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Damien Symonds

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Posts posted by Damien Symonds

  1. Oh gosh, this is such a tricky question.

    The face-value answer is: They'd need to be the same number of megapixels as your own camera (I assume you're combining them with some of your own photos?) so that their quality is a good match, if you know what I mean.

    However, it isn't always so.  If you're using a stock image for a background, well, backgrounds tend to be blurrier than a subject, so you might get away with a smaller file.  In fact, sometimes I've successfully used very small phone photos as backgrounds (artistically blurred, of course) for composites.

    I guess what I'm trying to say is, get them as close in size to your own photos as possible.  If you can't get them that big, pay very close attention to how you use them, to make sure your composite doesn't end up with glaring disparities of focus.

    • Like 1
  2. 7 minutes ago, Pat said:

    I'm really happy with the final version of this image, Damien.  I applied techniques from your layers and levels class and really made this image pop.  Thank you!  Your beer is on the way.  Enjoy it (although it might be a bit early in the day for you!)

    Well, it's just after lunch, and it's really stinking hot here today, so it is very tempting!

    • Like 1
  3. The solution I'm about to provide isn't perfect, I'm afraid.  Some stripiness will remain.  But it will be a heck of a lot better, and I hope you'll be satisfied with the improvement.

    First, duplicate the Background layer, and immediately run Filter>Noise>Despeckle.  Then add a mask to that layer, but don't worry about masking anything yet.

    Then add a Channel Mixer adjustment layer, and immediately clip it (Ctrl Alt G) to the despeckled layer.  Click the "Monochrome" button, then enter 0/80/20 for the three values (screenshot below).  This will make the entire photo black-and-white, and importantly, remove all the worst striping from that area.

    pat-moire.thumb.png.7e7ef70085f5247da4f1

    Then return to the Despeckled layer, invert the mask to black, then zoom in and start carefully painting over the moire areas.  Where you paint, you should see the worst of the little texture disappear, as well as the colour of course.

    Once you've done all that, evaluate how much you hate the stripes that remain.  If you hate them badly enough,  go to the Channel Mixer layer then add a new blank layer above it, and turn it into a dodge and burn layer (clip it to the others if you wish).  The with a really low opacity brush, start dodging the worst of the remaining stripes, until your patience gives out and you run for the liquor cabinet.

    Can you show me how it turns out?  Let me know if you have any problems following the instructions.

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