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menzelrobovision-blog · 6 months

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Choosing the Right Machine Vision Lens: A Comprehensive Guide

Machine vision technology has rapidly evolved, and selecting the appropriate lens for your application is now more critical than ever. With the wide variety of lenses available, choosing the right one can be a daunting task. However, by considering a few key factors, you can make an informed decision that will significantly impact the performance and image quality of your machine vision system. In this comprehensive guide, we will delve into the various aspects of selecting the perfect machine vision lens to meet your specific needs.

Fixed, Varifocal, or Zoom:

The first decision to make when choosing a machine vision lens is whether you need a fixed, varifocal, or zoom lens. Each of these options has its own set of advantages and is suited for different applications.

Fixed Lenses: Fixed lenses are an excellent choice when you have a consistent working distance and require sharp, high-quality images. These lenses have a fixed focal length, meaning they do not offer the flexibility to adjust the zoom or focus. If your application involves stationary objects or a controlled environment where the working distance remains constant, a fixed lens is a cost-effective and reliable choice.

Varifocal Lenses: Varifocal lenses are designed for situations where the subject is in motion or may require frequent refocusing. These lenses offer the flexibility to adjust the focal length and focus, making them ideal for applications that involve objects at varying distances. Varifocal lenses can save time and effort by allowing you to adapt to changing conditions without replacing the lens.

Zoom Lenses: Zoom lenses are the most versatile of the three options. They can adapt to distant subjects by changing the focal length, providing you with the ability to zoom in or out as needed. This adaptability is particularly valuable in applications where the working distance is not constant, or when you need to capture fine details in both nearby and faraway subjects. While zoom lenses offer flexibility, they are typically larger and more complex, which can result in a higher cost.

Focal Length and Focus:

The focal length of a machine vision lens plays a crucial role in determining the field of view (FOV) and the magnification of the image. Understanding how to choose the right focal length is essential for capturing the desired image.

Field of View (FOV): The focal length directly affects the FOV. A longer focal length will provide a narrower FOV, which means the lens will capture a smaller area with greater detail. Conversely, a shorter focal length lens will result in a broader FOV, allowing you to capture a larger area but with less magnification. When selecting the focal length, consider the size of the objects or areas you need to capture in your application.

Magnification: In addition to FOV, the focal length also determines the magnification of the image. Longer focal lengths result in greater magnification, making them suitable for applications where fine details are essential. Shorter focal lengths, on the other hand, provide lower magnification but are ideal for applications where capturing a larger area is a priority.

To choose the right focal length for your machine vision lens, you need to have a clear understanding of your application's requirements and objectives. Analyze the size and details of the objects you are inspecting to determine the optimal focal length for your specific case.

Aperture and Lighting:

The relationship between aperture and lighting is critical for achieving the desired depth of field and image quality in machine vision applications.

Aperture: The aperture of a lens controls the amount of light that enters the camera sensor. It is typically represented by an f-number (e.g., f/2.8). A smaller f-number indicates a wider aperture, allowing more light to enter, while a larger f-number means a narrower aperture, which restricts the amount of light. Selecting the right aperture is essential to achieve the desired depth of field.

Depth of Field (DOF): The depth of field is the range within which objects appear acceptably sharp in an image. It is influenced by the aperture size, with wider apertures producing a shallower DOF and narrower apertures providing a deeper DOF. The choice of aperture depends on your application's requirements. If you need to capture fine details in a specific focal plane, a narrow aperture might be suitable. For situations where multiple objects at varying distances must be in focus, a wider aperture may be preferable.

Consider the lighting conditions of your environment, the specific requirements of your application, and the depth of field you need to achieve when selecting the aperture for your machine vision lens.

Resolution and Accuracy:

When it comes to machine vision, resolution and accuracy are paramount. To ensure the best results, you must find a lens that offers the highest resolution for your subject or operation. Consider various factors, including image clarity, application demands, available options, and cost-benefit analysis.

Resolution: Resolution refers to the lens's ability to capture fine details in an image. Higher resolution lenses produce sharper and more detailed images, which can be crucial for applications that require precision, such as quality control and measurements.

Application: The specific application of your machine vision system will dictate the level of resolution required. If you are inspecting small electronic components, you will need a lens with exceptional resolution to detect defects. On the other hand, if your application involves monitoring large industrial processes, a lower resolution lens may suffice.

