Posted by David Sparks on April 1, 2010 at 12:39 AM
Report submitted by David Sparks - April 1, 2010
Avian photographers may be interested in the soon-to-be-released plug-in for Photoshop developed by Avi-Oynx, a Boulder CO start-up company. The plug-in, Avian Alchemy, is available for Mac and PC, but
a price had not been set at the time this report was submitted.
The spokesperson for the product stated that she had been unable to entice NPN members to test a beta version of the plug-in. "NPN members are very difficult to reach. They are always at workshops or excursions or just out in the wild," she said. In the absence of more expert analyses, I provide a brief description of the software and my initial impressions of Avian Alchemy.
The algorithms employed in this plug-in draw heavily from: a) software long used in the biological and physical sciences for the 3-D reconstruction and representation of molecules or biological structures such as neurons; b) sophisticated methods for morphing one image into another; and c) powerful methods of pattern recognition. A full three-dimensional representation of a bird is generated from images provided by the user (optionally combined with those from the included database) and used to produce images of the subject in different poses, in various settings, or on selected perches.
One of the features that I found most interesting was added in response to feedback describing the generated images as "too pristine." Common responses were "that isn't a real photograph, it's a painting or a computer generated image." After studying thousands of photos available on web sites such as Flickr, Picasa, and nature photography forums such as NPN, a "Humanize" menu was added (see photo
1). The module is accessed via the Image/Adjustments menu and is located immediately below the Shadow/Highlight tool (left). This opens an adjustment menu (right) with options for adding features often
found in actual photos. Many may find this module to be a real time-saver. The Motion Blur and Wing-Clipping sliders were very helpful when transforming generic images into ones with my (private)
photographic style.
Posted by David Sparks on April 1, 2010 at 12:41 AM
Images of a bird in different poses can be created from the general 3-D representation by selecting poses from a library or by using the Morph Tool as illustrated in photo 2. An existing pose is placed in Frame 1 and, after selecting a region of the bird (red circle), Google-Earth-type controls are used to interactively "morph" this to an intermediate state (Frame 2). The process is continued until the desired pose or position is obtained. The Morph module uses embedded morphological and biomechanical constraints as a guard against non-realistic outcomes.
If the photos used as the basis of the general 3-D representation were not from the same bird, some serious problems may occur. The output image may have a peculiar mix of plumages characteristic of different seasons, ages, and geographical regions. Yet other problems derive from the morphing function and the ability to combine the image of the bird with arbitrary backgrounds and perches. The morphing function can generate images of birds in poses that are biologically possible, but not positions usually observed in the wild. Mismatches between the normal geographical range of a bird and the selected background and/or perch may occur. The program is capable of producing an image of a Mourning Dove
diving for minnows or one of an Oystercatcher on a tree limb eating grubs. The ability of the
computational engine to manipulate and combine physical features of a bird is impressive but IMO the software is lacking in artistic sensibility. The problems of endowing software with a sense of spatial and chromatic balance or harmony, for example, are formidible.
Hopefully, other NPN members will provide additional feedback about this new software package.
Posted by Andy Gregory on April 1, 2010 at 5:02 AM
Don't get me wrong, I am in awe of Photoshop and digital wizardry but whatever happened to nature and wildlife photographers who went out and studied their subjects and came back with stunning images? Nowadays a high percentage of images are created in the computer rather than in the camera. I know that all digital images need some sort of sharpening and levels adjustments, that's the way it is and I accept that, but to me wildlife and nature photography is about going out there and recording things as they happen. Go ahead and create stunning shots on your PC but please don't call it wildlife or nature photography, call it ART or DIGITAL MANIPULATION !
We seem to have a dichotomy of interests here. I would not be interested in a morphing tool, but the adjustments do interest me.
I am in awe of Photoshop and digital wizardry but whatever happened to nature and wildlife photographers who went out and studied their subjects and came back with stunning images?
In the digital era, everything from when the light hits the sensor, how the camera is set up, how the image is processed and how it is presented for the web or on print is a digital manipulation. If one scorns it, it is like being a little bit pregnant. On the other hand, if it is "in for a penny, in for a pound", the basic understanding of composition and photographic experience gets lost. Moderation and good sense should be the rule. For me, this means good in-camera technique and processing technique that sharpens detail and that enhances appropriately all the detail contained in the image. I am not above doing some minor cloning, noise reduction and distraction masking, but try to avoid it if at all possible. The main requirement, again for me, is to be selective and discriminating in changes.
