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Takeshi Krueger
Album Quicker Pro work and manage multiple projects easily in wedding season. Everything you need to boost up your creativity, available under Album Tab. Automatically design your album pages using AutoFill option. Easily retouch and edit your photos, change BG & replace sky under STUDIO Tab.
I'm reviewing some photos I've taken in the photos app on a Mac. I'd like to put some of them into an album. However, it seems that to do this, for every photo I want to add, I have to click the '+' button and select "Album", which then pops up a modal dialogue where I have to select the name of the album from yet another drop-down, then click OK. There must be a quicker way than this. (Right?) What is it?
By the way: I know that I can select several thumbnails at once using the CMD key, but the problem is my eyesight is really poor (hence squinting at thumbnails gives me a headache), and in any case I want to check the photos are sharp before I add them to the album. So I'm looking for a quick way to add the photo to an album from looking at the photo itself, not from the thumbnails page. If it can be done by keyboard shortcuts, that would be an acceptable solution.
Another option, once you've selected the images you want, is to then go to File > New Album (or just use the CommandN keyboard shortcut) and this will automatically create a new album including all the photos you had selected.
The two most important parts of album design are the timeline of the story, and the actual design. Often times trying to do both of these things at the same time is what will slow the design process down. When you really need to speed through a design, start with just the timeline.
Album Quicker 3in1 Photo Album Designing Software version 5.0, 5.5, and 6.5 for 32-bit and 64-bit windows. Album quicker which available most useful & helpful key features to boost up your creativity and speed up your album designing and editing workflow. You Can Also Purchase DGFlick Album Xpress 13.5 Album Designing Software.
Album Quicker PRO has got various different options like it has got One Click Quick Fill option and One Click Select Fill option which will let you select any area with any selection tool and fill the photo easily. You can also add quotes and backgrounds to your albums easily with just a single click. You can also replace the sky in your photos and then can apply a new sky again and again after processing with one click. It has also got the Batch option which will allow you to apply the required effects to all of your photos at the same time. Once the album is created you can save it in JPG and PSD format. You Can Also Download Julie Xperia Fastest Album Making Software.
Album Quicker pro 5.5 software specially developed for helping photographers, album designers, and photo studio workshops. Because album quicker has provided users with so many useful and helpful tools and features that can be very helpful for a photographer, album designer, photo editor, and photo studio lab.
Browne was still living in his childhood home, The Abbey San Encino, where he began writing the songs for his third album. Because of the high costs of recording his previous album, Asylum Records founder David Geffen required him to complete this next album quicker and at less cost. Browne decided to use his touring band of David Lindley, Doug Haywood, Jai Winding, and Larry Zack. It was also decided that Al Schmitt, an engineer on For Everyman, would co-produce to aid in the album being completed on time. The album was completed in six weeks and at half the cost ($50,000) of For Everyman. Numerous friends of Browne's, including Dan Fogelberg, Don Henley, and J. D. Souther contributed harmony vocals. There were only eight songs on the album, five of them longer than five minutes.[2]
The title track was used in the 1976 Martin Scorsese film Taxi Driver.[3] "Fountain of Sorrow" was covered by Joan Baez on her 1975 album Diamonds & Rust; "Before the Deluge" was covered by Joan Baez on her 1979 album Honest Lullaby; Baez and Browne performed the song together on her 1989 PBS concert special. "Walking Slow" and "Fountain of Sorrow" were released as singles but both failed to chart.[2]
Browne has publicly acknowledged that the cover art for Late for the Sky was inspired by the 1954 painting L'Empire des Lumieres ("Empire of Light"), by Belgian surrealist René Magritte. The album itself contains the credit, "cover concept Jackson Browne if it's all reet with Magritte". The original photograph was shot on South Lucerne Avenue just south of West 2nd Street in Windsor Square,[8] about 10 miles southwest of Browne's childhood home, the Abbey San Encino, in Highland Park, California. Designer and front cover photographer Bob Seidemann said, "I spoke to Jackson in 1980 and he told me he thought it was his favorite cover. Lest the jacket appear too funereal, a mood-defusing photo of a relaxed Jackson, almost smiling and looking as though he has a surprise to share, occupies a small square of the back cover."[9]
