Smartphone technology has come a long way in the last decade. From simple phone calls and text messages, our smartphones have become our go-to device for virtually anything, from online shopping to video conferencing. But with all these advanced features, have we forgotten about the most basic aspect of our smartphones: the wallpaper?
Gone are the days of dull, static wallpapers. Today, there are countless options for customizing your smartphone's background, and one of the most exciting and innovative options is the 3D wallpaper app.
What are 3D Phone Wallpaper Apps?
3D phone wallpaper apps are just what they sound like - apps that offer a wide variety of 3D wallpapers to use as your phone's background. The wallpapers offered by these apps are not just static images but rather interactive and animated, providing a mesmerizing and dynamic experience to the user.
These apps are designed to work seamlessly with the latest smartphone technology, including OLED displays and high-resolution screens, to provide stunning and visually appealing 3D graphics.
Benefits of 3D Phone Wallpaper App
The benefits of using 3D phone wallpaper apps are numerous. Some of the most significant advantages include:
Customization: With a vast selection of wallpapers to choose from, you can easily find one that suits your style and preferences. From abstract designs to beautiful landscapes, there's something for everyone.
Dynamic Experience: 3D wallpapers add an extra layer of excitement to your phone's background. The animations and movements make your phone's screen come alive, providing a more interactive experience.
Increased Battery Life: Since 3D wallpapers are designed to work efficiently with the latest smartphone technology, they do not put a strain on your battery life. You can enjoy your stunning wallpaper without worrying about your phone's battery draining quickly.
Compatibility: 3D wallpaper apps are compatible with both iOS and Android devices, making them accessible to a wide range of users.
From 1980s family snapshots to 1880s family heirlooms, many of us have old photos in need of repair. Even images with significant creasing, pitting, discoloration and tears can be restored with just a few simple Photoshop tools. You don’t have to be a Photoshop expert to make massive repairs to damaged old photos. You just have to be patient. Here’s how.
If the photo is smaller than an 8.5×11-inch sheet of paper, you can easily scan it on a flatbed scanner. If it’s too brittle for that, however, or too large to fit in the scanner, consider photographing it in order to digitize it. This has not only the benefit of accommodating much larger image sizes, but can be helpful with very delicate prints. That said, there’s nothing better for a curled vintage photo than being neatly pressed to the glass of a flatbed scanner.
To shoot a big print, hang it on the wall or lay it on a copy stand and place two light sources—such as bare-bulb strobes—beyond a 45-degree angle from the camera position and as comfortably far from the print as possible (such as 5 or 10 feet away if there’s sufficient room to do so). This has the dual effect of preventing strange shadows and detail-obliterating reflections, as well as keeping the light even by positioning the lights far from the print. For maximum color accuracy, photograph a neutral gray card or color chart for use in the next stage.
With the digital image of my antique print in hand, I import it to Lightroom in order to make the initial wholesale adjustments to things such as sharpness, contrast, color and so on. This stage is the perfect time to consider one of the biggest decisions you’ll have when restoring an old photo, which is how to handle the color. The black-and-white image in the example here has a strong brown cast. This sepia tone can be attractive and certainly appropriate for a hundred-year-old image, but I still think it needs some help. Bear in mind that ultimately how you handle the color of the image is entirely up to you. If you want it truly neutral, go for it. (To accomplish this, use the Lightroom Develop module’s eyedropper to click on an area of the image thatshouldbe white.) In my case, I just wanted to dial back the heavy age cast, so I used the White Balance slider to dial the color slightly toward neutral without eliminating what I consider to be a pleasant sepia tone.
If this was a 1970s-era color image, however, I might have treated this step differently. For full-color images that have faded or discolored over time, I think gaining color accuracy is very helpful. For this, I find the Auto White Balance feature can definitely get close, as does Photoshop CC’s auto levels (command+shift+L), which can be dialed back with the Fade control by holding command+shift+F.The other issue I like to address in Lightroom pertains to overall sharpness (slightly dialing up Clarity and Detail and dialing down Noise) and contrast. I certainly use the Contrast slider, but I also like to adjust shadows to bring out a bit of shadow detail without eliminating deep black tones and highlights to ensure some bright, almost-white areas of the frame without obliterating highlight detail. In that way, I can improve the overall color, contrast and sharpness of the image before it even gets to Photoshop. Once there, I like to focus solely on repairing damage, so try to get these overall effects taken care of before leaving Lightroom.
Once my image is open in Photoshop, the real work begins. Mind you, it’s not that this step is difficult or requires extensive knowledge of Photoshop, it’s just that it takes the longest. Set aside at least an hour and likely a couple more in order to repair the damage bit by bit with the Clone Stamp (and a bit of the Spot Healing brush).
A straight-ahead use of the Clone Stamp—where you alt-click to set the point you’d like to copy from before clicking the area you’d like to heal—can largely accomplish most of the repairs seen here. Be sure to use the brush at 100% opacity because I find antique images tend to have lots of texture and patterns in extreme close-up, and this means any lower opacities on clone stamp will create a bit of a blur that will stand out against the general texture of the image. The best way to fight this is with brushes set to 100% opacity and slightly harder brush edges, as well, if necessary.