If Ansel Adams could spend days and weeks planning and executing an image, why can't we do the same in minutes and hours with better tools?
Is this the way you guys are on April Fools Day? Such extremes you go through! Had me believing it was true and then deciding if it was a tool I would even consider and then rejecting it at face value. Way to go you wild and crazy guys!
Posted by Joe Paratore on April 1, 2010 at 12:35 PM
Hooked, line and sinker
Posted by Andy Gregory on April 1, 2010 at 1:28 PM
B**/?cks
Posted by Dennis Plank on April 1, 2010 at 7:14 PM
Suckered me, David!
Posted by Doug Gilham on April 1, 2010 at 10:10 PM
Discussion
13 repliesAvian photographers may be interested in the soon-to-be-released plug-in for Photoshop developed by Avi-Oynx, a Boulder CO start-up company. The plug-in, Avian Alchemy, is available for Mac and PC, but
a price had not been set at the time this report was submitted.
The spokesperson for the product stated that she had been unable to entice NPN members to test a beta version of the plug-in. "NPN members are very difficult to reach. They are always at workshops or excursions or just out in the wild," she said. In the absence of more expert analyses, I provide a brief description of the software and my initial impressions of Avian Alchemy.
The algorithms employed in this plug-in draw heavily from: a) software long used in the biological and physical sciences for the 3-D reconstruction and representation of molecules or biological structures such as neurons; b) sophisticated methods for morphing one image into another; and c) powerful methods of pattern recognition. A full three-dimensional representation of a bird is generated from images provided by the user (optionally combined with those from the included database) and used to produce images of the subject in different poses, in various settings, or on selected perches.
One of the features that I found most interesting was added in response to feedback describing the generated images as "too pristine." Common responses were "that isn't a real photograph, it's a painting or a computer generated image." After studying thousands of photos available on web sites such as Flickr, Picasa, and nature photography forums such as NPN, a "Humanize" menu was added (see photo
1). The module is accessed via the Image/Adjustments menu and is located immediately below the Shadow/Highlight tool (left). This opens an adjustment menu (right) with options for adding features often
found in actual photos. Many may find this module to be a real time-saver. The Motion Blur and Wing-Clipping sliders were very helpful when transforming generic images into ones with my (private)
photographic style.
If the photos used as the basis of the general 3-D representation were not from the same bird, some serious problems may occur. The output image may have a peculiar mix of plumages characteristic of different seasons, ages, and geographical regions. Yet other problems derive from the morphing function and the ability to combine the image of the bird with arbitrary backgrounds and perches. The morphing function can generate images of birds in poses that are biologically possible, but not positions usually observed in the wild. Mismatches between the normal geographical range of a bird and the selected background and/or perch may occur. The program is capable of producing an image of a Mourning Dove
diving for minnows or one of an Oystercatcher on a tree limb eating grubs. The ability of the
computational engine to manipulate and combine physical features of a bird is impressive but IMO the software is lacking in artistic sensibility. The problems of endowing software with a sense of spatial and chromatic balance or harmony, for example, are formidible.
Hopefully, other NPN members will provide additional feedback about this new software package.
Sandy r
In the digital era, everything from when the light hits the sensor, how the camera is set up, how the image is processed and how it is presented for the web or on print is a digital manipulation. If one scorns it, it is like being a little bit pregnant. On the other hand, if it is "in for a penny, in for a pound", the basic understanding of composition and photographic experience gets lost. Moderation and good sense should be the rule. For me, this means good in-camera technique and processing technique that sharpens detail and that enhances appropriately all the detail contained in the image. I am not above doing some minor cloning, noise reduction and distraction masking, but try to avoid it if at all possible. The main requirement, again for me, is to be selective and discriminating in changes.
If Ansel Adams could spend days and weeks planning and executing an image, why can't we do the same in minutes and hours with better tools?
I'm glad I didn't spend too much time trying to translate what you were saying!
Sandy r