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Picture shadow remover


‎Shadow Remover Photo Editor on the App Store

Description

Proudly Made in USA!
By a PhD graduate in Electrical and Computer Engineering!
Whose doctorates dissertation has been in Digital Image Processing!

Adjusts the foreground light intensity, shadows, and slightly the focus.
Removes background shadows.
Removes the background.
Perfect tool for creating Against the Light Photos as it allows you to make the foreground totally dark. You can see the artistic against the light photos in the screenshots above.
Computational ND filter.
Based on scientific research.
Retrieves Natural Looks.
This version allows you to remove background shadows, and camera flash shadows as well as the foreground shadows.
It also allows you to remove the background without leaving sharp edges near the object.
Hence, you can use it for retouching your portraits such as passport photos.
Please refer to the user guide for more information:
http://perfecthorizon. superthz.com/2019/06/user-guide-for-shadow-remover.html

Version 2.8

Regular update to make sure the app runs with no issues on the new versions of iOS as well as older versions of iOS.

Ratings and Reviews

82 Ratings

Helpful

Helped me to adjust the shadows on the background and remove unwanted shadows on the background. Thank you

I hate this app

It didn’t work

Very good

Helped me to adjust the lighting of my photo

The developer, Kiarash Ahi, indicated that the app’s privacy practices may include handling of data as described below. For more information, see the developer’s privacy policy.

Data Not Linked to You

The following data may be collected but it is not linked to your identity:

Privacy practices may vary, for example, based on the features you use or your age. Learn More

Information

Seller
Kiarash Ahi

Size
9.7 MB

Category
Photo & Video

Age Rating
4+

Copyright
© Kiarash Ahi

Price
Free

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  • Privacy Policy

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Top 4 Methods to Remove Shadow from Photo without Quality Loss

Lighting is the most important element when taking photos. Good lighting can make your photos and selfies look nice, but bad lighting just creates unwanted shadows. Have you ever taken a perfect photo, except for some shadows that spoil everything? In the digital era, it is not very difficult to remove shadows from photos if you have the right editing tools. This guide will show you the easiest ways to get rid of unwanted shadows on a computer, a mobile device, and online.

  • Part 1: Remove Shadow from Photo Online
  • Part 2: How to Remove Shadow from Photo with Photoshop
  • Part 3: How to Get Rid of Shadow in a Photo on iPhone/Android
  • Part 4: FAQs about Removing Shadow from Photo

Part 1: Remove Shadow from Photo Online

It makes sense that more and more people transform to online apps to retouch photos. They do not ask you to install anything on your hard disk. Moreover, some of them are as powerful as desktop photo editing software. Aiseesoft Free Background Remover Online, for example, is one of the best shadow removal tools online. Compared to other web apps, users can enjoy several advantages, such as:

  • Completely free to use without registration.
  • Remove shadows from photos online.
  • Support popular image formats, like JPG, PNG, etc.
  • Protect photo quality while editing.

How to Remove Shadow from a Photo Online for Free

Step 1:

Open a browser, and visit https://www.aiseesoft.com/online-bg-remover/. Click the Upload Portrait button to upload the target photo.

Step 2:

After uploading, you will be presented with the main page. Choose the Erase tool, adjust the Brush Size, and draw on the unwanted shadow in the Original panel. Then the result will appear in the Preview panel in real-time.

Step 3:

If you have the background image, go to the Edit tab, select Image, and upload it from your computer. Move the background to the right position.

Step 4:

At last, save the photo to your computer or mobile device by hitting the Download button.

Part 2: How to Remove Shadow from Photo with Photoshop

Adobe Photoshop equips a wide range of photo editing features and some of them are available to remove the shadow from the photo on Windows and Mac. According to our research, the Patch Tool is the easiest method to get the desired effect, and we demonstrate the basic steps below.

Step 1:

First of all, open the photo in your Photoshop. You can buy the photo editing software from the Adobe website.

Step 2:

Highlight the photo layer on the Layers panel, go to the Layer menu on the top ribbon, and choose Duplicate Layer. It makes a copy of your photo so that you can cancel the changes at any time. Click the Eye icon next to the original photo to hide it, and select the copy layer.

Step 3:

Click and expand the Healing Tool on the left toolbar, and choose Patch Tool. Then you will get the setting bar under the main menu bar. Pull down the Patch option, and choose Content-Aware. That will create new pixels when removing shadow from the photo.

Step 4:

Next, draw on the shadow on the photo, and move your cursor to the near area that you want to replace. Photoshop will do what you want and match the copied pixels. Once you release your cursor, you will see the result.

Note: The Clone Stamp Tool is more suitable to remove a small shadow from a photo, while Patch Tool is available for shadows of any size.

