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REPORTING M/S ADOBE ABOUT THEIR ALL PROBABLE PLAGIARISM
Firstly what it's all that I have just been repeatably referring as grievous mistake,that may appear to a simple one by
Adobe in their photoshop 7, although it has been far advanced by 3 new updates, in the passing years
... I assume I am Probably the only one to point out a grievous mistake so blatantly ever in the modern world of history
of designing & layout of image content, [in the layout of Logo itself or the opening image as you may prefer to call
it] presumably by the masters of software major on image editing .
an extract from what I have written to them in my earlier letter:
.................... Neglecting to adopt the path of Flash-selection only shows the nuances of photography at practice
is not yet fully explored /supported, than as much importance given, in the in point of view of developing a package of software.
The following expresses such an issue in a subtle manner
one such is for e.g., is that the most familiar one of an image of a filter held infront of an eye shown at the startup
of the Photoshop image-editing program [ver 7 and prior] while it loads. It happens to be a polarizing filter that has a
place even in the digital photography, which normally has a filter factor of 1.5 to 2 stops and known for improving the saturation
when a scenery is photographed and for it's special ability to darken the blue sky. It is mysteries why neither of these
factors were gone unnoticed by M/s ADOBE in their design, or reported by any of the million users and practicing photographers.
I am specific to point out this, because, I believe it could be considered as a great mistake in itself, in the environ
of Designing world as the Photoshop is trusted by the Lay-out Artists and Photographers as their best image editing tool,
such that M/s Adobe in the position of a Guru could not afford to commit such mistakes as well as gone unnoticed for such
a long time.
This letter is intended to highlight an issue linked to M/S ADOBE photoshop and how it fails to address
a photographic situation of generic nature although it incessantly innovate to proceed for new version periodically. I am
here try to explain with a basic diagrams that is yet not have been published, but exclusively to M/s ADOBE so that they could
give a consideration at the earliest. The whole issue depends on how quick a response is and suggested to me of a proper
exploitation in future, subsequent to only after gaining my permission . Then again this letter is meant for the benefit of
a logical doubt, that a team although as highly trained and skillful they might be with the aspects of software development,
but there exist a lot of possibility that they not necessarily or never they could be dedicative / innovative enough, as compared
to a photographer specializing his respective field and the learning of nuances that a practical photographic situation provide.
The very designing of layout Photoshop 7 as mentioned in my earlier letter given me such a clue, it seems I could locate many
more had I given a sincere try, but I trying what I could do technically.
Heard little louder it probably may seems, but on many such a situation, Flash-selection.. is the one that
could advise a workable solution through multi-exposure, and has been professed for a long time. Consider a basic photographic
situation such as the one I have depicted under the name of casual photograph at my web site of http://photohifx.tripod.com.
Within Photoshop in the context of how the above work could be met with, the blending option of Lighten, Darken or Pin-light
mode are the only few usable option one could think of, which have the provision to compare one frame (layer) against another
at-least* ...said this because when there is non availability of any alternate tools, also when the above mentioned options
probably would not come as a Saviour in a truer sense had such problem has occurred. It would then be defended by saying,
basically the pin-light mode and the other numerous kinds of lights are not meant for such purpose, but for special effects
purposes affirmed in the documentation of photoshop's help file.
Then what could be said about the HDR tool– the expansion may be read as Heinous
Devils Resurrected for a newly found passion for posterisation, unfortunately dislocated in to photography in the name of
modern art while imitating Pablo Picasso. So much so are the pictures they try to contrive which bears witness to it. I
have some more questions pertains to efficiency of Touch-up brush of Corel-paint-12 which very much out performs the Healing
brush of CS2 in a manner how we do painting and for a smooth touch up, the absence in CS2, of a smudge tool as that of Corel
which again is very much usable tool in a touch-up work,as a proff with a classical reference, one such is a Drawing sequence
of a pencil sketch in the very popular Movie of TITANIC. Another complain is a Improper functionality of Hue mode in unison
with various painting tools. I am raising the flaws from the point of view of a Novice as I am. But it demonstrate how a image-editing
package has yet to evolve more and serves to curiously inquire curiously whether, it is a conspired strategy that the disadvantages
of HDR is underplayed, I prefer to write about them on another occasion.
