Digital Gem Airbrush Professional V2.0.0 Free Download
Katelin
The KODAK DIGITAL GEM Airbrush Professional Plug-In gives users a quick and powerful way of smoothing skin surfaces without blurring or affecting the detail of important facial features.
This plug-in enables users to achieve meticulous airbrush effects, automatically, without tedious, time-consuming masking and manual softening. The KODAK DIGITAL GEM Airbrush Professional Plug-In smoothes surfaces in digital images by reducing harsh shadows and highlights, minimizing the imperfections of skin and other surfaces, while fully preserving details like hair, eyelashes, eyebrows, and the true character of a subject's face.
Several advanced control sliders allow users to customize the smoothing effects and intensity amounts at three levels of detail: fine, medium, and coarse. Users can preview a high contrast mask which depicts the image detail that is affected or unaffected. The plug-in provides three standard setting buttons: Normal; Lighten; and Darken, which allow the correction to be applied to only darker areas, only lighter areas, or both. The KODAK DIGITAL GEM Airbrush Professional Plug-In also supports the use of 16 bit color images, as well as the standard 8 bit color images.
The KODAK DIGITAL GEM Airbrush Professional Plug-In provides an effective and affordable solution for the amateur snap-shooter or the professional portrait photographer to bring out the real beauty in their subjects by reducing the distracting imperfections and smoothing unflattering highlights/shadows. Whether the subjects are older with wrinkles, teens with blemishes, or toddlers with already perfect skin, this plug-in will make them look their best.
You can do the same thing in Photoshop if you save a 16-bit scan file - all the information collected by the scanner is retained. You save time by correcting at scan time, but lose some information. Photoshop takes longer, but is more powerful and parametric. Using adjustment layers in Photoshop, none of the original information is lost.
My approach is to get close in scanning (I use SilverFast AI6), then fine-tune in Photoshop. It is a compromise between processing time and minimizing loss of data. SilverFast is completely CMS-enabled, so I can use a custom profile to nail the scan the first time, even with negative film.
Do you mean that scanning at 16 bit instead of 8 will conserve more highlight and shadow detail, or am I way off on this? Is there any way to manually stop the software from clipping the highlights and shadows?
Vuescan is still on disk, but I haven't fired it up in months. Perhaps more knowledgeable users 'get' something about this program that has continued to elude me, but tinkering with advanced settings in FilmGet -- the scanner software supplied with my Canon FS4000 -- produced better results for me than Vuescan, with much shorter processing time. You're using a Minolta, so your mileage may vary, so to speak.
Speaking of black and white scans, I've been scanning black and white as RGB and then discarding the Red and Blue channels as the Green channel seems least noisy, and I get less noise than by scanning "black and white" and letting the scanner mix the results. Anyone else? Do the scanners scan Green only when told to scan black and white film anyway?
(b) See Michael Mutmansky's fascinating article in September/October 2005 "View Camera" magazine pages 53-58, entitled "Considerations in Scanning The Large Format Film" where he specifically clips highlights and shadows on purpose because he WANTS to have appropriate paper-white and ink-black in the end result, and does not fall slave to the presumptive non-choice of "maximizing the histogram" at the expense of artistic and intentional control over the final image.
Scott, I think there must be a balance between artistic and scientific approaches. Can you tell us a little more about what you are after? What do you have that you do not what, and what do you want that you do not have?
PS - Also, Kodak/ASF Applied Science Fiction makes the "3/4" of Digital Ice 3/4 available as separate software packages (features and benefits also available through other suppliers) that work on ANY image, and can "enhance" the "qualities" of your scans - see
The DIGITAL SHO Plug-In, for ADOBE PHOTOSHOP and compatible programs, automatically reveals image details hidden in shadow areas with the professional version also revealing details from highlights and supporting 16-bit. Great for fixing common exposure problems caused by backlit subjects, uneven flash illumination and partial shade.
The DIGITAL GEM Plug-Ins, for ADOBE PHOTOSHOP and compatible programs, automatically reduces and manages noise and grain in digital images without causing excessive softening or blurring. The professional version adds a powerful new grain/noise reducing algorithm, a "Noise Preview" screen, 16-bit support, and more.
The DIGITAL GEM Airbrush Professional Plug-In, for ADOBE PHOTOSHOP and compatible programs, automatically smoothes skin and other surfaces of digital images without softening or blurring important details like eyelashes, eyebrows, or hair. Supports 16-bit color images.
