Download Digital Restoration from Start to Finish, Second Edition: by Ctein PDF

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Professional Photographs Professional photographers usually took better care of their photographs than amateurs, and the photographs were usually made with more care and were processed better. Until we get back into the “vintage” era, professional photographs for the most part look better than comparable amateur ones. The most notable exception is that color prints will fade regardless of how well they were processed (although the poor processing used for many cheapo commercial portraits significantly accelerated their fading), so old professional color prints may look just as bad as amateur ones of the same era.

See Chapter 4, “Getting the Photo into the Computer,” and Chapter 9, “Tips, Tricks and Enhancements” for ways to deal with this issue. Negatives Even though the majority of photographs made in the past 50 years have been negatives, most of the time you’ll work on a deteriorated print. Usually that will be because the client doesn’t have the negative, but it never hurts to ask. Original negatives, B&W or color, almost always permit better restoration than the prints made from them. 22 Chapter 1 The Big Picture Fig.

When I wrote the first edition of this book, I was working on a single-core Windows machine with 2 GB of RAM, 360 GB of hard drive storage, and a 19-inch Hitachi RasterOps CRT monitor. A better, faster system would cost well under $1000 today. Currently I do my work on a MacBook Pro with an Intel Core Duo CPU, 6 GB of RAM, dual LCD monitors, and much faster and bigger hard drives. All that extra power doesn’t only mean that software runs faster; it changes the way I use the software. In Photoshop, for example, almost every method or technique I write about in this book can be done using masked layers, adjustment layers, and smart objects and smart filters instead of executing it directly on the image file.

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