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Ghostbusters of London: Campaign 1 Casefile

Ghostbusters of London: Campaign 1 Casefile
I hope nobody minds, but approximately three weeks ago, I started "series 2" of my Ghostbusters of London campaign, and while we don't have any recordings or comics or such, I thought nobody would mind if I shared a summary of their adventures so far. I'll start with some quick character descriptions and then give an overview of each case they've been involved in.
We're ready to believe you!
=========================================
The Stars of the Show
  • Cassidy Dempsey, the Brains: the shortest and smartest member of the team, a sharp-witted, green-haired wild child who crafts new ideas to expand their ghostbusting arsenal. A childhood encounter with a fearsome banshee awakened a sense of exploration and obsession in her.
  • Harrison Ace, the Muscles: the strongest and biggest member of the team, an accountant who previously attempted to reconcile his job with his Christian upbringing. Incredibly well-meaning, but clumsy and prone to accidents. His player has the most consistent habit of rolling ghosts.
  • Michael Smith, the Moves: a grumpy but practical engineer, and the one who has to find ways of putting Dempsey's wacky ideas together. Usually at his happiest when maintaining and upgrading the existing equipment. Also imbued with a remarkable gift for jumping. Fan of old horror flicks.
  • Zachary Flynn, the Cool: an American expat and professional Elvis impersonator, Flynn ran away to England on the pretence of visiting relatives. Now the public face of the London team. Wears a custom white, tassel-sleeved uniform and a "the King ain't dead" sticker on his proton pack.
  • Katherine "Kitty" Evans, the Heart: the ghost of a woman who died quite suddenly in 1969, now the housemate and sometimes-test-subject for Dempsey's experiments. Searching for the reasons behind her death. Ex-N.P.C. adopted by a player who developed her further than I ever could.
  • ECTO-1: the company vehicle, a van extensively modified from an Iveco ambulance into a reliable, all-in-one ghostbusting machine.
=========================================
Supporting Cast
  • Louise Valentine (24): the team's receptionist. Sensible, logical, organised, but more than a bit abrasive. A very private individual who keeps much of her personal life and beliefs to herself.
  • Sarah Derrell (13): a budding paranormal blogger and the London team's number one follower, sometimes called on to provide historical data on the locations they investigate. Uncomfortable with her single father's disapproval of our heroes.
  • Harmon Derrell (40): Sarah's father and aide to Mayor Robinson, which means he's overworked, underappreciated, and frequently the butt of jokes. Has an intense dislike towards the team, and very protective of his young daughter.
  • Sven Robinson (67): the mayor of London and a keen supporter of the Ghostbusters. Excitable and approachable, but somewhat eccentric and forgetful. It's a miracle how he keeps getting re-elected when he'd rather spend time holidaying in the Lake District than running the city.
  • Pamela Arkwright (26): a maid at the Crown Hotel. Adventurous and charming. Currently dating Flynn.
  • Daniel McBride (27): a male nurse who started dating Ace after tending to his injuries on multiple occasions. Revealed to have a much deeper connection to the strange phenomena in the city than anyone realised.
  • Calvin Ace (13): Ace's lackadaisical nephew, and a staunch disbeliever. Inconveniently faints when confronted with the paranormal. Thinks the whole operation is a scam and that Sarah is a nutter.
  • Brayden Strand: Grand Master of the Ordo Templi Stellae and arch-nemesis of the London team. Last survivor of a White Lodge of magicians that was destroyed by schisms during WWI. Hellbent on global domination through a long-running plan to bring forth the Moonchild, a spiritual super-weapon. His current whereabouts are unknown.
  • The Architect Demon: caught accidentally by a ritual almost ninety years ago, the demon was set free from his prison by the London Ghostbusters, and has returned on multiple occasions to give them hints about Brayden Strand's schemes. Its true motivations outside of avenging itself on the magicians who trapped him remain unknown.
  • Sebastian Frobisher: former butler of the Strand family, enslaved to the will of the Grand Master. Final boss of the campaign.
