četvrtak, 20.10.2011.



Natural Make Up Techniques

natural make up techniques

  • A skillful or efficient way of doing or achieving something

  • Skill or ability in a particular field

  • (technique) a practical method or art applied to some particular task

  • A way of carrying out a particular task, esp. the execution or performance of an artistic work or a scientific procedure

  • The gameplay of the Pokemon series of role-playing video games involves the capture and training of a variety of fictional creatures called "Pokemon" and using them to battle other trainers.

  • (technique) proficiency: skillfulness in the command of fundamentals deriving from practice and familiarity; "practice greatly improves proficiency"

    make up
  • The combination of qualities that form a person's temperament

  • The composition or constitution of something

  • constitute: form or compose; "This money is my only income"; "The stone wall was the backdrop for the performance"; "These constitute my entire belonging"; "The children made up the chorus"; "This sum represents my entire income for a year"; "These few men comprise his entire army"

  • makeup: an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"

  • constitution: the way in which someone or something is composed

  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance

  • A person regarded as having an innate gift or talent for a particular task or activity

  • someone regarded as certain to succeed; "he's a natural for the job"

  • a notation cancelling a previous sharp or flat

  • A thing that is particularly suited for something

  • A sign (?) denoting a natural note when a previous sign or the key signature would otherwise demand a sharp or a flat

  • in accordance with nature; relating to or concerning nature; "a very natural development"; "our natural environment"; "natural science"; "natural resources"; "natural cliffs"; "natural phenomena"

natural make up techniques - Rob Cosman

Rob Cosman Master Craftsman Series "Woodcarving #1 Sharpening Techniques with Chris Pye" DVD

Rob Cosman Master Craftsman Series

Rob Cosman has been woodworking for most of his life. While earning a B.Sc. in Industrial Technology/Furniture Design at Brigham Young University, he was Dr. Dale L. Nishs teaching assistant. Rob has also worked with many of the worlds best craftsmen - including Alan Peters, Sam Maloof, Tage Frid, Monroe Robinson and Peter Korn. In the first of Rob Cosmans Master Craftsman Series, he teams up with renowned woodcarver, author and teacher Chris Pye to present a comprehensive DVD. Topics covered include selecting gouges, features of a correctly sharpened edge, adding an inside bevel, power sharpening, hand honing and keeping the tools sharp. Run time is 1 hour, 55 minutes.

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Techniques on Describing Marijuana - Ann Noble's Aroma Wheel meets DJ Short

Techniques on Describing Marijuana - Ann Noble's  Aroma Wheel meets DJ Short

For the Cannabis Connoisseur aka Strain Slut - I usually dont post pictures that arent mine but it helps educate. This is a good guide on how to describe flavours of your weed and we use this and a variation which I'll post soon. Envious winesluts would kill to have the amount of varietals we mj strainsluts have.

Know your own stone by DJ Short (01 Sept, 1999)
An educated and descerning palate is a key requirement in breeding and appreciating cannabis.

An educated palate

The breeding and production of fine quality cannabis is more an art than a science. A creative mind and sense of imagination is necessary to achieve success in this field. The other requirement is a very discerning palate, including the ability to discern and appreciate subtle variations in taste, smell and mental experience.

Anatomically, the palate is located between the roof of the mouth and the nasal passages. The intricacies of taste and palate are complex and poorly understood. The taste buds in the tongue and mouth make up only a small fraction of the mechanisms used to interpret taste and smell.

Olfaction is the term used to describe the sense of smell. The olfactory bulb is the main sensor used to experience and interpret smells. This organ is located behind the nasal passages – up your nose. The sense of smell is one of the most complex we possess, and more of the brain is dedicated to processing smells than any other sense. Smell is closely related to memory, especially older memories. Anatomically, this region is located between the cortex and the occipital lobes, above and around the ears to the top of the head.

Research and experience sest that some people have a greater natural ability to discern taste and smell than others. The palate can also be developed, educated and refined.

There are many similarities between the wine industry and the cannabis industry. One of these is that both use "expert palates" to identify and discern the various desirable traits of a product. However, unlike wine, cannabis has another added aspect to consider: the type of experience produced by the product. Alcohol's main experience is similar (and overconsumption can be fatal) while cannabis provides a wide range of effects and is non-toxic.

Some herb is strictly pleasing to the mental palate but is not so tasty, while other might taste great but have mild or unpleasant effects.

Spectrums of experience

The first spectrum to consider is the "up and down" experience. "Up" refers to the stimulating aspects of cannabis, while "down" refers to sedative qualities. Up pot tends to liven the disposition and stimulate the emotions, inspiring sociability and talkativeness. Down pot tends to produce sedative and depressant effects. Some people refer to stimulating pot as being a "head" high and sedative pot as being a "body" high, yet although partially true this is also misleading.

Body and head highs are the next spectrum of the cannabis experience. Generally speaking, head highs are stimulating and body highs are sedative, but not all are. Some body highs are stimulating and some head highs are depressing. I once sampled a terribly paranoia-inducing head pot that inspired great couch lock qualities. I called it Boo-Goo.

Early to late harvest will affect the head to body spectrum expressed by a certain plant, with the later harvest tending to produce more body and sedative effects. However, I believe that certain aspects of this spectrum to be genetically inherited.