The DIGITAL ROC Plug-Ins, for ADOBE PHOTOSHOP and compatible programs, automatically correct, restore, and balance the color of digital images. The professional version adds the ability to control image contrast and brightness in addition to color, and it supports the use of 16 bit color images.
Applied Science Fiction has now become KODAK's Austin Development Center, continuing the development of imaging technologies which will be incorporated into future KODAK and OEM products. ADOBE PHOTOSHOP Plug-In Software will continue to be sold direct to consumers through this Website. Please continue to check our Website for more details and thanks for your support. For more info about Eastman Kodak Company go to
What I think I am missing is that elusive property of digital capture that I guess is (or is related to) exposure latitude. There seems to be a certain depth(range) of tonality that comes out of the high end digital cameras that eludes me. Now I know that there is an inherent compromise with slide film in terms of exposure latitude, but it seems that even more shadow detail is lost in the scanning process.
I'm not really sure that I can describe what I think I'm missing, but so far I've only noticed it on-screen when I'm looking at a wildlife image taken in low light that seems to have been captured so much greater of a range of tonality than what I'd end up with when scanning. Most of the time these images come from a D1 or 2 series camera or the Canon equivalent.
I started using sensia instead of provia recently because its scanning properties are better than provia and the resolution/grain seems to be about the same. This has improved the situation somewhat.
I know the limits of slide film and I can't make those go away, but I'd like to be able to capitalize on the original lustre of the slide by maximizing the scanner. If the scanner is limited by its hardware(lense, CCD etc.) than I guess there's nothing that can be done, but if the software itself is cutting off the high and low end, I'd like to be able to experiment a bit and see if that missing data can improve the image.
I'm a long-time Vuescan user and can definitely recommend it. On the other hand the two scanners with which I've used it (the original HP Photosmart and the Canon FS4000US) came with deficient software, so Vuescan is indeed an improvement. I don't know how good or bad Minolta's software is, but you can try Vuescan and see how you like it. Vuescan can output as 8-bit or 16-bit TIFF, with or without LZW compression.
John Kelly: Vuescan is definitely a must-have for the FS4000US. Canon's FilmGet has two significant limitations. First, it makes its adjustments in 8-bit mode even when it saves 16-bit files. Second, it sharpens all images automatically, which you can neither control nor switch off. Both of those "features" can unnecessarily complicate subsequent processing. Vuescan gives the scanner a multi-pass capability that FilmGet doesn't provide, which can improve shadow detail in slides. You may or may not find the stand-alone workflow more convenient than FilmGet's TWAIN-only interface.
The DIGITAL SHO Plug-In, for ADOBE PHOTOSHOP and compatible programs, automatically reveals image details hidden in shadow areas with the professional version also revealing details from highlights and supporting 16-bit.
For negatives, use the advanced workflow (lock film base by scanning the leader) and either use white balance or manual by right-clicking a neutral area in the frame. This can save you some post-processing time. Set black point to 0% and white point to something minimal like .01 or .1% to maximize dynamic range.
"What I think I am missing is that elusive property of digital capture that I guess is (or is related to) exposure latitude. There seems to be a certain depth(range) of tonality that comes out of the high end digital cameras that eludes me. Now I know that there is an inherent compromise with slide film in terms of exposure latitude, but it seems that even more shadow detail is lost in the scanning process."
(a) Have it "professionally" printed by a commercial lab to the maximum size of your printer -- glossy is often a favorite choice, but select a surface that YOU will use yourself. Have them reprint it until you are happy, if po$$ible!
(b) Then go home and scan and print that same slide yourself, 16-bit, 16-x multi scan, iteratively print and tweak and print and tweak and print and tweak as necesasry to "match" the pro-lab print, again, until you are happy, if possible.
I have had certain images that I've scanned at home printed on enhanced matt at 20" x 30" on a big epson and I'm fairly satisfied. The on-screen reference that I made is because the only comparisons I've done between my scans and D2X images, for example, are on-screen. Even in this limited medium, they still look better than mine. There's just something about digital images that looks better -- and maybe this is just on-screen. Nonetheless, I would like to know: does shadow detail and/or tonality range improve if I were to start scanning at 16 bit instead of 8 bit. This is somethjing I know I can do with the Minolta software.
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