Getting back to topic of various modes lighting of photoshop, with every possible permutation a photographer
could wish him self and convinced everything well set & simpler it may seems to deal with any given situation of photography
under the sun or in conjunction with man made light. Because on all likely hood as one could normally assume, that given with
two frames (layers) to be compared, the entire image area of one frame should only be either Lighter or Darker than the other,
logically when subjected to two different exposures. As if the existing ones are not sufficient, the other some what more
evolved mode, interestingly named as pin-light which is governed by rules explained in a simplified manner, for comprehensibility
for a reader ..by the author: Deke Mc celland in his book of Photoshop for Dummies is as follows.
Pin-light:: A mode which replaces colours depending on the colour of the top layer. If the colours are lighter than 50%
gray, pixels on the underlying layer that are darker than the top layer are replaced. The lighter pixels don't change. If
the colours are darker than 50% gray, pixels on the underlying layer that are lighter than the top layer are replaced while
the darker pixels are unaffected.
But as per more authenticity of M/S Adobe themselves in their help file describes :
Pin Light : Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than
50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend
color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do
not change. This is useful for adding special effects to an image.
For anyone these terminologies such as Light source, Base/Blend Colour by which the pinlight and others are described
are not only confusing, more so when the definition of these crucial ones missing or explained only very briefly in a few
words, that is not clear enough even if someone could explore through the whole of help file in 700 or so pages of PhotoshopCS2
or in the book .
Proceeding herewith a depiction [yet to be published at my web site] with simple explanation that would show why flash-selection
should be considered superior, than any option available or with partial capability they to deal, so that one has to work
it around with an image editing software for example ADOBE photoshop .
My site: http://photohifx.tripod.com
=consider a comfortable working condition under sunlight a shutter & aperture combination provided
is f:5.6 @ 1/60th.sec. Then further, for the sake of convenience lets say 8 quanta or photon or in other words, simply
as units of light would have then reflected off the moderately lit area for eg : the body region to pass through the lens
at that given EV [exposure value] combination as above. Similarly 16 units from the leg region of overly lit area and only
4 units from the shadowy part of the face emanating from..suggestive
= Then let me say the light from the flash mounted on the camera
that could manage to have a equal influence by balancing the ambient sunlight at the body region as
having a contribution by adding another8 units of light. Then the total power of light there
is assumed to be 16units. Hence cumulative power of light on other regions could be calculated as
follows :
4units from sunlight 8units from sunlight 16units from
sunlight
8units of flashlight 8units from flashlight 8units
from flashlight
Total= 12 units Total=16 units Total
=24 units
The ratio of lighting with sun light alone is : 1: 2 : 4
The ratio of lighting along with flashing is : 1: 1.5 : 2
*disregard the reduced lighting radio of 1: 1.5 : 2 sited here which is for no other reason but for simplification
and the variables associated to reflective property of the subject for a moment.
Due to cumulative [accumulated] power of light of both sources... meaning the light from a Flash and that of the sun we
normally have to close down the aperture to one more stop..ie:f:8...which results in light transmitted to a net value of the
so called units or quanta of light corresponding to the three different areas to become :
lowly lit area}@6units ......moderately lit area}@8units ....highly lit area} @12units
One could guess what happens if the lighting of the Flash-Light is increased by a factor, twice as that of above....Then
the ratio of lighting reduced to 1: 1.2 : 1.5
Increasing the Flash-power by yet another one more factor
....The ratio of lighting becomes 1: 1.1 : 1.2
note:You can step up the shutter speed instead that's another arithmetics untouched for a moment
Lets explore what photoshop offers with when two frames are layered subjected to atleast three of the blending options
the Lighten, Darken and Pin-light.
Among the two Frames Exposure[A] is made under sun-light alone,the Exposure[B] is with flashlight is combined. a1,a2,a3
are areas of highlight, midtone and shadow respectively so is b1,b2,b3.