Reviewing for Rolling Stone in 1974, Stephen Holden highly praised the album, calling it Browne's "most mature, conceptually unified work to date" and saying that the "...open-ended poetry achieves power from the nearly religious intensity that accumulates around the central motifs; its fervor is underscored by the sparest and hardest production to be found on any Browne album yet... as well as by his impassioned, oracular singing style."[16]
In a retrospective review for AllMusic, William Ruhlmann describes the themes of the album as "love, loss, identity, apocalypse", similar to Browne's debut album, feeling that Browne "delved even deeper into them...Yet his seeming uncertainty and self-doubt reflected the size and complexity of the problems he was addressing in these songs, and few had ever explored such territory, much less mapped it so well."[10]
Musichound Rock: The Essential Album Guide call it "a bit mopey, but it hangs together as Jackson Browne's strongest and most melodious album, with a couple of rockers thrown in to perk up the listeners."[12] Robert Christgau was more critical in Christgau's Record Guide: Rock Albums of the Seventies (1981), saying that Browne's "linguistic gentility is inappropriate, his millenarianism is self-indulgent."[11]
The idea is simple: Being able to create collections or lists of whole albums. Of course you could just add albums to regular playlists but then it just adds the songs separately, which is messy, so you can't easily see which or how many albums are there in the list or checking if there are missing songs.
By having album collections we could easily see which albums are added to them and it would make it quicker to select certain albums for downloading by toggling the download button of a collection containing them. We could also re-order the list of albums quicker than re-ordering a simple playlist of consecutive albums broken down to songs.
You can download/un-download every album in the collection with one tap, you can also either play the albums in order or shuffle them, or even shuffle all songs within the albumsAdding or removing albums from collections
Two years previously, Harris had released what proved to be the last full album as Scorn done as a partnership with Nic Bullen, who was, like Harris, a Napalm Death veteran seeking another route forward from that act's total extremity. In retrospect, seeing the peripatetic way that both Harris and Bullen have carried out their work, rooted in their already multiple approaches before Scorn and after and covering a tremendous slew of releases, collaborations and creations since, not limited to music - makes their few years together all the more amazing. It's a meeting of minds and approaches that maybe could never have lasted. But setting aside the subsequent remix album Ellipsis, 1994's Evanescence is one hell of a way to bow out. It's the kind of album that maybe could only have been created and released in the UK, something that drew on strands throughout the world and at home. At the time Scorn sounded like some of the heaviest music in the world; even at two decades' distance, it's hardly lost that feeling.
But for all the dominance and power, though, there's the fact that it does stick to the ribs somehow. It was never solely bleakness. Thanks to kindred spirit Kevin Martin's creation of the term 'isolationism', less played out in the end than post rock but no less of an attempt to catch a quicksilver feeling in amber, the work of Scorn was, perhaps inevitably, put within certain limits. One thing that's fascinating about Evanescence to me that's clearer on a relisten, even just compared to their album the previous year, Colossus, is how warm, inviting even, it can be, especially reading everything through the lens of the present. Suddenly the disorientations of dubstep's origins as much as Martin's own work as the Bug and much more besides seems to have a clearer root somewhere, in an album that plays out as an endless 3 am. Scraps of familiarity are transformed into loops and rhythms that soothe as much as they raise the hackles - two years out from their debut efforts, their Swans worship at the full as much as their Mad Professor, Pop Group or Adrian Sherwood fascinations, they are swimming through a very dark ocean of constant flowing undertows. There's nothing like a choogle here, but there is a chug, a steady churn forward.
Bullen's vocals seem to mean less than his bass playing on the face of it, but starting the album with 'Silver Rain Fell', an image cryptic, beautiful and threatening all at once, showcases both his ability with his words and how to deliver them, stern but swathed in echo. On one of the album's quicker numbers, 'Days Passed', the clip of the rhythm could be called peppy, Bullen's calm delivery of the verses suddenly underscored by strong pronouncements of the title phrase as punctuation. It almost feels like a transformation of the language, using English to feel like it came from somewhere else instead, creating a new meaning much as the music does. As he sings on 'Exodus' while didgeridoo parts and a twisted high hat/pulse drives everything forward, it's almost open ended contemplation amidst a roiling central core.
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