Download Music Photo Editor ((BETTER))

Create and save a slideshow project. You select a group of photos, then add text, choose a theme, add music and set how long each slide appears. You can export a slideshow project to play it on a Mac, iPhone, iPad or Apple TV.

Choose Theme Songs from the pop-up menu to see music included with Photos, or choose Music to see music from your Music library. Drag the songs you selected to change the order they play in. To delete a song, select it and press Delete.

Download Music Photo Editor

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Please take a moment to consider if this thread is worth bumping.Prev12NextPage 1 of 2 Recommended PostsIonlorderPosted June 8, 2019IonlorderResident 13Share Posted June 8, 2019 What is your favorite photo editor?

I use PS and love it, but for quick editing and to use templates that make life so much easier overall, built in gif controls and combination of photos etc the Photoscape is the best for me and free and has so many features.

Gimp. It can do most things PS can, and I'd argue that the Gimp community is more inclusive and patient since, well, it's an open source program accessible to anyone - the PS community appear very elitist, almost as if they think themselves the upper class of the photo editing community; in my mind it doesn't matter if you used PS Ultra Pro Deluxe delivered with curly fries and a glass of champagne, or if you used MS Paint - it's the end result that matters, and which way you chose to get there.

I've spent my entire adult life working with images & colour professionally, photography, design, web and in print (small and large formats). Gimp is not even in the same league as Photoshop, and to even suggest that it can compete, only makes it clear you have no idea what photoshop can do. My car has 4 wheels, your car has 4 wheels, what's the difference, right!

I'm not going to say that you're plain wrong though, because yes, Adobe Photoshop is the industry standard. But if you're just getting into SL photography, PS may well simply be too much - to use comparison as a rhetorical device; you don't need a space shuttle to cross the street:

But perhaps you can give me an example of a specific photo editing process that one might want to use for an SL snapshot which you don't think can be done in Gimp? I'm genuinely curious, as I've yet to find a photo editing tutorial for Photoshop that I couldn't translate to Gimp with a few simple work-arounds or plugins.

You think the Gimp UI is junk, I think the PS UI is junk. The tool set has seen changes and advancements since I started using Gimp - but most importantly, it contains all relevant tools, and if you're missing a tool there's almost always a plugin for it anyway. And I'm not sure about you, but I don't see much point in printing my SL photos? Is that a thing?

It will open and export a pretty wide variety of formats, and if you need a specific format that isn't supported in the base setup, again, plugins and converters. Again though, I don't know what type of format is missing that would somehow be relevant to SL photography?

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Good question! Most importantly, the video must tell a story in as few minutes as possible. Beyond that, adding text, a filter, emoji or sticker can work wonders in making your photo videos look cool!

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No flash can be fine, better in many cases, but its always nice to have a choice, especially when you have bands who clearly dont like photographers and so not to have decent lighting until after the 3rd song!

@Jason Campbell, They are one of the best bands to shoot period. It is incredible how it works to their advantage too. Everyone has good photos of them and they are always visually stunning. On top of that magazines always publish shots of them too. Its really win, win for everyone across the board with the Flaming Lips. They even interact with the guys in the photo pit too, throwing confetti and those big balloons at photographers when they shoot. Albeit it may mess up your shot, but they present the photographers with so many opportunities its one miss out of a few hundred other tries.

There are increasingly more concerts where the only place photographers are allowed to shoot from is the soundboard or some other remote location requiring a 400mm to achieve a half-body shot of an average person.

I think one major issue today is the inflated sense of entitlement many concert photographers have about the relationship between them and their subjects. We are being offered a courtesy to have such access, too many egos out there forget that. Quite often I have seen Wire shooters (i.e. syndicated photographers) explode in a temper tantrum over being restricted from shooting however long they want, or in some cases from being able to shoot at all (Radiohead has notoriously barred syndicated shooters from pit access while photographers on editorial assignment were allowed in). Worst thing about that is, many of these guys do not even share a passion for the music. its **just** an assignment. Sigh.

Sadly, I think this is the case, not just with photographers, but with editors, writers and publishers. The content side of the business has been happy to phone it in for quite some time, and I think that is one of the main reasons this business is now finding itself disposable.

@Jason Sheesley, I hate to say this (and I will probably be unpopular) but I feel that concert photography is akin to shooting fish in a barrel. Their show. Their light. Their choreography. About all you have to do is show up with the right gear. There is so much more.

The PR people usually know the photographers. I could imagin they could have a tighter selection about what photographers are allowed to shoot, but those photogephers would have more acces (time and room to move around). Less photographers, more acces = more quality = better for the band and for the photographer.

The original paper said they owned the copyrights, and I flat-out refused to sign that. (As the newspaper employed photographer would have.) I was preared to shoot only the opening act and call it a night, or just go home without any photos of the performers at all.

I guess I missed out on this rule, since I mostly shoot jazz musicians. They are definitely a really great group of people to photograph. Most of the time, they are barely into it and warmed up in the first three songs, and really only become more lively towards the end of a performance.

I have done concert photography (as a hobby), for a few years now and I seem to be gravitating toward the small venue/small band circuit. Mostly Jazz and interesting combinations of genres (aka weird shit).

The good parts of this are that you get to shoot as much as you want during the show (no flash though, that is very annoying for both performance and the audience) and you can easily get backstage to talk to the musicians before and after the show.

In general the atmosphere is great.

On the other hand, the big shows in the large venues seem to be full with photographers. There is a 3-song-rule. There is a photo-pit. Atmosphere is good, but there is no direct access to musicians. You are more like a cog in the machine. However there is money to be made.

A Photo Editor (APE) is edited by Rob Haggart, the former Director of Photography for Men's Journal and Outside Magazine. Contributors include fine art photographer Jonathan Blaustein (@jblauphoto), Creative Director Heidi Volpe, photography consultant Suzanne Sease and Executive Producer Craig Oppenheimer of Wonderful Machine.

I choose to significantly reduce the Highlights within most of my concert photography images. I then push contrast and Clarity sliders up. How much depends on the image, and your original exposure in-camera.

For concert photos, this combination gives me edgy, darker, yet more defined looking images that I enjoy.

Depending on the artist, I tend to create desaturated looks for concert photography. This pairs well with pulled down highlights and pushed up contrast and clarity. I pull the vibrance and/or saturation sliders down to achieve this.

I pull up the regional Highlights, and pull down the Lights within the Tone Curve panel. This compensates for and complements the pulled down Highlights in the Basic Panel.

I then adjust Shadows and Darks up or down as necessary to further fine-tune the image to taste.

Finally, I use some amount of Post-Crop Vignetting on my photos 95% of the time. I do this because it pulls the eye to the most important area of the photo. I use low-profile, squared vignette styles with vertical images to produce a better framing effect.

After making these global adjustments, I decide to continue as either a color or black and white image.

At times, I choose to use the Selective Color processing technique with concert photography. Color select processing is when the majority of a photo is converted to black and white, but select parts are deliberately left in color for effect.

Doing this in moderation can give images a unique look, and take a cool moment to another level to stand out.

There are many selective color presets out there that allow you to pull out only red, blue, green, yellow, etc. In the image below, I only wanted the guitar red. But parts of the hands and face still had red tinting showing up.

I fixed this by doing additional fine-tune editing using the adjustment brush tool. Pulling the saturation all the way down, I painted over the areas where color was still appearing. This made the image black and white everywhere except for the guitar.

You want to use this option sparingly though. Too much of any single processing technique gets old quick. Variety within your portfolio is your best bet.