=========================================
For the context, both the original two films and the 2009 computer game are considered canonical. The Real Ghostbusters and Extreme Ghostbusters animated series exist as one of Dr Peter Venkman's many deals to increase the company's publicity. The adventures of the Ghostbusters of London team begin in mid-2016.
The Campaign
  1. The Resurrection-Men: after two weeks of inactivity, the London Ghostbusters receive their first proper case. An old pub is undergoing refurbishment, and the work has awoken a trio of violent poltergeists. The team meet Sarah, a budding paranormal investigator herself, who's been stuck in the cellar since she sneaked in to record evidence of supernatural activity. She reveals that the ghosts are the Boulstridge Gang, grave-robbers who resorted to murder when fresh bodies got difficult to find. Their leader Ainsley Boulstridge developed an interest in anatomical science that led him to perform twisted surgeries, and he's set his sights on young Sarah as his next subject. When she is spirited off to his hidden workshop, the new team come together to rescue her and prove they've got the tools and the talent to earn their stripes. Client: Reid Tolmach-Tolmach, owner of the Beast & Bottle pub Ghost(s): Ainsley, Billy, and Georgie Boulstridge (class IV); Ainsley's victims (class I)
  2. The Suicide View: Dempsey and Smith design and build a new addition to their equipment—the boson blaster, which lacks a capture mode but is more powerful than a standard proton stream. The team are approached by the staff of the Crown Hotel about multiple suicides linked to the legend of a cursed room, which foul-tempered manager Donald Sinclair doesn't believe. Hoping to prevent further loss of life, the team decide to go undercover so they can investigate. Among the things they encounter are Kitty Evans, a young woman who doesn't know she died 48 years ago, a stream of caustic black slime leaking into the sewers underneath the car park, and Greta Armbruster, a mysterious and beautiful scholar with a ring bearing an odd symbol. Ace suffers a violent possessive episode in the cursed room, and Louise discovers that in 1902, a maid named Helen W. hanged herself after being forced to give her baby up for adoption. The manager finds out and starts provoking the ghost to prove a point, angering Helen and a monstrous, infant-like entity born from the negative emotions that have been collecting there for decades. Following a pitched battle, the team manage to defeat the monster by severing its connection to Helen. Kitty agrees to leave the hotel and join them at their fire station headquarters. Client: Crown Hotel staff Ghost(s): Katherine "Kitty" Evans (class IV); Helen W. (class IV); the Crown Hotel Baby (class V)
  3. The Hexed Factor: over the next month, Smith upgrades the ghost traps and Dempsey builds a set of slime-weave gloves that will allow physical interaction with ghosts. The team are enjoying a rise in public profile thanks to their adventure at the Crown Hotel and are approached by pop sensation Aurora Monday, who describes a horrifying encounter which left her without a voice. Her agent, Ralph Stainthorpe, stubbornly limits any interactions with her, much to their chagrin. A sudden visit of inspection from the mayor and his sour-faced aide, Harmon Derrell, causes a delay, but a a strange e-mail containing a list of similarly affected singers, each represented by the same agency, puts them back on the trail. They identify the culprit as a Varypnas, a type of troublesome spirit from Greek folklore. They also discover that Stainthorpe's sister Judith was a judge on the T.V. talent show Chart Throb, on which Aurora was a contestant, and the two share a contemptuous relationship. They find Judith's address and head there, only to find Stainthorpe already confronting her. Judith unleashes the Varypnas, and the fight tears through the house. Dempsey hospitalises her with a well-timed headbutt, and the others trap the ghost and break the curse. A follow-up investigation unearths signs of ritual activity and a ring identical to the one worn by Greta Armbruster. Client: Aurora Monday, pop star Ghost(s): the Varypnas (class V)