Cost-Benefit Analysis: While higher resolution lenses offer superior image quality, they can be more expensive. Therefore, it's essential to perform a cost-benefit analysis to determine the optimal balance between resolution and cost for your application.

By carefully considering these factors, you can select a machine vision lens that provides the resolution and accuracy required for your specific needs.

Working Distance:

Selecting the correct working distance is crucial when choosing a machine vision lens. Designers calculate the needed working distance using various factors, including focal length, the length of the inspected object, sensor size, and the size of the objects being observed.

Focal Length and Working Distance: The focal length of the lens plays a significant role in determining the working distance. A longer focal length results in a greater working distance, while a shorter focal length is associated with a shorter working distance. To ensure that the lens can effectively capture the desired field of view, it is essential to match the focal length to the working distance required for your application.

Object Size: Another factor to consider is the size of the objects you are inspecting. If your application involves large objects, you may need a lens with a longer working distance to maintain a suitable field of view.

By carefully calculating the working distance based on the focal length, object size, and other parameters, you can ensure that the lens you choose is perfectly suited to your application's requirements.

Sensor Compatibility:

Different sensors require different lenses, and it's crucial to select a lens that is compatible with your camera's sensor type and size. Sensor compatibility directly affects the image quality and the lens's ability to cover the desired field of view.

Sensor Size: The size of the camera sensor influences the field of view. Smaller pixel sensors require higher resolution lenses to achieve better image quality, as they capture more detail in a smaller area. In contrast, larger sensors require larger lenses to cover the same field of view.

Sensor Type: The type of sensor, whether it's a CCD or CMOS sensor, also plays a role in sensor compatibility. Different sensors have varying sensitivity to light and may require adjustments in the lens to optimize image quality.

When selecting a machine vision lens, consider the sensor size and type of your camera to ensure that the lens can effectively cover the desired field of view and produce high-quality images. Matching the lens to the sensor is essential for achieving the best results in your machine vision application.

Camera, Mount, and Location:

Compatibility with your camera and its physical location is another critical aspect of choosing the right machine vision lens. Ensuring that the lens aligns with the camera's sensor type and mount is essential for seamless integration.

Camera Sensor Type: Confirm that the lens is compatible with the sensor type of your camera, whether it's a CCD or CMOS sensor. Mismatched sensors and lenses can result in reduced image quality and potential compatibility issues.

Lens Mount: Different cameras use various lens mounts, such as C-mount or CS-mount. Ensure that your lens choice matches the camera's lens mount to facilitate easy installation. An incompatible mount can lead to alignment problems and may require additional adapters or adjustments.

Camera Location: Consider the physical location of the camera in your machine vision system. If the camera is difficult to access, you may want to opt for a lens with remote focus, iris, and zoom control capabilities. For instance, the LensConnect Series offers power and control through USB, allowing you to remotely adjust focus, zoom (in the case of varifocal lenses), and iris. This feature can simplify camera setup and maintenance, particularly in industrial or hard-to-reach environments.

Choosing a lens that seamlessly integrates with your camera and its location is essential for ensuring the optimal performance of your machine vision system.

Conclusion:

Selecting the right machine vision lens is a crucial decision that directly impacts the performance and image quality of your vision system. Before making your choice, consider the following key factors:

Fixed, Varifocal, or Zoom: Determine whether your application requires a fixed, varifocal, or zoom lens based on the working distance and subject characteristics.

Focal Length and Focus: Choose the focal length that aligns with your field of view and magnification requirements.

Aperture and Lighting: Select the appropriate aperture to achieve the desired depth of field and image quality based on your lighting conditions.

Resolution and Accuracy: Consider the application's demands and perform a cost-benefit analysis to determine the required resolution for your lens.

Working Distance: Calculate the working distance based on focal length, object size, and other factors to ensure the lens effectively captures the desired field of view.

Sensor Compatibility: Match the lens to your camera's sensor type and size to optimize image quality.

Camera, Mount, and Location: Ensure compatibility between the lens and your camera's sensor type, lens mount, and the camera's physical location.

By thoroughly evaluating these factors and understanding your specific application's needs, you can make an informed decision and select the best machine vision lens to achieve exceptional results in your machine vision system . Information flows from the lens first, so choosing the right lens is a fundamental step in the success of your machine vision project. To Know More About Machine Vision Lens Visit:http://mvrpl.com/index.html

#Machine vision lens #lens selection #focal length #aperture #resolution #working distance #sensor compatibility #image quality #camera integration #varifocal lens #fixed lens #zoom lens.

