how to generate barcode in vb.net 2010 3: Taking Memorable Portraits in Software

Encoder Code 128 Code Set B in Software 3: Taking Memorable Portraits

CHAPTER 3: Taking Memorable Portraits
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REMOVE RED-EYE (continued)
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7. Click the foreground color icon (labeled in Figure 3.14) and choose a color that s close to the subject s natural eye color.
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8. Activate the Paintbrush tool, also labeled in Figure 3.14. Again, use a small brush, but this time you may want to work with a soft brush tip so that your paint strokes don t have hard edges. 9. Dab on the new eye color as needed. If you don t see any change, as may be the case when working on animal eyes, switch the blending mode to Normal and reduce the Opacity setting in the Layers palette to about 50 percent. 10. When you re happy with your work, merge the image layers by choosing Layer Flatten Image.
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You can use this same approach with any program that offers a Sponge tool, layers, and the layer blending mode. Don t have any of those tools If your photo editor offers a hue/saturation filter, try this fix instead: Select the red portion of the eyes and then adjust the color by using the hue control. You also may be able to use a regular color balance filter, which is a basic filter found in every photo editor.
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Professional Head Shots
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In the business world, people often need a formal head shot, a close-up photo showing just the face and maybe a bit of shoulder. Many social organizations also request this type of photo for their publications. If you take head shots regularly, I recommend that you invest in at least one professional studio light. Moving a chair next to a window is a good solution for home portraits, but it s a little unpractical in an office, church, or other out-of-home setting. A studio light will also enable you to shoot without a flash, saving you the hassle of having to fix red-eye in every picture.
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If buying a light blows your budget, you can save some money on your portrait backdrop. Just head to the hardware store and buy a canvas drop cloth to use as your backdrop. You can hang the drop cloth from a curtain rod, clamp it to a storage cabinet door, or just tape it to the wall behind your subject.
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Shoot Like a Pro!
With just one light, you can produce a nice head shot, as illustrated by the top image on Page10 in the color insert. Figure 3.15 shows the same image in grayscale along with the relative positions of camera, light, and subject. I used a studio hot light, attaching a white reflective umbrella to diffuse the light and prevent harsh shadows.
FIGURE 3.15 A simple, one-light setup produces a nice head shot.
1 provides more information about hot lights and other lighting options.
By adding reflectors or a second light or both you can make subtle changes to how a face is rendered, as illustrated by the other examples on Pages 10 and 11 of the color insert. Here s a look at the different setups I used and how they affected the portrait:
One light with reflector
For the second and third images on Page 10 in the color insert, I placed a large reflector next to the subject, as indicated by the diagram in Figure 3.16. The reflector bounced light from the main light onto the face, reducing the shadows that you see along the subject s right cheek (left side of the photo) in Figure 3.15.
For the first of the two reflector images (shown in Figure 3.16 as well as on Page 10 of the insert), I used a white reflector. For the second reflector image, I switched to a gold reflector. As you can see from the color plate, the white reflector creates a stronger bounced light than the gold reflector, and the gold reflector adds a subtle warming effect.
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