Software to Increase Picture Resolution

Digitally resizing an image is a common practice today, but comes with many problems. Low-resolution photos will become blocky and jagged as they are made larger, and even high-resolution photos may develop problems like image halos or blurriness. There are dozens of programs and plug-ins for Photoshop that will address this problem. However, there are trade-offs in quality, no matter how good the software.

How the Software Works

All image-resizing software works on the basis of interpolation. The computer takes the data you have given it--the pixels in your picture--and uses that to create new data, that is, different pixels. The computer is making up an image based on what you have told it with your photograph. Each type of software or plug-in uses a different algorithm to interpolate the results, which means each will have different advantages and drawbacks.

Types of Interpolation

Interpolation can be done with any number of mathematical formulas, ranging from simple equations to complexity theory. In general, simple equations are best for images of manufactured surfaces and repeating patterns; the program does not have to make any "guesses" as to changes in the pattern, because there are none. Fractal interpolation is better for natural surfaces and pictures of people. Fractals can better handle subtle changes in lighting and tone.

Common Problems

Each software solution has its drawbacks, but two common problems are blurriness and halos around an image. Both result from the computer creating incorrect data points, or data points that are not specific enough. The halo is the computer "splitting the difference" between the background and the subject of the photo. The blurriness is due to a lack of data--there are not enough pixels in your image for the computer to interpolate anything sharper.

Which Software to Use

Which software you will use depends heavily on your needs. Professional photographers and layout designers will need the interpolation tools provided by Photoshop or similar software, and should test plug-ins for their image-editing software to determine which tool has the right "look" for their images. Fractal interpolation should be their first choice. Hobbyists and casual shooters can go with simpler image resolution tools, which should serve their needs and are more cost effective.

When to Use Image Resolution Software

Image resolution software should be applied whenever an image needs to be resized for professional purposes. It should not be used to attempt to make up for using the wrong format--this software cannot make 35mm film look like a medium-format image. Most professional software can double or triple the size of an image before the image becomes too blurry to use. If the image needs to be larger than that, it should be reshot on a larger format.

---

Digitally resizing an image is a common practice today, but comes with many problems. Low-resolution photos will become blocky and jagged as they are made larger, and even high-resolution photos may develop problems like image halos or blurriness. There are dozens of programs and plug-ins for Photoshop that will address this problem. However, there are trade-offs in quality, no matter how good the software.

How the Software Works

All image-resizing software works on the basis of interpolation. The computer takes the data you have given it--the pixels in your picture--and uses that to create new data, that is, different pixels. The computer is making up an image based on what you have told it with your photograph. Each type of software or plug-in uses a different algorithm to interpolate the results, which means each will have different advantages and drawbacks.

Types of Interpolation

Interpolation can be done with any number of mathematical formulas, ranging from simple equations to complexity theory. In general, simple equations are best for images of manufactured surfaces and repeating patterns; the program does not have to make any "guesses" as to changes in the pattern, because there are none. Fractal interpolation is better for natural surfaces and pictures of people. Fractals can better handle subtle changes in lighting and tone.

Common Problems

Each software solution has its drawbacks, but two common problems are blurriness and halos around an image. Both result from the computer creating incorrect data points, or data points that are not specific enough. The halo is the computer "splitting the difference" between the background and the subject of the photo. The blurriness is due to a lack of data--there are not enough pixels in your image for the computer to interpolate anything sharper.

Which Software to Use

Which software you will use depends heavily on your needs. Professional photographers and layout designers will need the interpolation tools provided by Photoshop or similar software, and should test plug-ins for their image-editing software to determine which tool has the right "look" for their images. Fractal interpolation should be their first choice. Hobbyists and casual shooters can go with simpler image resolution tools, which should serve their needs and are more cost effective.

When to Use Image Resolution Software

Image resolution software should be applied whenever an image needs to be resized for professional purposes. It should not be used to attempt to make up for using the wrong format--this software cannot make 35mm film look like a medium-format image. Most professional software can double or triple the size of an image before the image becomes too blurry to use. If the image needs to be larger than that, it should be reshot on a larger format.