The clone stamp is the primary tool I use for repairing damaged photographs. Simply alt-click to set the area to clonefrom, then click to paint the area you’d like to cloneto. Frankly, if you just use the clone stamp and take your time, you’ll do fine. Though if you’re feeling comfortable stepping it up a notch, consider using a high-end portrait retouching technique called Frequency Separation. It takes a bit to set it up the first time, but it can be recorded as a repeatable action making it quick to apply. For more information on Frequency Separation, check out our tip explaining it here:https://instagram.com/shop.shimunia?utm_source=ig_profile_share&igshid=12olsbikc1n35
The reason frequency separation works well for repairing damaged prints is the same reason it works so well on retouching skin—it allows the texture and detail to be separated from the color and tone. That means you can Clone Stamp away rips and folds on the high layer, then change to the low layer to address luminosity and color—all with the Clone Stamp.
Another tool you can add to your repertoire is the Spot Healing brush. Particularly for small wrinkles or spots, a single click with this brush can seem to magically repair issues. I find a Spot Healing brush set to Proximity Match tends to do very well in restoration settings.
Whether you use these tools alone or along with Frequency Separation, one of the biggest mistakes people make when retouching images like this is they don’t zoom in close enough. There’s no magic formula, but be sure you can see the details large on your screen and easily differentiate between good image-forming detail and damaged elements. This is likely with the view set to at least 100%. If it’s not clear enough, zoom in more.
I take the approach of starting with the largest elements in a quadrant and then moving methodically through the image and repairing what catches my eye. There are so many tiny dust spots and particles, you have to learn what to let go and what to fix. That’s the biggest challenge at this point. I periodically zoom out to see what’s catching my eye at the macro level, and if it’s damage and it grabs my attention, I fix it. If it’s just general foxing or light textural damage, I tend to leave it. In the image here, for instance, there’s some of this texture remaining on the bottom right of the image even in the final version. Eliminating this texture effectively would create too much blur, and that would look more artificial than a little bit of aging texture—particularly if it doesn’t interfere with the most important areas of the frame.
Speaking of which, the bottom line is to spend most of your time repairing faces and other areas that garner the most attention. Pay closer attention when working on faces, in particular, using the same techniques you might use when retouching a portrait you photographed yesterday. For me, this means ensuring no dust or scratches interfere with your subject’s face (or their body/clothing, for that matter) simply by taking a closer view and eliminating a few more of the finer spots and particles.
In the end, you don’t have to make the image perfect—you just need to eliminate the largest of the issues to let the original subject take center stage once again.
I occasionally take on requests to restore old photos in Photoshop. Some of these photos have suffered heavy damage, and I enjoy that particular challenge. Most are precious in one way or another to the client, and many times it’s the only photo someone has of a beloved or lost relative. I think it’s important to take one’s time when restoring such beautiful pictures. It’s easy to use shortcuts, but the best results come from meticulous care.
A woman’s only photo of herself as a young child, and the only image of her grandparents
The original vintage photo is on the left. On the right is the image after reducing the contrast adjacent to the tears and cracks, then filling the cracks using sampling of adjacent pixels. This can be done using tools in Photoshop like “content-aware” fill or the healing brush. However, in areas where accurate detail is critical (such as faces), I prefer to do this step manually by eye, as it keeps the highest number of undamaged pixels intact.
The image on the left shows the layer of sampled greys used to fill the cracks and tears. On the right, the green indicates the areas of missing emulsion (data). As you can see, it’s not as much damage as you might suspect. When photo editing the cracks, I work in a separate layer and fill only the areas of missing emulsion. I do not paint over undamaged or intact areas of the photo, and I do not blend the fill into the surrounding areas.
Much of the loss is in areas that are what I call “non-critical”, meaning there’s not much in the way of identifiable features. Carefully dodged/burned transitions in these areas will flesh out the face. The yellow areas are where critical detail has been lost. These areas contribute significantly to a person’s appearance. Loss in these areas can be difficult in photo restoration. But again, the areas are fairly small in relation to the size of the head.
Another thing worth paying attention to is the “big picture” areas of damage. Scanning a damaged black and white photo will often leave highlights and shadows that can be misleading. The dotted lines indicate where the large tears were, and where I need to pay attention to shading, distinguishing what’s in the photo vs. shadows caused by the scanner lamp. Knowledge of anatomy becomes critical at this point, so you can balance shading in a way that’s consistent with the shape of the skull and flesh. I usually squint or blur (then undo), so I can see the shape better.
The image on the left is what I believe to be a pretty accurate reconstruction of the gentleman in this cool photo. I arrived at using these sampling techniques (manual and digital), and blending using the smallest dodge/burn brushes. From there, I created details in the features that were both generic and suitable within the context of other features (right). This is where knowledge of anatomy and illustration skills help in restoration. You may not always be able to achieve “historical” accuracy with old photo restorations, but the end result will be much closer to the actual appearance than using other repair techniques. Save your shortcuts and tricks for areas of an image that are not as critical as eyes, mouths, noses. Working pixel by pixel is tedious, but the results can be rewarding.
Repair of the only photo of the client’s mother from her youth
The only photo a man had of his mother, who died when he was born