  4. Role-Playing Game of Thrones: Smith successfully constructs and tests a new device: the dark matter generator. The team are hired by two people in striking costumes, the Goodwins, who organise a LARP for the game League of a Thousand Swords, which is held in Epping Forest. At their last event, players attacked each other and woke up with amnesia. The team posit a case of mass possession, but are more excited to dress up in flashy costumes so they can check out the game without alarming the attendees. On the day of the event, the team get split up in the woods. Dempsey and Ace get captured by the pirate guild, led by Sarah and her father, who is furious at their presence. Smith uncovers ghosts of cavaliers and roundheads from an obscure battle during the English Civil War using the LARPers as hosts. Flynn uncovers a stone door in the undergrowth, which leads him to the prison of a two-headed demon, Sydow and Ekerot. A long time ago, a Celtic hero named Flann Ó’Floinn and some druids trapped them down there until one could discover a way to out-cheat the other in a contest of wits. Using the lost skull of Thomas Cromwell as a totem, they've been manipulating the ghosts to conduct war games for them on the surface. Flynn challenges the demons to a game of Fizzbin, which gives them both such a headache that it breaks their control, allowing the others to bust the ghosts. Sydow and Ekerot hurl the skull into a pool of black slime out of pettiness and allow Flynn to return to the surface, swearing revenge. Client: Chaz and Holly Goodwin, LARP organisers Ghost(s): roundheads and cavaliers (class III); Sydow & Ekerot (class VII)
  5. Dark Hood: Dempsey's research into the rings leads her to the Ordo Templi Stellae, a fraternal occult organisation chaired by Brayden Strand, a publisher who was acquaintances with such known figures as Aleister Crowley and Ivo Shandor. The fire station is visited by a warden from the Tower of London, who found a missing football in the hall and took it home, after which he had dreams about two young boys trying to escape from a terrifying knight. The Ghostbusters agree to keep the ball for further study, and experience the same phenomena while sleeping. They conduct research on the history of the Tower, and learn the legends surrounding the two princes who were lodged there and whose final fate remains unknown. The knight is the silent killer Sir Thomas De'Ath, whose ghost now pursues whomsoever holds the football anchoring the two princes. The fight that ensues between De'Ath and the Ghostbusters causes extensive damage to the fire station and their equipment, but eventually, our heroes prevail. In doing so, they allow the two princes to peacefully depart this dimension. Client: Martin Crane, Yeoman Warden at the Tower of London Ghost(s): Sir Thomas De'Ath (class III); the Princes in the Tower (class IV)
  6. Take That to the Bank: the team are hired by the banking firm of Dempsey, Dawson, Stinge and Farley, represented by none other than Dempsey's great uncle Sidney. Due to an incident when she was a child involving a bottle of apple juice and the petrol tank of his favourite automobile, Sidney is less than happy to discover she's working with the Ghostbusters. It transpires that the bank has recently repossessed the premises occupied by Abraxas Publishing House, specialised in circulating occult periodicals. An e-mail sent by the same unknown contact from the Varypnas case informs them that Brayden Strand was the lease holder, and that the Ordo Templi Stellae used the building to conduct rituals and publish pamphlets between the ’20s and ’70s. Bizarre sounds and disturbances have been chasing away the survey teams, preventing the bank from reselling the building. More than that, the dimensions of the basement level have transformed and expanded into subterranean caverns, and at its heart waits an imprisoned demon, trapped by a ritual decades ago and used for inspiration by the order. The Ghostbusters are attacked by a towering masonry golem placed to watch over the prison. Destroying the golem, they realise too late they've accidentally compromised the prison, freeing the demon. Client: Sidney Dempsey, partner in Dempsey, Dawson, Stinge and Farley Ghost(s): the Architect Demon (class VII); Masonry Golem (class VI)