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superiorcctv · 6 months

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SWIR Fixed Focal Length Lenses

SUPERIOR® Optics is a renowned manufacturer of SWIR Fixed Focal Length Lenses, designed to excel in the Short-Wave Infrared (SWIR) spectrum. These lenses are engineered to deliver exceptional imaging performance for a wide range of applications, including scientific research, industrial inspection, and security. With a focus on precision and advanced optical technology, SUPERIOR® Optics' SWIR lenses provide superior clarity and reliability for capturing images in the SWIR wavelength range. Their commitment to excellence makes them a trusted choice for professionals and industries seeking high-quality lenses tailored to SWIR imaging needs.

#SWIR Fixed Focal Length Lenses #cctv #cctv camera #Security

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ishcliff · 20 days

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the more of moby dick i read, the more i think it's kind of interesting that a lot of the criticism i see for canto V is actually in the ways where it's an extremely faithful adaptation in spirit.

dante seems to be intended to be the book!ishmael to ishmael's book!ahab. dante is the inquisitive one to ishmael's cold dismissal, and they are the one who is drawn into the tale of the hardened, half-mad sailor whose pain is immeasurable at the hands of an entity that stole something important from her. they are the narrator and the witness to the rest of the crew contemplating the safety of their lives with her at the helm of this journey.

in limbus, the journey meanders a bit and explores how people live and die on the great lake. culture and worldbuilding are a focal point, to a degree – if anything, i think even more time should have been spent exploring what it means to live in such an environment.

this meandering of course echoes moby dick. one of the main themes of the novel is how it's human nature to rebel against the cold, harsh, uncaring realities of the world. some people like to joke about it, but the pages on pages spent detailing the structure of ships and the mechanics of the whaling industry is entirely related to the plot. in fact, i would go as far as to say they are one of the most important parts of it.

these ships exist in spite of the ease of simply staying on land, making the unsurvivable survivable. the whaling industry is representative of the collective growth of humans in a technological sense, as whales were integral to many aspects of modernization.

compare this to the laws of the lake – the ways in which nature, the world, or god in moby dick ultimately cannot be defied, even with the power of human nature. as ishmael says, human logic does not apply to these rules. and, said rather than shown, each part of the lake possesses its own culture and identity relative to the others based around that region's specific almighty laws.

the collective whole of the great lake divided into smaller sections resembles the way moby dick is often referred to as "the great (us)american novel". moby dick is also about the importance of diversity, and goes to great lengths to celebrate the different cultures of each state or even city meaningful time is spent in. it's a character study, where the united states itself is the character, and the ways in which social expectations divide but also unite others. and, unfortunately, defiance of that order has its own consequences.

despite the title of the novel, the whale itself is not the focal point of the story; the actual encounter is towards the very end of the book, and is written in a few paragraphs. of course, this echoes the nature of the dungeon at the end of the canto, where we finally get what we were under the impression we'd get.

i dunno. i think it kinda fucking rules, tbh, and is an extremely creative way to adapt the story while staying true to limbus's setting and main idea/message.

in a way, canto V is secretly something of a "fix-it fic" for moby dick's ahab, but in ishmael's name.

this post is getting pretty long for something i didn't intend to be a more formally structured analysis, but i have been thinking about it for a while. so for now, cheers, and PLEASE share your own thoughts!

#lcb ishmael #limbus company meta

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doumadono · 6 months

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sinful sunday!

you dont have to do it, but could i have this but with bakugo?

Of course you can! ♥

Warnings: aged-up Bakugo

SINFUL SUNDAY

You and your fiancé, Bakugo, received an exclusive invitation to a high-profile fashion show, a highly anticipated event in the hero world, and it was your chance to make a grand entrance.

Dressed in a stunning, floor-length red dress, you exuded elegance and confidence. The silky, red fabric clung to your curves, making you look like a million dollars.

Bakugo was the perfect complement in his sleek red suit, shiny black boots, and matching black tie. Together, you both radiated star power as you walked the red carpet, captivating the attention of paparazzi and reporters alike.

The fashion show held immense significance, as it was a platform for designers collaborating with heroes to showcase their new collections and initiate fresh partnerships. The event was a gathering of heroes, models, government officials, and influencers, making it a melting pot of glamour and influence.

As the evening unfolded, you and Bakugo briefly parted ways. He was summoned to a private gathering with the number one hero and some officials from the ministry, leaving you with some time to explore. You decided to take a stroll, eventually finding yourself in the company of a group of influencers.

