Yes, I agree. I've used PS for at least 10 years. God it on a student purchase for around $200 and have been able to upgrade to each new update for the price of the upgrade.

If I did not have it, I would get PSE 10 and skip PS entirely. That's just my usage and needs, of course, not a general statement.

Cataloging is not an issue with me so I see PSE10 as more useful than LR3.

Good grief!!!
Don't stick your tongue out on that Nikon!

Yeah, I think #1 gives me more of the feel --- the chills and spills.
Setting a white point may add just a bit of too much pop. Try it and see.
Since you already have the rider isolated on a layer, maybe try applying the white check on that layer only to keep the sky muted as it is.

Was Jim McKay on site? Looks like something he would cover.

I've been using PS since PS7 so I've not worked with LR as it appears to provide merely a subset of CS5. A great bang-for-the-buck however if one does not have PS.

I don't understand why it is preferred over PSE 10 however. My impression is that PSE 10 provides the same RAW processor (ACR6.6) plugin that LR provides but adds many local effects that LR lacks.

It could be that LR's cataloging is more powerful but I just don't know that.

I frequently help newcomers get started and for them the cataloging features of either program are not yet important as most shoot fewer than 50 photos a month and prefer to skip the cataloging features to get right to the photo editing processing.

So . . . . why LR over PSE?

Check prices for the Nikon 70-300mm f4.5-f5.6 non-VR on eBay (advanced search, completed). Ridiculously cheap -- not inexpensive, cheap! On the other hand, this lens really needs VR unless you're on a tripod.

Do you know someone who is alive simply because you cannot afford a hit man?

Rats! Wrong photo!

The Sentinel b

I used this one as the background for "In Flanders Fields" in a Veterans Day memorial slide show. For me, it recalled the chill, the exposure felt on predawn picket duty.

The Sentinel

I'd rather do it myself in Camera Raw.
Vibrance, clarity and saturation get me a long ways.
The rest in CS5.

Thanks for the entry which got me to this forum.

How do we get here if there is no entry in the Photography Forum?
I was looking for a forum heading, such as MAIN or COMMENTS.

Better than an erasure: add a mask to the layer (icon at bottom of Layer Panel).
Fill it with white or black.
If you filled with white, you will- see no effect of the mask.
But! Set foreground color to black and paint on the image anywhere you do not want the effect to show. If you paint too far, change the foreground color to white and paint where you want the effect to reappear.
If you filled with black, you blocked the entire effect. Paint with white where you want it to appear. Change the foreground color to black and paint where you want the effect to be blocked.

Remember that you can vary the opacity of that layer to control the intensity of the effect.

Good luck!

What right was that again?

Public place, publicly viewable.
Unenforceably defined. "What is a professional camera?"

Is it a law? A practice? A policy? A "security precaution"?
Where is it posted?

What is the threat to public order and security?
A terrorist opportunity to collect intelligence?
What intelligence will a "professional" camera reveal that a P&S or bridge camera cannot? (My bridge camera has an 18-600mm Leica lens. My nephew's Nikon P500 goes from 28mm? to 800mm.)

I don't care what the practice has been and how an unlawful law has been enforced. Any so-called enforcement is unlawful.

Every place that I know of where the local police have been challenged on this they have been overruled. Yet we tolerate it at a public monument to our freedom.

Why do we put up with this?!!

[Having said all that, bear in mind that Rome wasn't burned in a day. Carry a backup P&S with you. ]



:thumbup: :thumbup:

Yeah, I'm puzzled too.
How do you cast a shadow on the sky?

You can have just as much fun bird watching from the bottom of a swimming pool at much less expense. :thumbup:

Take the picture.
Ask the subject to carefully remove the glasses and take a second shot. The subject does not have to be perfectly still between shots. You're only going to use the eyes from the second shot.

In PP remove the glass portions from the glasses in the first shot. Now you've only got the rims with no glass in them (no eyes ether! :thumbup: ).
Move the eyes-only from the second shot onto the first. Again, no need for precision. Lower the opacity of the layer with the eyes so you can see what you're doing as you move the eyes into the glass rims on the lower layer and position the imported eyes over the original eyes with the glasses.

Paint black/white on the layer mask for the imported eyes to finish it off.

Hint: take several shots without the glasses to avoid blinking, squinting, winking and nodding.