---

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  GIMP - The GNU Image Manipulation Program

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Sabatier Effect Information

The Sabatier effect, often called solarization, is a process of exposing a print to light a second time during development, thus reversing the tone curve for certain parts of the image. The result is an image that is part positive and part negative. Although attributed to Armand Sabatier, the phenomenon was first described by H. de la Blanchere in 1859.

Man Ray

The Sabatier effect is often strongly associated with the late-19th century and early 20th century photographer Man Ray. Man Ray produced many very well-known prints using the Sabatier technique, including the famous nude with violin style f-holes.

Darkroom Process

To create a print in the darkroom that uses the Sabatier effect, expose a print as normal in an enlarger. Develop the print as indicated by a previous set of test exposures. Rinse the print for 30 seconds, just enough to remove the developer from the surface, but not so long as to completely remove the developer from deeper in the emulsion. Remove the negative from the enlarger and put the wet print back in the easel. Reduce the enlarger aperture two stops and reexpose the print. Many people will do a test strip of the second exposure to check the level of the Sabatier effect and then reprint the image with changes in time on the second exposure to achieve different effects.

Darkroom Variations

There are many things that can be done in the darkroom to modify the Sabatier effect. One is to make the first print slightly out of focus. This will help control hard lines called Mackie lines. Changes in the initial development time can also achieve very different effects. Larger shifts between positive and negative can be created by diluting the first developer stage. Dodging and burning both during the first and second phases can help you create singularly unique images not possible with digital manipulation.

Digital Sabatier

You can approximate the Sabatier effect via digital manipulation by creating a second layer and inverting and adjusting the tone curve. Initially, the curve should look like a U with a V like peak at the bottom. By adjusting the blend and transparencies of the two layers, a Sabatier style image like the one below is easy to achieve.

Common Uses

Although the Sabatier effect can be used on any image, images with smooth gradations often work better for solarizations. In some cases, photographs with intricate details end up with too many hard lines to benefit from this technique. Man Ray used the Sabatier effect in many florals and nudes. In some cases, the Sabatier effect can bring out textures in an image not initially noticeable in a standard print.

---

The Sabatier effect, often called solarization, is a process of exposing a print to light a second time during development, thus reversing the tone curve for certain parts of the image. The result is an image that is part positive and part negative. Although attributed to Armand Sabatier, the phenomenon was first described by H. de la Blanchere in 1859.

Man Ray

The Sabatier effect is often strongly associated with the late-19th century and early 20th century photographer Man Ray. Man Ray produced many very well-known prints using the Sabatier technique, including the famous nude with violin style f-holes.

Darkroom Process

To create a print in the darkroom that uses the Sabatier effect, expose a print as normal in an enlarger. Develop the print as indicated by a previous set of test exposures. Rinse the print for 30 seconds, just enough to remove the developer from the surface, but not so long as to completely remove the developer from deeper in the emulsion. Remove the negative from the enlarger and put the wet print back in the easel. Reduce the enlarger aperture two stops and reexpose the print. Many people will do a test strip of the second exposure to check the level of the Sabatier effect and then reprint the image with changes in time on the second exposure to achieve different effects.

Darkroom Variations

There are many things that can be done in the darkroom to modify the Sabatier effect. One is to make the first print slightly out of focus. This will help control hard lines called Mackie lines. Changes in the initial development time can also achieve very different effects. Larger shifts between positive and negative can be created by diluting the first developer stage. Dodging and burning both during the first and second phases can help you create singularly unique images not possible with digital manipulation.

Digital Sabatier

You can approximate the Sabatier effect via digital manipulation by creating a second layer and inverting and adjusting the tone curve. Initially, the curve should look like a U with a V like peak at the bottom. By adjusting the blend and transparencies of the two layers, a Sabatier style image like the one below is easy to achieve.

Common Uses

Although the Sabatier effect can be used on any image, images with smooth gradations often work better for solarizations. In some cases, photographs with intricate details end up with too many hard lines to benefit from this technique.