Given your role as Bakugo's fiancée, you became an instant focal point for the influencers, who eagerly snapped pictures with you, ensuring your presence was well-documented. Among them, one particular influencer began to flirt with you, his playful banter met with your equally tipsy enthusiasm. The champagne you had enjoyed throughout the evening had given you a warm, bubbly confidence, making the exchange all the more entertaining.

As the night at the high-profile fashion show continued, the charismatic influencer, emboldened by the playful atmosphere, extended an invitation to dance. You accepted with a playful twirl, and together, you joined the dance floor, moving to the rhythm of the music.

After a few dances, you both decided to step outside for some fresh air. You stood by a set of tall windows, the night air crisp and cool. Holding glasses of champagne, you engaged in casual conversation, discussing everything from fashion to your experiences in the hero world.

In a moment of tenderness, the influencer reached out to your cheek, gently brushing a loose strand of hair away from your face. The connection felt innocent, but it was enough to catch Bakugo's attention. He had rejoined the main event and, to his dismay, witnessed the interaction between you and the guy.

As Bakugo stepped into the conversation, the tension in the air was palpable. His eyes, usually a fiery red, now burned with an intensity that seemed to sear through the room. His possessive nature was evident, and he didn't mince words when he addressed the influencer. "Hands off," Bakugo growled, his voice sharp and cutting like a blade. He shot a glance that practically spat sparks at the guy, leaving no room for misinterpretation.

The influencer, clearly taken aback by Bakugo's sudden presence and the intensity of his words, stammered, "I… I didn't mean any harm, Dynamight. Just having some fun, you know."

Bakugo's response was as unforgiving as his hero persona. "Fun? This is my fiancée you're messing with, dumbass. I'd suggest you step back, or we can settle it differently."

The atmosphere was icy, and the other guests in the vicinity had fallen silent, their attention now on the intense exchange. Bakugo's reputation for explosive anger was well-known, and it was evident that he wasn't going to tolerate any perceived threat to your well-being.

The influencer, now properly cowed, mumbled an apology and stepped away, retreating from the heated confrontation.

Bakugo fixed you with a piercing gaze, one eyebrow cocked in a mixture of irritation and disbelief. "You think that's funny, princess?" he asked, his voice laced with frustration.

You attempted to explain the situation to him, your words coming out in a hurried rush, but he wasn't listening.

Without further ado, Bakugo grabbed your arm, his grip firm but not unkind. He declared, "It's time to get back home. I think I need to teach you some fucking manners."

During the ride back home, you held onto the hope that Bakugo's anger would subside, that the intensity of the situation would slowly fade away. But, oh, how wrong you were. The atmosphere in the car remained tense, his grip on the steering wheel unrelenting.

As you arrived home and stepped through the front door, a sigh of relief almost escaped your lips. However, any illusion of a peaceful resolution was shattered when Bakugo, with an iron grip on your arm, pulled you close to his chest. His anger had yet to diminish.

After picking you up, he crossed the large living room and headed right to the bedroom where he threw you down to the bed and laid on top of you, placing his hand next to your head.

You felt him fumble with his zipper as he pushed your dress up to your waist.

"I'll show you it's not worth messing up with me, doll. I'll rip your cunt wide open, tsch!"

Bakugo slammed his rock-hard cock as deep as he could into your drenched pussy.

You felt him slamming into your cunt so deeply you could feel the head of his cock pushing painfully against the back wall of your pussy, all the while your pussy was shuddering and convulsing around him. Waves of muscle shuddering pleasure spreading through your stomach and thighs. "B-Bakugo! It was… Nothing! I told… You!"

Bakugo began moving his hips faster.

You watched him with a glazed expression, your eyes beaming with love and adoration. You loved the way his face looked right now, his eyes half-open as he used you to pleasure himself. His mouth still set in an angry grimace but that was slowly fading as his own pleasure began taking him over. His hot breath blowing across your face.

You wrapped your legs around his hips and began rocking your own up to meet his thrusts. You began whispering between gasps and moans of pleasure, "Yes, fuck that pussy. Split me open baby. Breed me. Give me a child."

He began thrusting faster and started to grunt softly. "Yes, fuck! I'll fuckig breed that womb of yours. You'll be round with my kid." His heavy breathing became more ragged in your ear, and he gasped out, "I'm going to cum, doll, so cum all over that thick cock." Between that, his hips were slamming his cock more frantically into your cunny and his cock swelled inside of you.

