When you examine a news paper image under a magnifying glass the image disappear into a chaos of dots called dots per inch. (dpi). When you use the magnifying glass on a blank area of a word processor or your operating system paint program your will see the electronic dots called picture elements known as pixels.
Budget cameras and cell phones are internet orientated these days. They take thumb nail size images to accommodate a limited memory. These files are recorded in Joint Photo Graphics group company's invention of the file called dot Jay-peg know by the file extension of .jpg. The nature of JPG has compressed data ability to fit copying small versions. A significant poor quality HD resolution jpg is the result of a multiple copy from a multiple copy batch.
The nature of the program causes computer Central Processing unit (CPU) to dither with the binary math's information when making multiple copies. It is a mistake to touch up in an image editor program. The CPU dithers with the changes deleting and adding where it sees fit to fit the new image when saved. The result is a almost always a disappointing loss of HD quality straight away. Some HD may appear to be improved but often colors look off giving unnatural imbalance look to the whole image.
Today's operating systems allow changing of the file extension. Unfortunately the same problem occurs when we change it to another file extension. There is a disappointing loss of quality HD resolution every time altered by the image editor and file extension change. When you enlarge you are enlarging pixels.
When attempting HD enhancement is just changing the pixie colors. When saving CPU's dither with the math's to fit the touch up sacrificing image quality. What you see in the image editor is not what your get saving in the original jpg. If you are lucky to get a reasonable resolution is a sign of minimal CPU dithering. If a significant quality loss look is a sign of maximum CPU dithering
The dimensions of the image is in Pixels. it's not file size. Like dots per inch we count across the image multiplied (by) top to bottom. You can see this when you view the file properties clicking the dimension tab. You will view so many pixel high by so many long.
File size memory is the space the image takes up. Not the dimensions. The standard metric prefixes, Kilo- for a thousand (pronounced key low). Mega for a million and Giga for a thousand million bytes. A byte is made up of a binary machine code in eight 0 and 1's called bits. One byte is eight bits. One byte is 1 byte of computer memory. Studying file size and dimensions of each file gives you a good idea of how much memory space translates into dimensions and vice versa how much dimension translates into memory storage space.
Thumb nails are a mere kilobytes. Common web page images the low end of the Megabyte range. Large computer desk top wallpaper images are in the high Megabyte and high HD resolution in the low Gigabytes. You can always inspect the dimensions in the image properties
large pixel counts are high HD resolution computer desk top wallpapers for to big for budget and pocket smart phones. JPG's loose HD quality when they reduce these large wallpaper sizes to cell phone thumb nails. Low quality looking jpg thumb nails is the result of a copy from a multiple batch.
The only trick that can help minimizing multiple copy loss thumb nails are cropped from large HD computer wall paper images. The problem with jpg the are intolerant to multiple copying. A little bit of the original HD is lost every time a copy is created, made worse when multiple copies are made from a copy from a multiply batch.
The Photo Network Group company designed a loss less version of jpg known by the file extension .png The nature of the program compression is left out. CPU dithering is minimized. What size you get is minimal quality loss under intense touch up of the original. When you touch up and enlarge a original jpg what you see in the image editor is what you get when you resave in a png file.
A washed out jpg image is often a sign of a copy of mutable batch. Or the possibility of an old days digital floppy disk camera or dodgy disc. The camera took it's time to record on disc. They struggled with the well recycled disc specially savaged ones that once had computer data on it. Washed out looking is a poor handling of bright light by the original photographer too. Everything is made worse every time a copy is made from a copy of a copy.
Today's camera phone memory like a hard drive of computers or removable cards that are also susceptible after a time to succumb to external handling and recycled jpg copies ware and tear problems lowering the tiny electronic substrate efficiency resulting in the low resolution quality.
JPG's often start off as perfect shots. But they are not created directly. They are created by digital cameras worth a lot of money in non lossy files such png and other extensions proceeded in a non loss file processed in image editor and finally saved as jpg for internet posting.
Cameras worth a lot of money have memory storage as much as a few Terabytes ( Tera for a trillion) a store of up to a few dozen computer screen wallpaper Gigapixle dimensions. This can include a Terabyte memory card) as well. A lot of huge fie size shots with these cameras accompanied with a dozen terabyte memory cards can be accomplished. So long as the originals are not jpg dozens of high HD resolution shots can be accomplished
Light filters are clipped over lenses often used to illuminate washouts from bright days with minimal use of apature settings. To give you an idea how that works think of a bright day. When we put on shades (sun glasses) we notice an improvement straight away. Our own natural eye pupuls will respnd to the shades. Photography filters is like putting shades to camera lenses an alternative to using apature settings to do the same thing.