Exposure [A] @f8 due to sunlight: highlight a1=2units midtone a2=4units shadow a3=8 units
Exposure [B] @f8 flashlight added :
b1: 2+4 =6 units b2: 4+4= 8units
b3: 8+4=12units
Blended on layering with Lighten mode, the resultant image would be nothing but an image taken with flashing similar
to image of Exposure[B]. It is Understandable what could be expected from mode of Darken. If that is the case eager to see
what Pinlight has to offer?
With a sincere effort to follow the specification of pin light more closely, as per Deke
Mc celland and as per the specification that gives reference to colours that are lighter than 50% grey ie., the highlight
region of the image at the top layer to be lighter than a layer at the bottom, then the order of layering has to be an image
that was taken with flash along with in-combination of sunlight at the top while the image that was taken purely with sun-light
[with no fill light] layered at the bottom, and the study shows what happens to the other areas of the image.
The blending in pin-light, notably as stated by ADOBE or as per the book:
highlight representation as that of...b1
midtone representation as that of b2 or a2
a shadow representation as that of ..b3 [no effect takes place as area a3is more dark]
The inferance as per what I have came across with pin-light is.
shadow representation as that of a1
midtone representation as that of b2 or a2
highlight representation as that of a3
If the above said is not descriptive enough of my technique and about Pin-light, lets take another look, firstly
I do wish to rewrite little differently than what the author Deke Mc celland intends to say but more sensibly than M/S ADOBE
in describing a feature of their own. This is for the benefit of general audience because this is how I have seen it working.
Pin-light:: A mode which replaces colours depending on the colour of the top layer. If the colours are lighter
than 50% grey, the pixels on the underlying layer that are darker than the top layer replaces the top ones. The lighter pixels
don't change. If the colours are darker than 50% grey, while the pixels on the underlying layer happens to be more darker
it replaces the top layer and the darker pixels are unaffected.
Lets make a retry to analyse the same case little more differently by layering a relatively darker image on top
of another lighter one that's only reaffirm that the technique will not provide a workable solution for sure.
Instead of comparing frames derived from different pattern of lighting, below is the comparison made where the
2nd frame is actually a darkened version of the first frame, to demonstrate how pin-light has no scope even for a studio picture
taken under control. Instead of three regions taken in to consideration we shall simplify it into areas of left half of the
face normally lit and the other half of face little bit overly lit such that the face tone is a little washed out as in picture:(a)
and the darkened version is the picture:(b) that is intended to compared against the previous lighter one one shown as below.
The overly lit areas [highlight] that is considered to be much brighter than than 50% grey depicted by a circle
of complete white. Then one could recognise the other 3/4th area of the circle in grey as a depiction of a moderately lit
but an area of shadow that is suppose to be darker than 50% grey, has relevancy to picture:(a).
The circle with 1/4th of it's area in Grey, corresponding to same high-light part of the above picture but has been little
darkened and designated as picture:(b), similarly the whole circle in grey is representative of above shadow part but darkened.
A complete White circle representing the brighter
.half of the face where the detail has some what
washed out.
A 3/4th area greyed out symbolizing shadow
area that is darker than 50% Grey
logically the righter half of the face that gets a
gain of more detail on skin tone when the whole
picture darkened a bit shown as1/4th area greyed.
In doing so the details on the left half of the face gets
lost in the darkness therefore depicted as circle with total area as greyed
I am afraid the subtle variation won't show up on a print out, hence I preferred to express with block diagram. In practice
if the if the picture2 a darker version layered on top of Picture1 with pin =light what we would get is:
= = This is nothing but a picture prior to we have
simulated a darker picture from a lighter one
Reverting back to What if tried vice versa ie., layering a lighter picture on top of darker picture ?
encouraged are you with a result some thing similar to this ? >>
Apart from that I am not sure what a 50% Grey when a specific Colour is converted to achromatic, We in this part of world
is comfortable with Grey instead of Gray, if not for how colour is spelled. Also similar is, a incidence when cryptic message
given out while photoshop is writing a file in PSD or TIFF or any other Format which says..writing photoshop format, how it
would be writing in photoshop format instead.
Actually what it should be noted is the case, where with all these permutation it has only failed to solve the problem
of a typical photographic situation. The Luck could save an opportunistic Fisherman, as he could blame the net not knitted
properly for fishes have escaped through the mesh. Similar is in the case of a hacker failing even after a Brute-force or
with a Dictionary attack. But for a software solution ushered with so-much recognition, it suppose to has be 100% fail proof.