Enhance your photography skill,The Top Secret Photography Techniques

. Man Ray used the Sabatier effect in many florals and nudes. In some cases, the Sabatier effect can bring out textures in an image not initially noticeable in a standard print.

---

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  Toy camera - Wikipedia, the free encyclopedia

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  Energy Citations Database (ECD) - - Document 5087687

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  Description/Abstract. This paper presents the results of recent experimental and analytical studies of a Sabatier reactor where carbon dioxide and hydrogen in the ...

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How to Photograph a County Fair

August is the beginning of "County Fair" season in Pennsylvania and in most other agricultural states. The fair is inexpensive, exciting, fun and one of the best opportunities for photography you will have all summer. When was the last time you strolled on the midway, saw a tractor pull or took a ride on the ferris wheel? In addition, you will see some of the most beautiful animals, taste award-winning pies, and maybe if you are lucky, actually win something on the midway. So grab your camera and the kids-and follow some of these tips for getting great pictures at the county fair.

Instructions

1




Plan your trip to the fair. They usually last for about a week, so you will not be able to see all of the events. Find the event you want to see the most and plan to go to the fair on that day. I had never seen a tractor pull, so I decided to go on that day. I didn't realize that it lasted from 10 a.m. until 4 p.m. There were 12 classes of tractors and each class had at least 10 entries. That's a lot of tractors.

2




Start your event in the grandstand, but walk around to get the best angle of view. I chatted with a State Police Officer for a little bit who let me stand at the entry to the infield. This angle was better than the grandstand and I was able to get a couple of pictures like this one with the tractor's wheels coming off the ground. He also let me shoot a lot of video from this vantage point, which I will someday edit into a tractor pull scene.

3




The fair is full of interesting people. Most competitors don't mind being photographed. They are there to compete and actually like having their pictures taken. Don't be surprised if people come up to you and ask if you could give them a copy of the picture you just shot. This is especially true when taking pictures of livestock. People are real friendly at the fair and will tell you a lot about their tractor, horse or cow. Usually, if you talk to people for a while they will not object to being photographed.

4




Look away from the action. Sometimes, the best shots have nothing to do with the action. I love the framing and motion in this picture of the judge's boot at the grandstand. They were having trouble getting the sled operational. The sled is what the tractors actually pull, and these two seem to be trying to fix it from a distance.

5




When you are done with the grandstand it is time to head over to see the animals. They will have steers, cows, lambs, pigs, chickens, rabbits and horses, usually housed in separate buildings. In addition to seeing the animals you can actually buy animals at the fair. I saw a lovely pair of saddle horses named Tom and Jerry on sale for $6,000 for the pair. Too bad I don't have a ranch.

6




This prize-winning steer was being groomed for his turn in the judge's ring. They had all his trophies on display from previous fairs. I watched them brush this steer for at least 10 minutes before I moved on. Once the animal is groomed and brushed, he will be covered in with a blanket to keep him clean until he enters the ring.

7




Make sure you take in some of the judging. This lamb was being held by the owner in the ring so the Judge could see how pretty he was. It is like a dog show where the owner will pose the lamb for the judges so they can see the conformance and judge the quality.

8




Of course, taking all the pictures makes you hungry, so don't forget to stroll the midway where you can find everything from sausages to funnel cakes. After getting a snack you can try your hand at the games and maybe win a Kewpie doll.

---

August is the beginning of "County Fair" season in Pennsylvania and in most other agricultural states. The fair is inexpensive, exciting, fun and one of the best opportunities for photography you will have all summer. When was the last time you strolled on the midway, saw a tractor pull or took a ride on the ferris wheel? In addition, you will see some of the most beautiful animals, taste award-winning pies, and maybe if you are lucky, actually win something on the midway.

Enhance your photography skill,The Top Secret Photography Techniques

. So grab your camera and the kids-and follow some of these tips for getting great pictures at the county fair.

Instructions

1




Plan your trip to the fair. They usually last for about a week, so you will not be able to see all of the events. Find the event you want to see the most and plan to go to the fair on that day. I had never seen a tractor pull, so I decided to go on that day. I didn't realize that it lasted from 10 a.m. until 4 p.m. There were 12 classes of tractors and each class had at least 10 entries. That's a lot of tractors.