Part 3: FAQs about Removing Background around Hair

For mobile-first, the easiest way to get rid of shadow in a photo is a photo editor app. There are a lot of photo editing applications available in the App Store and Play Store, but only a part of them has the ability to remove the shadow. TouchRetouch, for example, equips the Clone tool and Selection tools to remove any objects from a photo quickly. The only downside is that TouchRetouch is not freeware. You can pay $3.99 or $2.00 to use it on iPhone or Android device.

Step 1:

Start the photo editor app, and load the photo that you want to edit from your Camera Roll or Photo Gallery.

Step 2:

Set the output resolution on the menu bar. By default, it keeps the original resolution.

Step 3:

Select the Brush tool at the bottom and draw on the shadow or any unwanted object on the photo. If you prefer to Lasso tool, select it and outline the shadow instead.

Step 4:

When you are done with the selection, tap the start button and the photo editor app will begin removing shadows from the photo and fill in blank pixels using the algorithm. Then you can save the result to your memory or share it on social media directly.

Note: Besides, there are several photo editing apps that you can use to get a similar effect on mobile devices, such as Pixelmator, Snapseed, Enlight Photofox, etc.

Extended Reading:

  • Remove Picture Background and Make It Transparent in PowerPoint
  • Get 3 Free Background Removers to Transparent GIF Background

Part 4: FAQs about Removing Shadow from Photo

Can you remove a shadow from a photo for free?

Yes, there are free applications and software to remove the unwanted shadow from photos. GIMP, for instance, is an open-source photo editor that can do the job without paying a panel.

How can flash prevent shadows?

To prevent shadows with flash when taking photos, you can move your subject to get rid of shadows, use bounce the flash to get a large light source, and move your flash to different directions until all shadows disappear.

Is it possible to remove a shadow from a face?

Yes. With the photo retouching software, you can remove the shadow from faces on portraits and selfies. Therefore, getting a user-friendly photo retouching program is important for everyone.

Conclusion

This guide has demonstrated three ways to remove shadows from photos on a computer, a mobile device, or online. Photoshop allows you to erase shadows from an image with several tools. Moreover, you can get the desired effect using a proper photo editing application on mobile devices. Aiseesoft Free Background Remover Online is the best free shadow removal tool online. If you have other questions about this topic, please contact us by leaving a message below this post.

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Background Remover: Make Transparent Background Online

Fotor's free online background remover tool allows you to remove the background from an image, create transparent images and change backgrounds - all in seconds!

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Automatically remove image backgrounds online

With Fotor's AI-powered background removal tool, removing the background from an image has never been easier. All you have to do is upload your image and Fotor will automatically detect the subject of the image and erase the background for you. This process is 100% automatic and saves you a lot of time!

Remove backgrounds with great precision and quality

Remove the backgrounds of images containing animal hair or fur, which used to be an extremely difficult task. Now it's not. Fotor background eraser can accurately extract objects from complex images and create a beautiful and smooth edge. Experience the accuracy of AI-powered background removal today!

Fine-tune cutouts with manual settings

For even greater precision. You can use the smart Save/Erase tool to fine-tune your cut elements manually. Simply select the elements you want to keep or remove and watch the magic our background eraser does. Get the result you want every time you create transparent images!

Easily change photo backgrounds

You don't like the background of the photo? Replace the background of your photo with a new background with one click. You can replace the background with a colored background, a landscape photo, or any other image that suits your needs. You can also blur the background of a photo to make the subject stand out more. Unleash your creativity - the possibilities are endless!

Bring your photos to life with the shadow effect

Add a new dimension to your photos with the drop shadow effect. To make your photos more natural and real, you can quickly adjust distance, blur, opacity, and shadow direction. You can use this great feature on product photos!

Get the Fotor background remover app for free

Fotor provides PC-level background removal capabilities for your mobile device. Install the free Fotor background remover app on your iOS or Android device to make your images transparent anytime, anywhere. You will be amazed at how easy it is to use the app - witness the magic!

Effortlessly get a transparent background for any image

Whether you're removing the background of portraits or group photos, Fotor's background remover has it all! What's more, there's a selection of different built-in options so you can quickly turn photos into social media profile pictures, resumes, and more. remove photo background?

Step 1: Submit your image

Simply submit or drag and drop your desired image for editing into Fotor's background removal tool.

Step 2: Remove background

In seconds, Fotor's AI-powered background removal tool will automatically remove the background and create a flawless cutout with a transparent background.

Step 3. Personalization

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There's nothing easier than creating a transparent image background with Fotor's free transparent image creation tool. Just upload an image and Fotor does the rest - it's automatic and easy to use! Just don't forget that the image must be saved as a PNG file so that the image remains transparent with the background.

How do I change the background of a photo?

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How do I remove the white background of an image?