Call it as layering or compositing, or bringing out another mode strangely or confusingly named such as perfect/Picasso
lighting like the vivid,hard,linear-lighting already were, disregarding the nomenclature,imitating the capabilities of what
Flash-selection is not only unethical but an act of plagiarism.
So what is technical about Flash-selection, the actual aspect one would be interested of rather than a word
play as I myself is poor in grammar. Flash-selection is based on Multi-exposure and comparing one frame against the other
is the basic routine as a solution to solve such and for an assortment of typical photographic situations has been propounded
by flash-selection. Here for an example multi-exposure is executed where one frame exposed purely by means of sun-light and
another frame using sunlight combined with an additional light from a flash, provides that required frames for comparison
of flash-selection. It is the best and the only probable solution to provide a balanced picture and helps to prevent the
tendency of flash-light over-killing the natural light, when using a flash is a must for a professional output. Let explore
some aspects behind Flash-selection.
First off we are going to see as below that an addition of filler light from a flash, the light added would have more
impact on the shadow areas, the moderately lit area would have almost an equal impact, while the overly lit area is least
influenced by the additional light from the flash.
The inference we get from the above fill Flash attempt as follows:
If we compare the rate of influence of sun-light the only Light that was available prior to Flashing, so treating it
as the base unit upon which how the flashlight of assumed power of increment acts in the successive steps over the three areas
that are respective to shadow , mid-tone and high-light,the observed ratio would be.
at underly lit area } 1 :2 :7 :15
at moderately lit area} 1 :2 :4 : 8
at overly lit area} 1:1.5: 2.5 :4.5
** provided of course if only my arithmetic is good enough.
That is the key ingredient to form a logic where we have become enabled now to balance / fine-tune the
areas of either shadow or highly lit areas by holding on moderately lit area or any areas individually, which in software
parlance it is called as selection. In other words we now could able a proper meaning to areas demarcated as shadows, where
an area is moderately or highly lit.
we know what happens what it is the case, when we try to impose a more powerful filler-light,....it overkills the character,
the beauty of lighting the essence of creative photography
1.note: this example should not be taken as an excuse for some how managing to take photograph with the available light
only... the theology of HDR Technique, considered not as a professionalism any way. I could observe from many of the scientifically
inclined articles on HDR fail to realise to give a proper meaning to the basic ingredients the Depth of field in land-scape
photography.
We also do witness such spoiling nature in photography after bigger soft-box and more powerful light came into existence
and unfortunately even a many among those professionals doesn't know how to use it way so subtly. Flash selection extends
the creative possibility. It should not be underestimated that Flash-selection is meant for such a mean situation as casual
photography, actually it is conceived from the perspective of highly skilled areas of photography such as industrial photography
in mind.
Here at times, with pity diagrams the things appeared like a play at Kinder-garden
But what it matters is does Adobe has a solution... Flashing is very remote to HDR.
Hope m/s ADOBE wish to include these ideas in Photoshop.
My Later addition :
take a note: recently I notice ms Condi the senior secretary to the President is wearing full pant these days...Did
my writing influenced her?
Ref www.anynewstoday.livejournal.com If then she simply inspires by lending her receptive ears, respecting a feeble
democratic voice, or merely incidental, a mirage it is? scintillating persona she is, the effort I made worked so easily,
any way thank you. How about I could have achieved my intended tech efforts to become successful instantaneously without
the pains I am undergoing all these years .
But unfortunately similar Gesture is not forthcoming from either m/s ADOBE Inc. or M/s Forbes representing M/s Smart photography.
I don't believe in whipping any more either, or for the sheer fear of inviting unnecessary trouble, in a world that belong
to predators of mankind. I mean there stand a chance of a shameful act by the majors that my Ideas may get plagiarized before
I could gain sufficient power to defend, for I am a poor David compared against those Goliaths. I have only written them more
details of my ideas, ... keep waiting with no acknowledgments for many of my letters, which shows what their intention is,
for which any number of palpable reason can be given as an excuse . So I resort to my pen and the community, that could do
some thing to change it
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