They will record what they see though the filter as we see though sunglasses. Operating on the principle sun glasses illuminate glare Ultra violet light (UV) filters help prevent glare reflection of the bright day washing out the shot.
The sunlight we see travels from the sun though space a distance of a 186 thousand kilometers every time the second hand of a clock moves a division slowed down a little by the resistance of the earth's atmosphere by the time it reaches our eyes and camera lens. It is reflected by the lens reversing direction accelerating back though the atmosphere to it's maximum coasting speed limit back into open space.
light is made up of vibrating electromagnetic particles moving back and forth many millions of times per second known as the frequency falling on the lens and electronic substrate in the camera. The light we see is all the colors of the rainbow a very a very morrow range in a vast invisible spectrum we can't see cameras such as inferred cameras and bees can see.
The frequency every second is a peak to peak wavelength. Inferred is longer then the visible red known as inferred. For example we cannot see the warmth of a freshly put out camp fire in the middle of a dark night but inferred cameras pick it out like a soar thumb. The patch is invisible in the dark to us. The same with a freshly solidified lava flow.
We may feel the heat close by, the not flow invisible to the naked eye in the pitch black of a dark of night inferred cameras will see. Our radio and television transmutation signals as well a telecommunication cell phone networks is the next longest wavelengths called radio waves. Cosmic radio waves can go as long as a kilometer. Red is the longest wavelength (or lowest frequency ) we can see. If the wavelength is longer disappears into this inferred heat range. Heat radiating from our bodies, anything with a beating heart in fact can be seen the middle of a dark night by inferred cameras.
Violet (a purple blue) is the most frequent or extremely short peak to peak wavelength (or the highest frequency) we can see. Any shorter is invisible to us some animals can see as a purple blue tinge in their environment eyesight known as ultra violet light UV and UVA rays from the sun that tans our skin and in bright days washes out our shots. The wavelengths can go even shorter equal to the incinerating heat of a nuclear bomb blast known as gamma rays. When we take snap shots out doors we are taking pictures though all that.
The most important to prevent bright days washing out our shots are UV filters. One can be enough but adding on another can completely block out the washing out of our shot by reflecting UV rays.
We are observing the world though all just as cameras lens's too. We observe the glare of a bright day swamping the natural out door colors. Using UV filters over the lens is like putting sun glasses on recording the light just as we see it though our shades. Like the camera we immediately observe a lovely changes in color contrast greenery and deep blue skies because the filter is filtering out the swamping UV rays.
These UV rays is often caused by the camera recording it as a milky color cast in the shot.
Professionals use UV filters where there is a lot of reflective light. UV filters produce as good as professional post card and nature photographers trick you can get without the scene natural UV rays spoiling it with washing out the photo.
Skilled out door photographers exploit the temperature of the day capturing sunrise moods they want though coloring glare filters, capturing early and mid morning and midday moods, early afternoon, late afternoon evening and sunset in each sessions capturing the winter, autumn spring and summer moods in the shot.
Think of color two cellophane sheets over lapping each other such as a green and red. When we look though them to the environment the environment colors change.
One of the biggest mistakes armatures rely on is their steady hand. Neglecting this area is the potential for camera shake as they click the button. Even a steady hand can be recorded by cameras as a shake The result is a minimal amount of blurring in the resulting shot resulting in a less than perfect or disappointing sharpness in the photo. Apart from freelance photographers professionals don't take chances setting up rock steady tripods to capture the mood of a city street to country lane moods that would otherwise be spoilt by camera shake.
Getting down to the science of out door photography your need to recognize clearly the color the temperature of each day and each session cameras tend to pick up. A good example to most of us
lamp bulbs give off a clear white light but don't recognize it's a slight yellow color cast cameras record. Fortunately just an ordinary flash solves that problem. The same is true with natural sun light. For example paying more attention to the yellow cast between the mornings and afternoons in the middle of summer, spring, winter, and autumn temperatures give very different moods the same time of day.
High and low weather pattern conditions exist in both winter and summer. Any dry overcast day three the afternoon casts low light where there is a low contrast in autumn months but the same time of day
in bright cloudless day sunshine in the middle of a summer moths to consider.
Keeping on eye on weather forecasts, under a high pressure whether umbrellas gives you lots of concern about reflective white surfaces of white areas in the scene you may overlook the camera may see can be over come with some clever use of appropriate filters the most common just a humble UV filter filtering out reflecting glares in bright scenes. You can mix and match to balance out the mood of a late autumn overcast moods with color filters.
When it comes to image editing don't save any image editor editing in back to the original jpg file or you will disappointed with the results. Use the image editor save as to create a new jpg or if you intended to edit latter save as a copy reserve for that purpose in png or an image editor file for a latter date. Create back up back up copy sysytem of your work you can fall back on in case you regret
ruining the only copy you have beyond repair.
repair
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