2




Start your event in the grandstand, but walk around to get the best angle of view. I chatted with a State Police Officer for a little bit who let me stand at the entry to the infield. This angle was better than the grandstand and I was able to get a couple of pictures like this one with the tractor's wheels coming off the ground. He also let me shoot a lot of video from this vantage point, which I will someday edit into a tractor pull scene.

3




The fair is full of interesting people. Most competitors don't mind being photographed. They are there to compete and actually like having their pictures taken. Don't be surprised if people come up to you and ask if you could give them a copy of the picture you just shot. This is especially true when taking pictures of livestock. People are real friendly at the fair and will tell you a lot about their tractor, horse or cow. Usually, if you talk to people for a while they will not object to being photographed.

4




Look away from the action. Sometimes, the best shots have nothing to do with the action. I love the framing and motion in this picture of the judge's boot at the grandstand. They were having trouble getting the sled operational. The sled is what the tractors actually pull, and these two seem to be trying to fix it from a distance.

5




When you are done with the grandstand it is time to head over to see the animals. They will have steers, cows, lambs, pigs, chickens, rabbits and horses, usually housed in separate buildings. In addition to seeing the animals you can actually buy animals at the fair. I saw a lovely pair of saddle horses named Tom and Jerry on sale for $6,000 for the pair. Too bad I don't have a ranch.

6




This prize-winning steer was being groomed for his turn in the judge's ring. They had all his trophies on display from previous fairs. I watched them brush this steer for at least 10 minutes before I moved on. Once the animal is groomed and brushed, he will be covered in with a blanket to keep him clean until he enters the ring.

7




Make sure you take in some of the judging. This lamb was being held by the owner in the ring so the Judge could see how pretty he was. It is like a dog show where the owner will pose the lamb for the judges so they can see the conformance and judge the quality.

8




Of course, taking all the pictures makes you hungry, so don't forget to stroll the midway where you can find everything from sausages to funnel cakes. After getting a snack you can try your hand at the games and maybe win a Kewpie doll.

---

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  Erie County Fair Grounds Official Site

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How to Transfer an Image to Pastel Paper

Often, photographers seek ways to give an added artistic touch to their images. One popular way to make photos look painterly was to transfer the emulsion from Polaroid pictures onto fine art paper. However, Polaroid film was expensive and eventually production for it came to a halt. Now, alternatives are being manufactured, but in the meanwhile, as a substitute, someone discovered that photocopies could be used. If transferred to pastel paper, oils or other mediums can be added to create a mixed-media piece.

Instructions

Textured Transfer Method

1

Choose an image that isn't too detailed or abstract. The image should have a wide tonal range. If the image is coated, it will not work. A photocopier duplicate should be made.

2

Prepare a copy of the image. Leave at least an inch border to go under the clipboard clip. Because the image will be facedown on the pastel paper, the finished transfer will look backward unless the copy is a reverse image. To create a mirror image, scan the original and use a computer program to reverse it before printing it out. Another option is to copy the image onto a transparency, which will be flipped on the copier glass.

3

Select an archival pastel paper. Most pastel paper can also be used with watercolors. Sofia Romero recommends Arches 88 for getting the most detail out of a transfer. However, it is a silk screening paper and may not work well with pastels. Stonehenge silkscreen paper may have similar results as Arches 88 and is advertised to be workable with pastels and other mediums.

4

Fasten the art paper and photocopy under the clipboard clip. Tape one of the remaining corners down. You will lift the other corner occasionally to check the print's progress.

5

Fold up a rag into a thick square. With gloves on, pour some solvent on the rag. Rub the rag firmly into the back of the photocopy. A brayer can be used for additional pressure. The solvent evaporates quickly; so several reapplications are necessary. After the transfer is complete, carefully separate the papers from each other. Let them dry for 10 to 30 minutes.

6

Apply watercolors directly to the surface. If using pastels or pencils, spray a working fixative over the entire paper before drawing on it. When the image is finished, whether or not you drew on it, spray on a coat of acrylic sealer to the image.

