKÇJSLKDJSÇLKJDLSKJDÇLKJ
Pra conferir o post é só clicar: FOFURICE RULES ♥
Ou ir direto ao vídeo:TUTORIAL ♥
Qualquer dúvida só falar,
XOXO ♥
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@deborawernke (\_(\
And here you get the second part of my RevoluzZza easter decoration tutorial: blog.revoluzzza.com/?p=1350
I hope you'll enjoy it and sew many, many cute little birdies :-)
At long last! My Standing man tutorial will be available from Monday, Please mail me at:
dot@eatcakeparty.co.za if you would like a copy. First 100 are free!
Have a great weekend Flickr friends!
Like us on facebook
Check out Tabamajic's Tutorial
Please surf through the great photographs of my Flickr Brother Shadyezz
I threw in a little twist. I hope you don't mind Alice....
This is the method I currently use to pierce dolls. I developed this method with trial and error throughout the years. It works for me and I hope it works for all of you. Sorry that tip 2 is so long and hard to read. Ask questions and also if there's any other tutorials that you would like for me to do just comment below.
This model is my example piece for a new tutorial on designing pleated forms. This tutorial focuses on figuring out the dimensions. It's a follow-up to my tutorial on how pleated folding works.
There are many methods for converting to black and white and with CS3's new black and white adjustment layer, many of the old ways will be moot. But here is one time tested method. I also like Kevin Gorman's method that can be found HERE..
This was done for the PS support group using Comic Life software on an Apple Macintosh. LARGE
Put some liquid clay at the basis of the arms you already have (and that are now pre-baked). Add 2-3 arms, shape them, bake. Do it again until you are happy with the overall effect. This makes for a surprisingly strong structure with pardo (the blueish tentacle balls have remained for several months in a drawer with tools, and no arm broke). I have not tried with other brands of clays.
The size and number of the arms must of course be adapted to the size of the bell, and you can get different effects depending on whether you add a large number of arms or just a few, long ones or shorter ones, with a skinner blend or not...
Only two things remain to do:
- assemble the bells and loops. All you have to do is shape a second hook above the bell on the wire you made at step 9. If you want the arms to hang lower or move more freely, you can add an intermediate ring between the loop hanging inside the bell and the one coming out of the arm ball.
- Bake one last time, in the oven, with proper temperature and time to make sure the clay is fully cured.
Time for a test stamp. This will show you what pieces still need to be carved away, and any places where corrections should be made.
Make any corrections and...you're done! Don't worry if there are a few wonky bits, it adds to the charm of hand-carved stamps :)
(See the full series of instructions here.)
For a German version of this tutorial, please visit www.expli.de/anleitung/stempel-selber-machen-stempel-schn....