issue161:krita
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue161:krita [2020/10/07 09:30] – d52fr | issue161:krita [2020/10/08 15:49] (Version actuelle) – andre_domenech | ||
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**This series is aimed at learning to make something of the old photos in my possession, and others in the public domain due to their age. You, the reader, are welcome to tag along and I hope you glean some small insight and perhaps an idea or two from time to time. No promises are made as to quality of the content, or potential errors and omissions. I am a computer scientist, not a true artist or a professional of image restoration. So please take all this as a best effort, but with no firm guarantees — much as is the case of most open-source software. ** | **This series is aimed at learning to make something of the old photos in my possession, and others in the public domain due to their age. You, the reader, are welcome to tag along and I hope you glean some small insight and perhaps an idea or two from time to time. No promises are made as to quality of the content, or potential errors and omissions. I am a computer scientist, not a true artist or a professional of image restoration. So please take all this as a best effort, but with no firm guarantees — much as is the case of most open-source software. ** | ||
- | Cette série a pour but d' | + | Cette série a pour but d' |
**In the previous part of this series, we worked on a scene in which a lot of reverberation overloaded early light sensors, giving light colors a totally washed-out look. Since much information on details had not been retained within the image file, it was impossible or very difficult to put it back into the image through color-curve manipulation, | **In the previous part of this series, we worked on a scene in which a lot of reverberation overloaded early light sensors, giving light colors a totally washed-out look. Since much information on details had not been retained within the image file, it was impossible or very difficult to put it back into the image through color-curve manipulation, | ||
- | Dans la partie précédente de cette série, nous avons travaillé sur une scène dans laquelle l' | + | Dans la partie précédente de cette série, nous avons travaillé sur une scène dans laquelle l' |
**A quick zoom immediately shows us what the problem is here: a general lack of resolution leading to blurring and loss of details in the bronze figures that are the center of interest of this scene. The buildings in the background also exhibit a loss of details that would, quite frankly, be unacceptable in today’s world of mobile phone cameras with 12 million pixels or more, and rather more advanced physical optical systems than at the time. | **A quick zoom immediately shows us what the problem is here: a general lack of resolution leading to blurring and loss of details in the bronze figures that are the center of interest of this scene. The buildings in the background also exhibit a loss of details that would, quite frankly, be unacceptable in today’s world of mobile phone cameras with 12 million pixels or more, and rather more advanced physical optical systems than at the time. | ||
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In fact, with this picture we are in a similar quandary as in the previous image of a tree in Cheung Chau: due to the technical performance of early digital cameras, some information is missing in the image file that would be needed to produce truly sharp photos to the same standard as those produced by modern material. So, when working on this type of old photo, we cannot compete on this level. To make our image somewhat attractive among the competing glut of digital photos, we need to center ourselves on other aspects.** | In fact, with this picture we are in a similar quandary as in the previous image of a tree in Cheung Chau: due to the technical performance of early digital cameras, some information is missing in the image file that would be needed to produce truly sharp photos to the same standard as those produced by modern material. So, when working on this type of old photo, we cannot compete on this level. To make our image somewhat attractive among the competing glut of digital photos, we need to center ourselves on other aspects.** | ||
- | Un agrandissement | + | Un agrandissement |
- | En fait, avec cette image, nous avons le même dilemme qu' | + | En fait, avec cette image, nous avons le même dilemme qu' |
**In this case, the main aspects of the scene are the bronze figures, what they represent, and the general lighting which makes them stand out. We can further enhance these effects with a few simple tricks. | **In this case, the main aspects of the scene are the bronze figures, what they represent, and the general lighting which makes them stand out. We can further enhance these effects with a few simple tricks. | ||
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The first would be to crop the image, centering the figures in the field. If we keep the same image width and cut a strip out of the bottom, we gain on two counts: we center our subjects within the field, and at the same time we move to a more modern width-to-height proportion. The 4:3 ratio seen in earlier digital photos such as this one was perfect for screens of the time (remember Cathode-Ray Tube monitors?), but modern viewing devices tend to go up to the panoramic 16:9 ratio, or even higher — and photo proportions have followed suit. In Krita, this is easy to do with the crop tool.** | The first would be to crop the image, centering the figures in the field. If we keep the same image width and cut a strip out of the bottom, we gain on two counts: we center our subjects within the field, and at the same time we move to a more modern width-to-height proportion. The 4:3 ratio seen in earlier digital photos such as this one was perfect for screens of the time (remember Cathode-Ray Tube monitors?), but modern viewing devices tend to go up to the panoramic 16:9 ratio, or even higher — and photo proportions have followed suit. In Krita, this is easy to do with the crop tool.** | ||
- | Dans ce cas, les principaux aspects | + | Dans ce cas, les principaux aspects |
- | La première serait de recadrer l' | + | La première serait de recadrer l' |