Smooth Transfer Method

7

Select an image. This method creates a transfer with a smooth appearance. Details should be rendered almost exactly as they are in your photocopy.

8

Prepare a copy of the image. Select an archival pastel paper.

9

Fasten the art paper under the clipboard clip. Trim off excess paper from around the photocopy image. Place the photocopy onto the art paper. Mark the photocopy corners lightly in pencil so that you will know where to apply the gloss medium. Using a sponge brush, spread a thick layer of gloss medium to the photocopy image and inside the pencil marks on the art paper. Place the photocopy inside the pencil marks.

10

Roll a brayer across the back of the photocopy. Wipe up excess medium from around the edges of the paper. Wet your fingertips with water, and rub them over the photocopy paper. Pick up the free corner of the photocopy. If the ink has transferred to the art paper, slowly peel away the paper. A thin layer of the photocopy paper will still be attached to the art paper. It can be removed by wetting your fingertips and rubbing them across the surface until it pills away.

11

Make a mixed-media piece. Stabilize the image.

---

Often, photographers seek ways to give an added artistic touch to their images. One popular way to make photos look painterly was to transfer the emulsion from Polaroid pictures onto fine art paper. However, Polaroid film was expensive and eventually production for it came to a halt. Now, alternatives are being manufactured, but in the meanwhile, as a substitute, someone discovered that photocopies could be used. If transferred to pastel paper, oils or other mediums can be added to create a mixed-media piece.

Instructions

Textured Transfer Method

1

Choose an image that isn't too detailed or abstract. The image should have a wide tonal range. If the image is coated, it will not work. A photocopier duplicate should be made.

2

Prepare a copy of the image. Leave at least an inch border to go under the clipboard clip. Because the image will be facedown on the pastel paper, the finished transfer will look backward unless the copy is a reverse image. To create a mirror image, scan the original and use a computer program to reverse it before printing it out. Another option is to copy the image onto a transparency, which will be flipped on the copier glass.

3

Select an archival pastel paper. Most pastel paper can also be used with watercolors. Sofia Romero recommends Arches 88 for getting the most detail out of a transfer. However, it is a silk screening paper and may not work well with pastels. Stonehenge silkscreen paper may have similar results as Arches 88 and is advertised to be workable with pastels and other mediums.

4

Fasten the art paper and photocopy under the clipboard clip. Tape one of the remaining corners down. You will lift the other corner occasionally to check the print's progress.

5

Fold up a rag into a thick square. With gloves on, pour some solvent on the rag. Rub the rag firmly into the back of the photocopy. A brayer can be used for additional pressure. The solvent evaporates quickly; so several reapplications are necessary. After the transfer is complete, carefully separate the papers from each other. Let them dry for 10 to 30 minutes.

6

Apply watercolors directly to the surface. If using pastels or pencils, spray a working fixative over the entire paper before drawing on it. When the image is finished, whether or not you drew on it, spray on a coat of acrylic sealer to the image.

Smooth Transfer Method

7

Select an image. This method creates a transfer with a smooth appearance. Details should be rendered almost exactly as they are in your photocopy.

8

Prepare a copy of the image. Select an archival pastel paper.

9

Fasten the art paper under the clipboard clip. Trim off excess paper from around the photocopy image. Place the photocopy onto the art paper. Mark the photocopy corners lightly in pencil so that you will know where to apply the gloss medium. Using a sponge brush, spread a thick layer of gloss medium to the photocopy image and inside the pencil marks on the art paper. Place the photocopy inside the pencil marks.

10

Roll a brayer across the back of the photocopy. Wipe up excess medium from around the edges of the paper. Wet your fingertips with water, and rub them over the photocopy paper. Pick up the free corner of the photocopy. If the ink has transferred to the art paper, slowly peel away the paper. A thin layer of the photocopy paper will still be attached to the art paper. It can be removed by wetting your fingertips and rubbing them across the surface until it pills away.

11

Make a mixed-media piece. Stabilize the image.

---

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