  7. Frostbitten, Twice Shy: Ace has recently started dating Daniel McBride, a nurse he met during his frequent visits to the accident-and-emergency ward. He finds out that the trendy Ice Bar in Mayfair is holding a couple's night. Suddenly, a freezing wind sweeps through, sealing most of the customers inside ice sculptures, including Daniel. Ace calls in the rest of the team, and they learn from the bar's owner that the ice was imported from the River Torne in Sweden. A portal opens in the ice, which leads the Ghostbusters to the icy River Styx, where groups of phantom fisherman are out in their boats. Through them, they learn that the culprit is Caspar Lundgren, who died on the river and was forever separated from his beloved Theodora. Now any couples he sees suffer his miserable wrath. Dempsey masquerades as Theodora to lure him out, but the ruse only infuriates Caspar, who turns her into one of his army of snow golems. While Ace flees from his transformed teammate, Smith and Flynn spring into action, fighting through the snow beasts until they reach Caspar's boat, busting him and rescuing the trapped people. Client: Ermine Foxx, D.J. and owner of the Ice Bar Ghost(s): Caspar Lundgren (class IV); Snow Golems (class VI)
  8. The Tube Challenge: the London Ghostbusters get their first government contract when ghosts flood the railway lines between several stations, forming a pentagram around Piccadilly Circus. Also present is the mayor's aide Harmon Derrell, who is distraught that Sarah has vanished into the Underground, drawn by her fascination with all things paranormal. Upon seeing the team, he is quick to blame them and has to be restrained by police. Now knowing their young friend is in peril, and with countless ghosts, monsters, and demons escaping onto the streets of the city, the team head down into the depths of the metro system. Encountering ghost trains and other assorted nasties, they eventually find Sarah in the clutches of Edward Burke, a police inspector who practised vampirism on young girls, and he's already infused her with enough ectoplasmic essence to begin her transformation. Sarah proves tough to wrangle, but after defeating Burke, they manage to restore her. Deeper in the tunnels, a river of slime leads them to a gateway that channels the stuff all over the city, and waiting for them are the Architect Demon and his Terror Dog, Fido. The demon explains that Strand took the plans for the gateway straight from his own mind and is taking time to admire the work. After besting Fido in combat, the team destroy the gateway, causing the ghosts to either disappear or drift away to parts unknown. Client: Redmond Drexel, Commissioner of Transport for London Ghost(s): Edward Clavicus Burke (class IV); Fido the Terror Dog (class VI); the Architect Demon (class VII)
  9. From the Studio Built on Death: the team receive a call from the long-abandoned grounds of Langbourn Films, which is set to be demolished and redeveloped. Workers are being afflicted with sickness and nightmarish hallucinations whenever they get too close to the building. The cause is traced to the ghost of Hildred Slade, the studio's cruel owner and the subject of many unsavoury rumours. The Ghostbusters are whisked away into worlds based on Slade's movies, but Smith is able to shake off the illusion and travel through the various dimensions to rescue his teammates. Once reunited, they make their way to Slade's portrait in their studio foyer, the locus of the haunting, and destroy it, allowing them to catch him. Client: Adelaide Rockwest, owner of Rockwest Construction, Ltd. Ghost(s): Hildred Slade (class IV)
  10. Dear Margaret…: the team travel to the house of a famous writer in Surrey, and Sarah insists on accompanying them, as does Kitty, revealing that the writer is her living sister Patricia. A joyous reunion ensues, and Kitty learns that for years, Patricia has been communicating with a ghost named Margaret. Lately, however, she's been quiet, save for bursts of violent poltergeist activity. The team have been called not for a bust, but to help her. Finding her ghost in the foundations, Margaret explains that she was part of Brayden Strand's experiment to create a Moonchild until he realised she was infertile, after which he imprisoned her ghost in a pool of black slime so she could be used to channel psychic turbulence later. Strand found other, suitable subjects and the Moonchild, an immeasurably destructive super-being, has been born. Margaret flies into a rage, possessing the cottage and turning it into a monster form, but a boson shot from Flynn destroys it, allowing the ghost to be trapped. Flynn emerges from the rubble, possessed by the Architect Demon, who reveals that Strand is still alive somehow, before Ace angrily chases him away. The team comfort Patricia with a solemn promise to avenge what happened to Margaret because of Strand, and call in a favour with Rockwest to build her a new cottage. Client: Patricia Featherstonehaugh, semi-retired author Ghost(s): Margaret Kisgart (class IV)