You screamed and struggled against his muscular body, feeling his whole body tense up on top of you as you convulsed against him. He stopped thrusting as he came with a guttural grunt escaping his lips as his warm seed spilled within your pussy, leaking out of you despite your cunt being still full of his dick. "Fuck you, bitch! Take it! Tsch! Take all of it!"

Moments later, Bakugo collapsed on top of you, both of your breaths mingling together in the aftermath of intense sex. "Don't you ever test me and my patience again," he warned, his lips pressing a gentle kiss to your cheek. "And I meant it. I want you to carry my child."

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sirfrogsworth · 5 months

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Lens Calibration Madness

I was doing some more tests comparing my smartphone camera to my DSLR and I noticed in one of them the smartphone looked sharper than my DSLR.

(Smartphone top, DSLR bottom)

This did not compute.

How did a camera with a tiny sensor, half the megapixels, and a tiny plastic lens produce a sharper image?

Then I remembered that 3rd party lenses often need to be calibrated in order to focus properly. Canon is especially bad about restricting information about their focusing algorithms, so companies like Sigma have to reverse engineer everything. With mirrorless cameras they have been able to fix this focusing issue. DSLRs... not so mich.

Unfortunately, my camera has a flippy mirror that gets out of the way of the sensor every time you take a picture. That's the clicking sound most people associate with taking a photo. And since the mirror in a DSLR is a moving part, it will have some variability from camera to camera. And wouldn't you know it, DSLRs use that mirror to focus. If my mirror is even a few nanometers out of alignment compared to the camera Sigma used to create the focusing system for their lenses, I will not be able to get perfectly accurate autofocusing.

It will be good enough for most. But with all of the product photos and macros I do, having perfect focus is pretty critical.

So now I need to spend a couple of hours photographing test targets.

The lens was "front focusing."

You want the depth of field to cover the same distance in front of the 0 as behind. You can see the 1 and 2 at the top are blurry. The goal is to have the 1 and the 1 to be of equal sharpness. Ideally if you put the 1 and 1 next to each other, you wouldn't be able to tell them apart.

This caused a problem when taking a picture of a cylinder, like the flashlight I was using as a test subject. The text at the center of the cylinder was in focus, but the sides were farther away and started getting blurry. All of the in focus area was in the empty space in front of the flashlight.

But, after 20 test shots adjusting the focus correction 1 unit each time, I was finally able to dial it in.

And then when I redid my photos of the flashlight...

Not only was the DSLR much sharper, you can now see the individual lines from the printing process.

I have been using this lens like this for years and now I am wondering how many photos were a smidge out of focus. It's not a huge deal because you have to be zoomed in about 400% to really notice. And it really only affects photos taken less than 2 feet away.

But still, perfectionism is a pretty big trigger for my anxiety so I need to fix this so my brain doesn't melt every time I take a photo in the future.

Unfortunately, the issue isn't resolved with one adjustment.

It requires 16 adjustments.

You set the focal length of the lens to 18mm and take a test picture from 28 cm, 35 cm, 50 cm, and 2 m.

Then you set it to 24mm and do it over again.

Then 28mm.

Then 35mm.

And there is no gaurantee you will fix it with the first adjustment. You could overshoot or undershoot. So you have to keep testing and testing until you drill down and hit the bullseye.

All because Canon doesn't like other companies making lenses for their cameras.

Sigma will actually do the calibration for you, but you have to send them both your camera and your lens and who knows how long that would take.

And I really want to bring my camera to Florida in a few weeks.

So I guess I've got another project aside from my 20 other things I need to get done.

#long post #photography

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kitconnor · 1 year

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hello and welcome to my little blending + colouring tutorial !! in this tutorial, i will be guiding you through colouring blended gifs and how to blend them. i will be using ps 2023. this tutorial assumes you have prior knowledge of basic colouring and timeline !

please note this is the process that i have received the best results from - it might not work for everyone and it likely doesn’t work for every show. but, with the results i have been having, i feel like it’s something i want to share with others !!

p.s. : i will work this tutorial the best i can to accomodate to the new tumblr gif guidelines and bugs !!

GUIDES:

here’s the initial stuff that guided me with my blending and colouring !

blending tutorial by @ helloinej

colouring tutorial by @ helloinej

blending tutorial by @ disaster-lineage

blending tutorial by @ nelsonnicks

keep in mind each of the above have different styles of blending, each also being different to my own. if your final result isn’t the exact same as any tutorial, don’t beat yourself up over it !

