Sorry if it sounded like I was chewing you. It was not my intention at all, but I wanted to direct you to the correct procedure, that you already followed. From your explanation it sounded like you moved, and not the original photo, and the fact that the bubbles are illuminated in the same spot seemed to corellate it. Noel might be on something with the fact that the edges might be worn on the same side...
Good work, Noel!
Thank you PECourtejoie! I was feeling intimidated... I am guessing a lot of people do not try as they should and when someone sees something to indicate directions weren't followed properly it's assumed to be the case. I have learned Adobe by following directions via youtube. When I first got the program, I was like huh? I was very intimidated by it and didn't touch it for about a month as I considered whether to let it go for it being so alien to me or to see what I could gain from it... You tube and then Adobe TV Russell Brown and some others but mostly Russell Brown... Got me over my intimidation and then I saw it was actually fun... As I have learned, some of the first procedures I learned are rather boring now, ha! I am looking at getting the entire program for photography but I will wait and see... This is my second version of Adobe PSP... I have broadened my learning area with the CS5 version... The first version I used mostly for black and white photo restoration. I had that one for 7 or so years. I don't think I will ever see a photo like this one that has kicked my hiney... I wouldn't be doing this if it wasn't so important to our friend. The way he described it I thought it would be an easy thing to fix... Had he said it looked like it was printed on bubble wrap I would have said that's too big for me! He is proud of the photo and displays it and I don't blame him.... I am sure it gives him comfort as he heals from his loss. He wanted a larger image of it... I am hoping I can get a 16x20 out of it.... I just want everyone to know and believe that I am trying and following directions to the best of my ability... I am not here to waste your time as that isn't something I think highly of. I could misunderstand and I could do something wrong but it's due to effort no skepticism... I did not understand Noel's request but I understood that he understood it and I came here for help and trusting those helping me... I could not clear the image with the 4 and 8 shots I took on the porch... I have 2 extras as well as they are from the first set where 2 shots blurred leaving me with 2 workable images so I got 10 shots according to Noel's directions. If he wanted me to stand outside and block the sun with my body... I think if I was going to walk around the image I would have done it on the kitchen table and walked around it not worrying with the wind and sun, ha! I understood the lighting was the key although I did not understand how or why. Especially when I didn;t get good results from it. I am amazed that ADOBE does not have a "fix" for this... Russell Brown needs another fix it video using an image printed on bubble wrap, ha! I do appreciate the help you all are giving me... It means a lot! Especially Noel with his patience and understanding as well as his confidence in himself and the confidence you all show towards him! Just don't doubt me and my ability to follow instructions as it makes me doubt too and I am confident I don't have a clue with this photo... THANK YOU!
I am in awe!!! I don't know what else to say!!!! Incredible, magnificent, splendid...They all fit! This is genius and magical! You rock!!!! WOW!!!! I didn't know what to expect but this exceeds anything I could have imagined!!! Thank you!!!!! I need to go and compose myself as I am sitting here beside myself! hehehehe
I started with the 4 raw files you sent, and combined them - which was a bit more of a challenge than I had thought it would be because you shot them at some pretty different angles.
The basic technique once I got the composite image, to get rid of the pattern was to duplicate the image, do a Filter - Other - High Pass, invert the result, then mix it with the original using Overlay blending. But that doesn't fix it all in one shot. I went into significantly more steps, and actually combined 3 adjacent "bubble cells" to make the High Pass output more clean and consistent from "bubble" to "bubble". Also, I adjusted the result with Levels, and actually iterated the entire process 3 times, as each successive "Low Pass" operation left some high frequency artifacts.
The overall result was less "bubbly", but had quite a bit of banding remaining, owing to the tops of the "bubbles" being lighter overall than the bottoms, so I employed my Horizontal Banding Noise Reduction filter that's part of one of my commercial actions sets, and that really tidied up the remaining banding.
To color the burned-out spots on her face I just sampled some nearby skin color, then set up a fuzzy-edged brush to do Color blending at partial opacity and painted over them.
I did a lot of spot removal with the Spot Healing Brush set to Content Aware.
Lastly, I'm happy to report I edited for hours and hours straight, using a lot of gee whiz Photoshop features on a multilayer 20+ megapixel image without a single Photoshop glitch or failure, which really proved out the quality of the ATI Catalyst 12.3 display drivers I recently downloaded.
To be honest.. I did not want to reveal what I had shot as the photography was sloppy! The wind was a problem for me and where I live it's always windy until the sun goes down and the wind stops for a few hours. It allows the mosquitos to come out and feed and prevents most from enjoying summer evenings on the porch.. I was more worried the photo would blow away, get messed up somehow etc... I knew I could line them up later.. I am sorry for my sloppiness. I did consider waiting until the sun was up and the porch would be shaded but I also wanted to do as you directed. I have spent a lot of hours "popping bubbles" and still have a ways to go to get it done. In between I would play and look for some other way! I sent you an email inquiring about your add ons and my desire to try and duplicate what you have done as the learning potential is great for me.... The ones for this image and my options for the astroimagery being applied for distant landscape photography and atmosphere haze... As for the catalyst thing... I don't know what that is but I can relate to photoshop situations that are less desirable. Congratulations on the success of your other projects! I can't say THANK YOU enough!!!
Don't worry about it being "sloppy"; what you shot made fine input for what I needed - it was nice and sharp. Photoshop did most of the alignment work. I just had to tweak it a bit. It turns out the little "bubbles" made it easier to achieve near perfect pixel alignment between the four exposures.
I wanted to stop by and say thank you again. My friend wanted the photo to a beach like background and I finally got it as good as I am going to get it for him. He is happy with it and that's what matters. I thought you would be interested in seeing the final product of this photo conundrum! The sand dunes is a photo I took on Ocracoke Island. The clarity in it is much better than I could reach with my friend's mom. He likes it anyways. He has a 16x20 print of this and a cd copy of it as well as the one with the background changed from the original which is the 2nd image. Thank you all again for your help and advice. Noel my hat is off to you!!!!
I realize that I'm rather late to this discussion, but found it researching 64-bit FFT filters.
First of all, outstanding job, and suggestions by everyone! About 20 years ago, I had a commercial film photography studio and darkroom, and used to shoot lots of 4"x5" transparencies for oil painters on canvas, to be used for reproduction. I used two studio strobes with vertical polarizing filters on them, and then had a horizontally positioned filter on the camera. This would eliminate ALL reflections from the lighting on the shiny paint and canvas. Understand, this was done pre-digital, and circular polarizers are preferred to linear polarizers now, due to metering and autofocus issues, but apparently would still probably work on a DSLR with a little experimentation.
There was another trick I learned to illuminate the inside of a cylinder evenly, which is to place a sheet of glass at a 45 degree angle right over the (object/artwork,) illuminate it from the side, and shoot it from the top. This puts (a percentage) of your lighting on the same exact axis with the camera.
On a third note, it's entirely possible that the paper was textured before the emulsion was applied, depositing more emulsion in the low areas, causing them to be darker. At any rate, I doubt there's anthing you could do that would look better than what you have now. Hopefully, my tips may help someone with a project in the future.
Thanks for your contribution, Jamie. I like the idea of using the 45 degree glass to directly illuminate the subject. A friend of mine has a circular flash that fits around lenses to do direct lighting (especially useful for macros)..
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