**If you keep an eye on the tool options dialogue that opens when each tool is active, notice the proportion that is being calculated while placing the cropping rectangle on your image. A 16:9 proportion is about 1.78 to one; in this case I chose a slightly higher 1.8 to one proportion for an even wider effect for the scene. | **If you keep an eye on the tool options dialogue that opens when each tool is active, notice the proportion that is being calculated while placing the cropping rectangle on your image. A 16:9 proportion is about 1.78 to one; in this case I chose a slightly higher 1.8 to one proportion for an even wider effect for the scene. | ||
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To continue, let us make the bronze statues stand out from the surrounding elements. This will help us obviate the buildings in the background, but also separate our figures from elements such as the metal railings and lamp post that tend to mix themselves up with our subjects. To do this, a simple technique is to keep our figures colorized, while moving the background to black and white. To the human eye, the color bits stand out quite clearly and attention is drawn to them.** | To continue, let us make the bronze statues stand out from the surrounding elements. This will help us obviate the buildings in the background, but also separate our figures from elements such as the metal railings and lamp post that tend to mix themselves up with our subjects. To do this, a simple technique is to keep our figures colorized, while moving the background to black and white. To the human eye, the color bits stand out quite clearly and attention is drawn to them.** | ||
- | Si vous gardez un œil sur les dialogue des options des outils qui s' | + | Si vous gardez un œil sur le dialogue des options des outils qui s' |
- | Pour poursuivre, faisons ressortir les statues de bronze des éléments environnants. | + | Pour poursuivre, faisons ressortir les statues de bronze des éléments environnants. |
**To do so, one possibility is to make a copy of our color layer, using the Layers docker copy (clone?) button. Now, click on the top layer, which will probably be labeled “Copy of Layer 1” if our base image was titled “Layer 1”. Now, choose menu option Filter, Adjust and finally “Desaturate”. Accept the changes, and we now have a black-and-white version of our scene in the new layer. | **To do so, one possibility is to make a copy of our color layer, using the Layers docker copy (clone?) button. Now, click on the top layer, which will probably be labeled “Copy of Layer 1” if our base image was titled “Layer 1”. Now, choose menu option Filter, Adjust and finally “Desaturate”. Accept the changes, and we now have a black-and-white version of our scene in the new layer. | ||
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Now comes the manual work. Stay within the B/W copy layer, and choose the brush tool and one of the erasers. There are several eraser options, but the main one “Eraser Circle” will be fine for our purposes. Slowly, using small touches and a fine size, erase the statues from the black and white layer… thus revealing the colorized version beneath. Using soft touches and perhaps even reduced opacity for the eraser, the edge of the statues can be adhered to quite well, making each figure pop out quite nicely from a surrounding sea of black and white.** | Now comes the manual work. Stay within the B/W copy layer, and choose the brush tool and one of the erasers. There are several eraser options, but the main one “Eraser Circle” will be fine for our purposes. Slowly, using small touches and a fine size, erase the statues from the black and white layer… thus revealing the colorized version beneath. Using soft touches and perhaps even reduced opacity for the eraser, the edge of the statues can be adhered to quite well, making each figure pop out quite nicely from a surrounding sea of black and white.** | ||
- | Pour le faire, une possibilité est de faire une copie de notre calque coloré, en utilisant le bouton Dupliquer un calque (cloner ?) du panneau Calques. Maintenant, cliquez sur le calque du haut, qui sera probablement « copie de Calque 1 » si notre image de base était intitulée « Calque 1 ». Maintenant, choisissez l' | + | Pour le faire, une possibilité est de faire une copie de notre calque coloré, en utilisant le bouton Dupliquer un calque (cloner ?) du panneau Calques. Maintenant, cliquez sur le calque du haut, qui sera probablement « copie de Calque 1 » si notre image de base était intitulée « Calque 1 ». Maintenant, choisissez l' |
- | Et maintenant, du travail manuel. Restez sur le calque de la copie en N& | + | Et maintenant, du travail manuel. Restez sur le calque de la copie en noir et blanc et choisissez l' |
**The eye can now distinguish more easily between the figures, and their background. To complete our image, the background – which is still in the top layer – can be made a touch lighter using the tool in Filter > Adjust > Color adjustment curves. In this case, I raised luminosity slightly for all lighting levels, but made sure this effect was more evident on darker colors. Since the figures in this scene are rather dark-colored, | **The eye can now distinguish more easily between the figures, and their background. To complete our image, the background – which is still in the top layer – can be made a touch lighter using the tool in Filter > Adjust > Color adjustment curves. In this case, I raised luminosity slightly for all lighting levels, but made sure this effect was more evident on darker colors. Since the figures in this scene are rather dark-colored, | ||
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In the next (and final) part of this series on using Krita to rework old photos, we will stay with early digital images and work on color density and enhancement. Until then, take care!** | In the next (and final) part of this series on using Krita to rework old photos, we will stay with early digital images and work on color density and enhancement. Until then, take care!** | ||
- | L'œil peut maintenant distinguer plus facilement les personnages de leur environnement. Pour terminer l' | + | L'œil peut maintenant distinguer plus facilement les personnages de leur environnement. Pour terminer l' |
La technique décrite est souvent utilisée dans les restaurations de photos dans des musées, mais peut être intéressante dans d' | La technique décrite est souvent utilisée dans les restaurations de photos dans des musées, mais peut être intéressante dans d' | ||
- | Dans la prochaine (et dernière) partie de la série sur l' | + | Dans la prochaine (et dernière) partie de la série sur l' |
issue161/krita.1602055803.txt.gz · Dernière modification : 2020/10/07 09:30 de d52fr