STEP 1 - find your scenes.

this step is more important than you think. certain scenes simply don’t blend well and that’s just reality. here’s my preferences:

similar scenes (eg. similar lighting, colouring, setting) blend well.

one moderately well lit scene (ideally not outdoors) + a moderately dark scene (eg. you can clearly get an outline of a face, you’re not adding curves layer after curves layer) CAN blend well, depending.

scenes on two different ends of the spectrum like one daytime outdoors sunshining type scene + midnight dark, obscured faces scenes do not have potential to blend well.

however, you’ll come to know what works through experience !

also make sure that whatever scenes you pick, ideally, there is little to no movement !! this makes it easier when you actually colour the gif later on.

STEP 2 - organize your two gifs.

to blend your gifs, they need to be the same length. i load them into frames first and then i set the speed and trim them to the same amount of frames and layers and then i will crop. then, go convert to timeline > command + option + a (for mac) to select all on the layers + timeline, then right click on your layers and go ‘convert to smart object’.

do this on both of your gifs and then you can sharpen them (i do, so it gives me a better idea of how my gif is looking) or not, depending on how you like to do things.

STEP 3 - the blend.

with my two seperate gifs now, i will take one gif and duplicate it onto the other.

please note that simply performing ‘duplicate layer’ will not be sufficient if you are working with every frame and layer individually. having two seperate smart objects makes things much easier for me and only really changes one or two things that people would normally do.

now, to blend your gifs, go to the gif you duplicated over and change the blending mode to ‘screen’. some people may choose to use ‘lighten’ - do whatever looks best in your opinion.

right now, the background of my top gif is washing out my bottom gif of inej. no worries - we’re going to fix that now.

STEP 4 - the blend part ii (the harder half)

first off, i’m going to adjust the positions of my gifs. the top gif covers too much of the focal point of the bottom gif (inej’s face) so i’m going to move the top one a little to the right and then the bottom one a little to the left so i can get the best view.

now it looks like this:

to begin fixing it, add a ‘layer mask’ to both of the gifs. make sure your foreground colour on your layer mask is set to black. you need a layer mask on both of the gifs because different aspects of each have something interrupting the other.

now, select the ‘gradient’ tool and make sure you have the same setup:

the black colour lets you blend and the transparent end means it does blend. now, using the gradient tool, do this:

and repeat:

(keep in mind i’m not 100% done here !!)

keep using the gradient (or brush) until you’re getting your desired results. do note that when you’re using the gradient tool and, if you have two layer masks (one per gif) that there is a chance that your gradients overlap and the middle point becomes opaque. in that case, i’ll either delete my layer masks and start again, move my gifs or use a brush with a WHITE colour to redo.

play around with your gradient though ! don’t be afraid of messing something up in this process; you can easily go back and fix it. experimenting allows you to learn.

it took me another five minutes to play around and get exactly what i wanted, but what i’m going to do next will actually assist my final result. here’s what it looks like atm:

there’s still a bit of an overlay from that top gif, but when i colour it, it will disappear.

STEP 5 - basic colouring.

this is your curves, levels, colour balance etc. ! there’s not much to say here as everyone does this bit different, but i do advise that whichever gif you work on, you turn off the visibility of the other, and disable the layer mask while you colour. this allows you to achieve the best results.

make sure to use a clipping mask for your colouring layers, and clip them to the corresponding gif.

now i’ve completed the basic colouring and i’m ready to give it some actual colour !!

STEP 6 - colourful colouring !!

next up - actually making it look cool !! start by adding 2-3 blank layers (make sure they’re clipped to the respective gif). with the first layer, go back to your gradient tool and draw a gradient on the “darker half” of your gif. if there isn’t one, just choose which one will help it blend best. also disable your layer mask while you do the colouring !!

where that little bit of the top gif was overlapping on the bottom one, i’ve added a black gradient to it so it blends better.

rn it looks a bit weird, but once you change the blending mode to ‘soft light’ it evens out a lot.

then with my other blank layer, i’ll change my brush to my desired colour and set the size to 200px. from there, i’ll do one half of her face then i’ll make ANOTHER layer, and do around the other half, as such:

then, set the blending mode to either ‘colour’ or ‘hue’, whichever suits best !

after, make sure to clean up with an eraser so it won’t turn the subjects skin that colour. then, you can repeat the process for the other gif !! feel free to switch your colours up too.

here’s both my gifs, coloured individually:

don’t stress about having the perfect colouring where no skin is obscured by the colouring. it won’t be perfect (eg. there’s a tad bit of cyan on her ear) just as long as it works well with the motion !!

