Want to add some metal and ink to people in your family, well read this: Press SHIFT+M and cycle through the marquee tools until you come to the circle (alright, elliptical marquee tool) . Once that's selected, you'll see some options at the top of the canvas. In the drop down list next to Style, choose 'Fixed Aspect Ratio'. This of course gives us a perfectly round circle selection every time. Go ahead and drag one out now. Not too big, though. Good. Now we need to go Select->Modify->Border. A screen pops up asking you how many pixels wide you want it to be. I put 3 here. Now we need to put something in it. Stop! Before we fill it with color, we have to make a new layer (CRTL+SHIFT+N). Now press SHIFT +F5 to bring up the Fill screen, and from the drop down menu choose '50% grey'. We don't need the selection now, so CRTL+D to deselect. Now a round circle isn't going to be very realistic. What we need to do now is distort it a bit. Press CRTL+T to enter transform mode, then right-click and choose 'Distort' from the menu. Now play around moving the handlebars around the square. Good. We could now just take the eraser tool and get rid of that bit in the middle. A better way, though, is to use a mask. At hte bottom of the layers panel you'll see a little grey rectangle with a white circle in it. Click it and our layer gets a brother. The foreground/background colors also change to black and white. Now if we paint black, it will take away the ring, and if we then paint white, it will bring back what we painted black. Just to the left of the mask icon on the layers panel, you will see as well the Layer Style icon. Click it now and from the list that springs down, choose 'Bevel and Emboss'. This is pops up another screen with lots of options on it. We don't need to change anything for now, though. You will also see that our ring is updated in real time, so we can see the results straight away. To give it more highlights and make it shinier, hit the 'Gloss Contour' box. Another screen pops up where you can alter the mapping. Just click and drag the black line until it is like the example.

This article describes another option for photo image enlargement, using the 4x5 inch film camera together with a high definition flat bed film scanner. For those in search for the best image enlargement, using this setup might just surprise you.

Have you been looking for a 35mm rangefinder camera? Look no further! Because you are going to discover here the best, handy and modern Leica 35mm rangefinder camera with excellent features.

Digital cameras have become mainstream cameras because they are extremely easy to use and offer a host of wonderful features. Digital cameras connect to PC via USB so you can transfer your photos easily for archiving, editing, and printing. Digital cameras make it easy to share pictures both online and in print. Digital cameras with resolution in the four to five megapixel range are capable of producing professional-quality images.

A camera fitted with a range finder is called 'rangefinder camera'. It has a range-finding focusing mechanism. This allows the photographer to judge the focusing distance to take photographs.

Here are simple step-by-step instructions on how to come up with great panoramic images using Photoshop CS Photomerge: Open several images of a single scenery in Photoshop CS. Go to the File option, the select Automate, and then go to Photomerge. This will open the Photoshop dialog box. Check that the images you want to merge are in the dialog box. Next check the Attempt to Automatically Arrange Source Images box and then select Ok. The program will then automatically select the images one by one, and attempt to merge them into one panoramic photo. If your photos don't quite match you may get an error because the program cannot merge the images automatically. If this happens don't panic. It is still possible to arrange the images manually. If an errors does occurs, integrate the image or images that were not merged by pulling that image or the images from the top window into the panorama and arranging to the desired position. Photoshop CS will then integrate the image into the panorama automatically.

Click on the Brustic to open the Brush Preset picker, and scroll down to see the default set of brushes. Towards the foot of the list of default brushes you'll find a variety of unusually-shaped brush tips, including brushes shaped like stars and blobs. Click on the picker's menu icon to access other, specialised sets of brushes. You can use the picker's menu to display a thumbnail of the brush stroke, or set it to show the brush tip and name. The numerical value indicates the brush's initial diameter in pixels. You can customise this to suit your requirements. When you select a new set of brushes, you can either replace the existing default set or append the new set to it so you can use both.

Create depth of field: You can quite easily add depth of field to the images that you have taken "snaps" of. If you have an image that is completely in focus and the background too is in focus (a common effect of non SLR digital point and shoot cameras) the you can solve this using Photoshop. You simply draw a mask or make a selection around the subject, invert that mask so that it selects all but the subject and apply a blur effect to the part of the image that is selected. In the later versions of Photoshop there is actually a filter that emulates the natural lens blur. The end result is a sharp, in focus subject with an out of focus background. This can be very effective and can draw attention to the subject.

There are certain features on modern digital cameras that you can live without. Two closely related features in that category are digital zoom and interpolated resolution. Both rely on the same principle, and it is definitely something better left to the editing software on your computer. When on the subject of digital cameras, interpolation is just a term for a computer's best guess as to what should happen when you try to turn one large pixel into more than one smaller pixels. The computer (whether it's your home PC, a dedicated graphics machine at a photo lab, or the chip in your camera) uses mathematical formulas that try to guess, based on the colors of surrounding pixels, what the new substitute pixels should look like. For example, if a series of black pixels in a line on a white background are doubled, the pixels added between the black pixels will be black, and those between the white pixels will be white.

Color Model: When you hear the term color model we are referring to the method from which we define or classify the color we are to work with. Examples of such are RGB, LAB, CMYK, etc. Color Space: A color space is simply a variation of your color model. For instance, within your RGB framework some common variations are, sRGB, Adobe RGB, and so on. Some of these spaces are better for display e.g. sRGB and Wide Gamut RGB while other color spaces are more suited to printing e.g. ColorMatch RGB and Adobe RGB. Now, it is important to note that every device in our workflow utilizes it's own unique color space. Meaning, while your monitor, scanner, and printer will base their color spaces basically on what we can see their actual gamut (range of colors) will differ. This is where we lose our consistency across devices. This is the problem we must attend to.