  11. How to Serve Man: Sarah falls into a coma and is taken to hospital. Meanwhile, the team receive a visit from Smiler Brown, an urchin whom Kitty knew during her living days who has fallen onto hard times. His fellow homeless are disappearing off the streets, spirited away by monsters, and the police haven't responded. The Ghostbusters agree to help regardless of payment, and head to the site of the most recent incidents. Clues lead them to the sewers, where they get split up. Kitty meets a charming yet sinister butler named Frobisher, who explains that a grand banquet is being held for a very special guest, and that she had best get to the castle kitchens, ruled by the cruel chef, Mister Swelter. Client: Smiler Brown, no occupation or fixed abode Ghost(s): Mister Swelter (class IV); Sebastian Frobisher (class VI/IV)
  12. London Calling (Part 1): an ancient Scottish castle has appeared in the middle of the Thames, and the Ghostbusters find huge crowds gathering along the banks. Police, and even the army, have set up protective barriers. Worse, black slime is filling the river, spewing ghosts into the atmosphere. The Ghostbusters enter the castle via boat, and are welcomed by the staff. They explain that the team's work has helped greatly with preparing the guest of honour for some upcoming event. Kitty finds out that Swelter is pulling the spirits from the kidnapped homeless to be consumed at the banquet, but cannot defeat him by herself. The team reconvene to save the kidnapped people and escape the castle, while battling Swelter and his underlings. Despite their efforts, however, the Moonchild is ready to be born, and the castle starts collapsing into a tidal wave of black slime. Ghost(s): servants of Castle Strand (class III/IV)
  13. London's Burning (Part 2): ghosts from across the city are being pulled to the roof of the Palace of Westminster, where a rift in space has opened, unleashing unspeakable evil onto the Earth. Harmon Derrell has the team arrested, blaming them for the disappearance of Sarah from her hospital room and the uncontrolled spread of the hauntings. Dempsey's great uncle Sidney pulls some strings at the mayor's office to have them released, and while they wait, the team are met by Daniel McBride, who admits to being their e-mail contact. He has identified the other families Strand used for his experiments, which includes the Derrells, and that Strand has survived to the modern era by inhabiting new bodies every time he reaches the end of his lifespan. Once they're let go, the Ghostbusters race towards Westminster and confront Brayden Strand (in the body of Greta Armbruster) on the roof as he prepares to unshackle Sarah's full potential. Fighting past a squadron of black slime knights and a charged-up Frobisher, they decide to pull a risky move: by crossing their proton streams, the Ghostbusters destroy the portal, severing Sarah's connection to the other dimension. As Strand bellows his fury to the heavens, the Architect Demon appears one final time, whisking away the Grand Master to parts unknown. The Ghostbusters reunite the restored Sarah and her father, and enjoy a hero's welcome. They've saved the world. Ghost(s): Black Slime Knights (class VI); the Moonchild (class unknown)

https://preview.redd.it/jhcslf8fojp51.png?width=768&format=png&auto=webp&s=22df3d5892f3cf92205fb17663bacf413fd33eb9
submitted by MajorSteed to Ghostbusters_RPG

Things I wish I knew as a beginner photographer

I want to preface it by saying I'm by no means a professional photographer, but I have been at this hobby for years, tried multiple genres, done some paid jobs here and there, and as a result, can offer some advice.
  1. First thing of importance is to select a shooting mode on the camera. On top of the camera there's a knob with letters. M is for manual mode, A (or Av, "aperture priority") is for automatic shutter speed mode. I use A most of the time when taking event or lifestyle photos, and I use M when I have plenty of time to adjust the setting myself, such as landscapes and studio shots. In dark environments, I use M with auto ISO (see below). Using flash requires M as well.