STEP 7 - final clean up and save !

and i’m done ! this process is relatively quick and has been giving consistent and high quality results for me, which has been so good. i’m aware that blending is not a quick thing to learn and wanting to incorporate colour is such a hard thing to start. hopefully this has helped <3

#*tutorial #gif tutorial #ps tutorial #userriel #userraffa #usercim #alielook #userrsun #userv #thingschanged #userzesty #userfaiths

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piotrtymcio · 3 months

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Mamry lake

Canon EOS R6, RF50mm F1.2 L USM

ƒ/4.5, 50mm,1/400s, ISO 100

11/03/2022

[EN] The plane is flying over Lake Mamry. It's a very simple shot with probably too little sky compared to the lake. Well, when you only have a fixed focal length lens with you, you make the most of what you have. I assume I wanted to place it in a strong focal point and keep a strip below the horizon line. Actually, I don't remember.

[PL] Samolot leci nad jeziorem Mamry. Ot bardzo prosty kadr za pewne ze zbyt małą ilością nieba w stosunku do jeziora. No ale jak się ma ze sobą tylko obiektyw stałogoniskowy to się szyje z tego co się ma. Zakładam, że chciałem umieścić go w mocnym punkcie i zachować skrawek poniżej linii horyzontu. Tak na prawdę nie pamiętam.

#photography #fotografia #photographer #photo blog #mazury #photographers on tumblr #mamry #lake #plane

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goodglass01 · 2 years

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Blossoms

Lumix GF1 / D Robert Stanley

#white blossoms #photographers on tumblr #color photography #compact camera #fixed focal length #panaleica #flora #blooms #nature #flower study #may flowers #not on instagram

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chrisbissette · 8 months

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I've spent a long time obsessed with the idea of the Leica Q2 and I'm not sure why. I think it's possibly because I've fallen in love with the portrait photography of Greg Williams, and he uses a Leica. I don't like shooting digitally and I don't shoot portraits but I've still been lusting after this £4,000 camera I absolutely won't ever be able to afford.

The Q2 has a fixed Summilux 28mm f/1.7 lens, and I decided that since I'll never have a Leica I can at least grab 28mm lenses for my go-to cameras and see how I like the focal length.

These were taken on the Miranda 28mm f2.8 on Lomo 400 with the Olympus. Of all the focal lengths I've shot with so far, this is my least favourite. I don't like how close I have to get to people to take portraits/candid style shots, and finding interesting compositions with such a wide lens is tough. Most of these images have been cropped in some way, and that feels like cheating.

I'm going to keep practicing with it, but it's definitely gone some way to helping me stop lusting after the Q2 quite so much. That said if anybody wants to buy me a Leica, I won't say no.

#film photography #35mm photography #film is not dead #believeinfilm #35mm film #ishootfilm #street photography #olympus om10 #28mm lens #lomography 400 #leica #blog #photographers on tumblr

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motherfuckingcat · 3 months

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amwult · 18 days

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typeofguy who only uses fixed focal length lenses. i have a body for a reason.

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dreamingdaysblog · 1 year

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The Peaky Blinders Soft Side (Part 9)

Tw: epileptic reader, cursing

Your legs shook as you took the stairs down to Tommy’s office. It was late afternoon and you had been reading a novel when you had felt a sinking feeling and your world became blurred. All you knew was you had to find Tommy. The stairs seemed like a mountain to get down when you could hardly see and your legs were buckling. You burst through the door of Tommy’s office and his head snapped towards you, you could have sworn he almost drew his gun. He raised an eyebrow at you “yes, love” he said with little patience, you had obviously come to annoy him with some sort of excited ramble about your new book, or maybe to tell him a funny story Esme had shared about one of their chaotic children.