Next to consider are aspects of duration. Some cannabis tends to be short-acting (15-30min) whereas other varieties last much longer (6-7 hours). Once again production, harvesting and curing techniques can influence aspects of this spectrum, but much of this effect is inherited.

For me, the most important aspect of the cannabis experience to consider is tolerance. This refers to the product's ability to provide the same experience via the same amount over time – the burnout factor. By "over time" I mean the long run: months, years, decades...

Most of the cannabis I see on the market today has a terrible tolerance factor – a quick burnout time with the product's novelty lasting less than a week. Luther Burbank's model of breeding needs to be employed here and no expression of tolerance to your product is to be tolerated. An example of where intolerance to tolerance is tolerated – enough already!

Another aspect of tolerance is "ceiling." This refers to how high (or far) one is capable of going with the variety. How many hits can you consume until more hits are unnoticeable? Most indicas have a low ceiling of less than 10 hits. For me that's usually around 5 hits in one smoking session. If I smoke more than 5 hits of a strong indica I will either not notice the post-ceiling hits, or I will fall asleep.

Some sativas have a very high ceiling, or seem to have none at all! This means that the mor

MG 9771

 MG 9771

Photoshop is part of the photographic process. Like developing a film, digital RAW files need to be developed too, and Photoshop is necessary to do this.

Here is a rundown of what's been done in Photoshop to develop this picture.

1. Background colour. The walls in the office where we shot this were a yucky off-white colour. I adjusted the colour to make them cooler (which makes Donna stand out more) and more neutral (which enhances Donna's complexion).

2. Hair. I was only using natural light, and without a hair light there was no visible detail in the hair at this exposure - it looked just like a black blob. I took the RAW file and pushed the exposure by 2 stops, then overlaid this as a luminosity layer. This brought back all the detail, and at large size you can now see the individual stands of hair again :)

3. Tidy loose hair strands. Because we didn't have a hair stylist on-set.*

4. Eyes. Donna has the most amazing eyes to photograph and real people would immediately be drawn to her eyes in real life. However, the dumb camera doesn't see the eyes and how special they are, so it just records it in the same average way it records everything else in the photo. I boosted the saturation and ran a curves layer to increase contrast on the eyes to make them look how I remembered them. I haven't altered colours at all, just increased what was already there.

5. Eyeliner. Pro-Me** doesn't allow make-up, but eye-liner is a real-life unsharp mask: it creates a big contrast difference, which the human eye is naturally drawn to. If I increased the saturation or contrast on her eyes any more they would look fake, but they still weren't popping as I remember them, so I added the smallest amount of eyeliner to add some additional contrast and draw more attention to the eyes.

6. Orange reflections. Some idiot (wonder who?) decided to use a gold warm-up reflector to fill in the shadow side. I didn't notice during the shoot, but this caused her to have an orange neck and orange eye sockets. So I fixed this.

7. Film grain. Digital images are very sterile. Some random film grain adds an organic, natural quality to the picture. At Facebook size it probably won't be noticeable (especially with their high compression), but at larger size I think it makes a subconscious difference.

8. Donna is naturally very pale; however, in real life she doesn't look pale unless she stands next to a tanned person. This is because the human brain is largely comparative, and given a subject in isolation the brain will see the subject as it thinks it should look (this is why when you look at white paper under tungsten lighting, it looks white even though it is actually orange). This neutralising-brain-effect doesn't happen as much when viewing pictures on a computer, so I needed to fix skin colours to what the brain perceives to be correct rather than what actually is correct. Otherwise the picture would just "look" wrong, even though it is technically right.

9. Freckles. Usually the goal is to minimise spots, wrinkles, etc., but in Donna's case she has good skin, and her freckles are an asset. Unusually, I increased contrast on her face to bring out the freckles.

10. Shadows. To represent a 3D face on a 2D picture, shadows are very important. This is called 'modelling'. When I take a photo, I aim for the shadows to be in the right place, but with little contrast difference. This is because the sensor in a DSLR is great at recording highlight detail, but shadow detail comes out noisy and with poor tonal graduation. I used a curves layer to increase the shadows, without altering other facial features that should remain with neutral contrast.

11. Shadow fix. We were shooting in a small office with natural light, and it was difficult to position myself, the model and the light correctly and use the focal length I wanted (135mm @ f/2). The result is the right eye was slightly in shadow, which I didn't like, so I blended a small curves layer to lighten the area under the right eye socket. I also fixed some light spill on the shadow side of her nose.

12. Vignette. I darkened the edges to draw attention to the face. As some of Donna's skin was lit very brightly by the window, adding a straightforward curves layer just made those parts of her skin (e.g. on her arm) go grey, so I had to use a different technique. I took the RAW file and underexposed it by 1 Stop, then merged the underexposed picture over the original picture in the parts where I wanted the vignette. This avoided the flat grey skin and brought back natural texture into the darkened areas.

13. Film look. I altered the saturation of certain colours to give more of a 'film' look, and to make the photograph stand out better when viewed as a thumbnail against 100s of other competing pictures.

14. Bra strap. The top of her bra was showing (it was supposed to be hidden), so I removed that.

15. Sharpening. My DSLR has a bayer filter that softens the image to allow colour to

natural make up techniques

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