  2. When in M mode, there are 3 parameters that determine how bright or dark the photo is. These parameters are shutter speed, aperture and ISO. They form a so called "exposure triangle". It's very important to learn how to balance these three parameters, because automatic exposure doesn't always apply to every situation you can find yourself in, and it doesn't know which parameters are a priority for you. Here's a quick chart explaining what each one does. https://blog.pond5.com/wp-content/uploads/2016/02/RIGHT_photography_shutter_speed_aperture_iso_che.jpg
Shutter speed is a confusingly named parameter, because it's actually a measure of time, not velocity. Shutter speed number shows how much time camera has to take in the light - it's the exposure time. Be careful about the division sign: when the number is higher, the time is lower. 1" is 1 second, 1/1000 is one millisecond. Longer the shutter speed = brighter image. Using longer values can result in motion blur. Two sources of motion blur are movements of objects in the frame, and movements of the camera itself (shaky hands). To eliminate motion blur, use shorter shutter speeds. For example, when shooting sports, I might use 1/500.
To eliminate camera shake blur, you need to know your sensor size and the focal length of your lens. For full frame sensors, the rule is to have at least (1/focal length) shutter speed or faster. So if I'm shooting with a 50mm lens, I wouldn't go slower that 1/50. For other sensors, you will need to divide this number by your crop factor. So if you have an 1.6x crop sensor, that would be around 1/80. Here's a chart for all focal lengths. https://improvephotography.com/wp-content/uploads/2016/02/minimumShutterSpeedsForMaximumSharpnessInfographic-1.png
On the other hand, be careful about shutter speeds that are too quick when shooting with a flash. Flashes generally have a sync speed of 1/250 or so, and shooting with shorter shutter speeds will result in a partially dark image. Some flashes have a higher speed option (HSS), but it comes with a number of drawbacks when activated.
Aperture - that's the hole through which the light comes inside the camera. Wider aperture = brighter image. Be careful about the division sign again, because when the number is higher, the aperture is smaller. f/2.8 and wider are wide (or "fast") apertures, and f/8 and tighter are tight. The wider is the aperture, the more blurry the background and foreground will become, keeping the main subject shrap. This is actually desirable for many photographers who like them sweet bokeh balls (on e.g. portraits) and f/1.4 or f/1.2 lenses cost a lot.
However, with a wide aperture it's really easy to miss focus, and the subject can look a little blurry. So each lens has an aperture where it produces the sharpest subject - usually f/8 or so. Beyond f/11 and tighter, background and foreground will keep getting sharper, but the image overall will get blurrier and blurrier due to diffraction, so I only shoot this tight to darken the image when shooting at longer shutter speeds.
ISO is the sensitivity of the sensor. Higher values = more noise and worse color preservation. The optimal value is 100, but the noise doesn't come up until 1024 or so, depending on your camera. Going below 100 is possible, but can affect colors as well.
So let's say you're shooting a portrait at night at 1/200, f/5.6 and ISO 100 on a 50mm f2.8 lens. The picture comes out dark. The algorithm to get a correct exposure looks like this:
a. Set your aperture to be as open as possible = f/2.8
b. If this is not enough, increase your shutter speed to 1/80 (or 1/50 if you have steady hands or inbuilt stabilizer)
c. If this is not enough, raise ISO until the picture comes out correctly exposed.
Generally, it's preferable to raise ISO rather than push shutter speed over a limit. It's because the ISO noise is easier to get rid of during photo editing, it's doesn't look as off-putting as blur, and in the worst-case scenario you can slap a B&W filter on a photo and pretend it's a film grain. That's why at night I often set my camera to maximum aperture, longest feasible shutter speed and automatic ISO. The Av mode will produce blurry images in this environment.
  1. Which lens to use? Choosing the right lens is as important as the location or the light. Prime lenses have a fixed focal length, which means they can't "zoom", but they compensate for it with better sharpness, wider apertures, and lower price. Zoom lenses can zoom in and out, but they can still be classified as wide or telephoto depending on their range.
