CAMERA BACKPACK TRIPOD

Popular Shortcut Software Silkypix Developer Studio V3 By Greater Image Flexibility Sm Box

The distinctive conversion algorithm allows the software to produce the very best colors available. The conversion algorithm that was developed uniquely to Silkypix provides the best color renditions compared to other raw converters on the market. The program is "Smart" enough to help users get the best colors from their digital image files. Batch photo processing is a must for the avid photographer. The ability to process multiple photographs in a fast and simple to use layout will save photographers many hours behind the computer editing photos in old single file fashion. Silkypix offers various color correction tools that allow users to be ultra-precise when it comes to attaining the best colors. From fine exposure control, to the useful white/grey/skin balancing tools, the program allows unlimited flexibility. 10 Advantages of RAW images with SILKYPIX: Control white balance; Increase dynamic range while working with higher bit depth; Better exposure control; Tackle noise problems at source; Improve sharpening at source; Optimize output file size; Unlimited image modifications at source; Greater image flexibility; Higher quality outputs; Fast workflow.

This camera's really easy to use with all the most import controls as buttons or dials around the shutter. There's also a handy RAW shortcut button if you want to shoot in JPEG mode and want to avoid going through the menu to switch to RAW for one or two shots.

The body''s light but solid-feeling. It'll feel at home in the hands of anyone who's ever used a rangefinder. I found some of the buttons were easy to accidentally push, but I think it's a habit you'd quickly learn your way out of.

My favorite feature was probably the HUD when you look through the viewfinder. I don't remember everything off the top of my head, but it's basically the same information you'd get looking through an SLR's viewfinder. But rather than the amber or green that's usually in SLRs, this viewfinder has a light (white? blue-green?) HUD.

Overall, after about 5 minutes it felt like the perfect pairing of a classic rangefinder and modern, compact digital. And if anyone happens to win the lottery, please feel free to buy one for me.

1. Opened in Camera Raw and made these settings:
Fill Light: 20
Brightness: +34
Contrast: +10
Clarity: +50
Vibrance: +25

2. Then back in Photoshop I added a new layer to do the cloning on.

3. I then combined the layers using the keyboard shortcut (CMD/Opt/Shift/E on Mac or Alt/Ctrl/Shift/E on PC) and converted the layer to a Smart Object.

4. I ran a Gaussian Blur Filter set to: 2 pixels and then a High Pass Filter set to:
3 pixels using a layer Blend Mode of Hard Light.

5. I then ran my Photo Tint Action.

6. I then made the Polaroid Edge with a Light Yellow Color (R 253, G 252 & B 235), a Bevel & Emboss set to:
Style: Inner Bevel
Technique: Smooth
Depth: 100%
Direction: Up
Size: 5 pixels
Soften: o pixels
Shading:
Angle: 120
Use Global Light
Altitude:30
High Light Mode: Screen
Opacity: 75%
Shadow Mode: Multiply
Opacity: 75%

Drop Shadow set to:
Blend Mode: Multiply
Opacity: 75%
Angle 120
Use Global Light
Distance: 0 pixels
Spread: 0 %
Size: 25 pixels

7. I spent about an hour on this.

The visions of two great American artists merge in Short Cuts, maverick director Robert Altman's kaleidoscopic adaptation of Raymond Carver's short stories. Epic in scale yet meticulously observed, the film interweaves the lives of twenty-two characters struggling to find solace and meaning in contemporary Los Angeles. The extraordinary ensemble cast includes Tim Robbins, Julianne Moore, Robert Downey Jr., Jack Lemmon, and Jennifer Jason Leigh--all giving fearless performances in one of Altman's most compassionate creations. Now available from Criterion at a specially reduced price.

If aliens came down to earth to see if humanity was worth saving, showing them Short Cuts, Robert Altman's bluesy riff on life in L.A. in the '90s, would not be a good idea. Based on the stories of Raymond Carver (adapted by Altman and Frank Barhydt), this ambitious film is a devilish valentine to living in L.A., where happiness comes at a premium. There are at least eight separate stories that crisscross, most about people who choose not to relate to the lives they are living. Seemingly by design, none of the stories (nor the performances for that matter) have more impact than the others--this is a true mosaic film. The most representative plot deals with a group of friends (Buck Henry, Fred Ward, and Huey Lewis) who decide to keep fishing even after discovering a body in the river. The story works as a morose comedy and a flag holder for the movie: the inability to take the correct action. Others would rather talk about seeing Alex Trebek than discuss their faltering relationships. A huge and talented cast twists in the wind, bumping into moments of truth, sex, and passion. Some even come out all right in the end. The accidental nature of life--a common theme in many Altman films--has never been so maddeningly persistent, or absorbing. The score by Mark Isham with songs sung by Annie Ross (also a cast member) fuels the moodiness, as does the opening number in which Medfly helicopters spray the town to the tune "Prisoner of Life." Delivering the film a year after his biggest hit in two decades, The Player, Altman proved his artistic tenacity as an aged artist with the heart of a new filmmaker: he's not afraid of risking it all. --Doug Thomas