“I um, Tommy, I” you stuttered and he raised the other eyebrow to match and stood up, leaning on his desk. “Are you alright? Ey?” He was beginning to get a bit worried- his sixth sense was kicking off. You moved towards him and he moved towards you, arms outstretched and strides quick. You met with him holding you at arms length, he studied your face with worry. “Love?” “I need to sit down, I think I’m having a focal seizure” you stated, not actually sitting down yourself as if your body wasn’t registering what your brain was telling you. “Okay, alright love, come ‘ere” Tommy whispered, he knew exactly what to do and immediately took your full weight in his arms. Tommy bent his knees and wrapped his arms around you, lowering you to the floor. “Good girl, alright there we go” he sat down with you in his lap and grabbed a cushion and propped up your head, stroking over your face and leaving his hand on your forehead to assess your temperature. His hand moved to your neck and pressed lightly to feel your pulse. “You feel ill?” He murmured softly. “No, something is wrong” you replied with your eyes fixed in another direction entirely. He took that as you couldn’t see him. “M’ scared” you babbled, not really knowing where exactly you were. “You’re doing so well my girl” soothed Tommy. Tommy had never seen you have a focal seizure before- full consciousness but still a misfiring of signals in the brain, resulting in confusion and weakness. He had no idea how long this would last and as he looked down at you he hoped it wouldn’t be long, in a way it was worse than when you were unconscious, seeing the fear and confusion was breaking his heart. “Where’s Tommy, I want Tommy” you whimpered, the confusion blurring your world completely. Tommy’s eyes widened. “I’m right here, ey, it’s me love” Tommy couldn’t hide the panic in his voice. You tried to sit up, looking around the room but Tommy gently pushed you down with his strong arm. “No no, stay here darling, it’s okay” he stroked your hair again. You struggled under his grip “let me go, I need to go” your body was shaking with the panic you clearly were feeling. “Shhhh, love you’re safe” Tommy crooned in your ear, rocking you side to side. You kept trying to lift your head and sit up while mumbling rubbish for a few minutes but you were weak and each time Tommy supported your head and gently brought you back down into his lap. He murmured lowly into your ear, words of love and encouragement “You’re safe with me. ”

Your big brown eyes snapped onto his face finally,“I am safe, I’m safe” you chanted back. “That’s right, good girl” Tommy praised, hoping things were clearing for you. After a few quiet and confused moans your eyes met his and he gave a reassuring smile “can you see me?” you nodded. “Tommy?” you asked eyes flicking over him, “Is something wrong?” Tommy almost laughed despite himself. “You know who I am, ey?” “Of course” you pushed him away playfully. “You were having a focal seizure, you scared me, you were so confused” Tommy explained, smoothing back your hair. You registered that actually you were laying on your back staring up at him. “How did I get into your office?” Tommy smiled, “Never mind that, let’s get you to bed, ey?” Tommy lifted you up, helping you stand slowly. “There we go, good girl” he guided you upstairs with his hand on the small of your back, rubbing up and down. When your legs slipped and fumbled up the stairs Tommy swept you into his arms and carried you the rest of the way. “I’ve got you, don’t worry.”Tommy lifted you onto the bed and sat up against the head board, cuddling you into his chest. “You’re such a good girl, coming to find me love” he praised, still babying you as he always did. “M sorry I disturbed you, I didn’t mean to” you said sadly. “Always disturb me love, promise me ey?” he rubbed your back. “I’ll be back soon”, he pushed himself off the bed and moved your head down into the pillows, “don’t move, do you hear me?” You rolled your eyes at him, “I’m fine Tommy” he tutted at you sternly, the look in his eyes told you he was taking no chances. He ordered a maid in to help you into your night clothes and undo your hair. He called Arthur and instructed him to take care of a few things, he was staying with you.

Half an hour later he slipped back into bed with you and moved your head back into his chest, stroking your hair. “I thought you’d gone to work” you murmured, wiped out. “No love, I’m staying with my wife” he played with the diamond on your finger and kissed your temple. “You’re my priority, always.” You snuggled into his chest and closed your eyes. “I love you Tommy” you hummed, “thank you for always helping me.” Tommy smiled, “always, I love you” he leaned his head onto of yours and squeezed you tighter. You slept lightly and Tommy played with your hair, Frances brought your dinner up to you and Tommy basically fed you, while you moaned at him for babying you and giggled. “There we go, all sorted” he murmured after wiping your face with a cool cloth and settling you back into his chest. “Sleep now love.” You shut your eyes and snuggled into him, knowing you’d always be safe. Tommy sighed, finally letting himself feel the fear he had been hiding and held you closer. Stroking your hair and talking lowly to you until your breathing evened and your body was heavy.

#peaky fookin blinders #peaky blinder fanfic #peaky blinder imagine

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