Generally, portrait photographers lust over 50mm or 85mm primes with wide apertures like f/1.4 for the sweet blurred backgrounds, lifestyle and environmental photography needs 24-35mm to better show off the surroundings, architectural shooters love ultrawides like 16mm to make the rooms look bigger, landscape photographer would like a zoom lens with a wide range to lighten the load while hiking, and wildlife and sports photography requires very expensive telephoto lenses with large apertures, because their subjects are far away and move fast.
The kit lens, which often comes with the camera, can't really do any of these jobs well, so look to upgrade it - I would recommend a cheap 50mm f/1.8 lens for your first one. Before buying a lens, you can check out sample photos with this lens on https://pixelpeeper.com
  1. On the topic of focal length, be mindful of distortion. Shooting a portrait on anything over 35mm is going to result in weird facial shapes, because the nose will be much closer to the camera than the ears. Conversely, telephoto lenses will flatten the face like a pancake. You can see it here. https://i.pinimg.com/originals/23/f4/48/23f44824e2a4071a8408a0fed445d742.gif (Technically, it's not the focal length that matters here, but the distance to the subject)
Additionally, when shooting a group of people with a wide lens, the people on extreme left and right are going to get distorted to look wider - it can be fixed in photoshop later.
  1. Your camera can shoot photos in either JPEG or RAW format. I highly recommend selecting RAW in the settings, because this format retains more information about light and colors in the file - it utilizes the dynamic range of your camera to the fullest. This means that during editing, you'll be able to brighten up the shadows, rescue the blown-out highlights, and even change the color temperature of the light as if it was a camera setting. The downside is that RAW files are larger, and they look less contrasty without editing to preserve as much information as possible. If you don't want to do any editing whatsoever, maybe JPEG is better.
A little trick with RAW files makes use of the fact that it's easier to brighten darks, than to darken brigths. Let's say you're shooting a landscape against the bright sky - a very contrasty scene pushing the limit of your camera's dynamic range. If you keep the landscape properly exposed, the sky will turn white and dull. https://red-dot-geek.com/wp-content/uploads/2019/12/super-bright-sky.jpg But you could instead shoot darker so that no pixel in your scene is 100% white. Then you rescue the shadows during editing like here. https://petapixel.com/assets/uploads/2016/07/fujibanda_feat.jpg As a rule, with digital photos, it's better to underexpose than to overexpose.
  1. Shooting a group of people? Switch your camera to a burst mode and take 2-3 photos at once. This makes sure that if someone blinks, you can easily copy their open eyes from another photo.
  2. Shooting indoors can cause banding on your photo because of lights flickering with 50-60Hz frequency. The easy solution here it to buy a cheap flash that fits on top of your camera (a speedlight - pay attention to compatibility) and aim the flash up in the ceiling - the bright ceiling then bounces the light nicely over a large area.
  3. Inspiration! Visit subs https://www.reddit.com/ExposurePorn/ ,
    https://www.reddit.com/timelapse/ ,
    https://www.reddit.com/itookapicture/ ,
    https://www.reddit.com/SonyAlpha/ ,
watch youtubers like Thomas Heaton https://www.youtube.com/channel/UCfhW84xfA6gEc4hDK90rR1Q ,
Sean Tucker https://www.youtube.com/useseantuckermerge ,
Michael Sasser https://www.youtube.com/channel/UCHFd_RQWDeJk9ydqhXaXT7Q ,
and join a community of photographers on Discord to critique your work, receive advice, and get better together (photography has one). The fastest way to get better is to find an image you really like, and try to recreate it yourself.
Unfortunately, I can't cover the whole photography 101 in one post, plus I specialize on glamour photography, as you can see here (NSFW) https://www.instagram.com/see.elegance, so I welcome anyone with a different experience to offer their take.
submitted by Loweren to ThingsIWishIKnew

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