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How to use color and light for vibrant watercolor paintings

Learn some advanced watercolor techniques with Virgil R. Carter. These techniques allow you to turn your color palette and natural light into tools for creating spectacular watercolor paintings. This lesson affects only the image of landscapes. However, these principles also apply to working with anything from animals to still lifes and portraits.

Accessories used:

  • Set of wooden blocks in different sizes
  • Original image "Spring on the threshold" or pictures of landscapes with buildings
  • Arches Cold Press Watercolor Paper, 252 g/cm2 (140lb), 22 x 30 cm (9 x 12 inches)
  • Wooden board, minimum 22 x 30 cm (9 x 12 inches)
  • Watercolor notebook or album
  • Tape 30 mm wide
  • HB pencil
  • Skip Lawrence palette or any other for watercolor
  • Glass of water
  • Towel or cloth for drying brushes
  • Dry tissue or paper towel
  • Watercolor brushes in various shapes and sizes

American Journey Artists Watercolor Set:

  • Cadmium Orange
  • Peachy Keen
  • Quinacridone Gold
  • Quinacridone Permanent Rose (Permanent Rose Quinacridone)
  • Cobalt Violet
  • Ultramarine Blue
  • Cobalt Blue
  • Andrew's Turquoise
  • Spring Green (Spring Green)
  • Payne's Gray

From the Da Vinci Watercolors set:

  • Hansa Yellow Light
  • Indian Yellow
  • Cadmium Scarlet
  • Naples Yellow
  • Quinacridone Burnt Orange
  • Phthalo Blue
  • Manganese Blue - Blend
  • Phthalo Green

Introduction to color and light watercolor techniques

Why are color and natural light so important?

Color is one of the most powerful means of an artist for conveying a personal relationship to an object, his emotions or feelings associated with it;

Light illuminates a painting and affects our perception of colors, tones, emotions and even our well-being and comfort;

Together, color and light help to judge the volume and strength of the substance of the subject, and they also affect the mood and content of the picture.

Lesson Structure

This lesson is divided into three parts, each with demonstrative illustrations. In the future, you can use these principles in working on your paintings.

Tasks:

Part 1 - Basic concepts and application of several key properties of color and the principles of natural light in painting.

Part 2 - Basic concepts and application of some of the basic components of lighting: 1) illuminated surfaces, 2) surfaces with own and cast shadows, 3) reflexes, "light traps" and "halos".

Part 3 - Painting with Color and Light: Demonstration of painting a painting following these principles of using color and light in painting.

How to use

Color

Painting in color involves using your imagination to work with a chosen color range. If you can't call yourself a colorist, try taking a few shades you like and use them in this tutorial. Below is a photo of Virgil's palette.

Top row (from left to right) : Ultramarine Blue (Ultramarine Blue), Cobalt Blue (Cobalt Blue), Phthalocyanine Blue (Phthalo Blue), Manganese Blue (mixture)) - mix, Turquoise Andrew (Andrew's Turquoise), Emerald (Phthalo Green), Spring Green (Spring Green), Gray Payne (Payne's Gray).
Bottom row (from left to right) : Hansa Yellow Light, Indian Yellow, Cadmium Scarlet, Naples Yellow, Peachy Keen, Quinacridone Gold Gold), Cadmium Orange, Quinacridone Burnt Orange, Quinacridone Permanent Rose Quinacridone, Cobalt Violet.

Approach to creating a painting

How many artists - so many techniques. Whichever one you choose, try to develop your own painting system. To do this, first of all, work on the composition and tones using reduced pencil sketches in a notebook.

Watercolor notebooks (sketchbooks) are a wonderful tool for studying the subject before applying paints. The better you understand the subject of the drawing (any subject) and the more confident you are in it, the freer your style of painting will be. And this means that you will worry less and enjoy the process more! In the sketchbook, you can also experiment with composition and tones. Such an unpretentious procedure will help you out at the initial stage of working with watercolors, and help you create a full-fledged, impressive picture.

When you base your drawing on a sketch, all you have to do is make the painting look like it. Design your own color scheme to express the feelings and emotions you want to convey. And don't forget the 80/20 rule : at least 80% of the painting should embody your idea.

Basic concepts of color and light in painting: Part 1, stage 1

Key principles of seeing and depicting with color and natural light

Color and temperature of light

The most important thing about painting with color and natural light is understanding that light has color and temperature.

  • Physics and Scenic Effects : The illustration below shows the color of light in degrees Kelvin.
  • As you can see, the light can be of different colors. It can also be depicted in several painterly ways to create different moods and effects. Virgil also showed some use of color to represent different lighting conditions, such as midday, early morning, late evening, including atmospheric effects such as drizzle and fog.

Colors can be warm or cool. However, it is the color of the light incident and reflected into the environment that affects the perception of the hue and temperature of the object and the whole picture. Even the tone of the subject itself depends on the color and intensity of the lighting and the environment.

Part 1 Stage 2

Light Intensity : The second important principle of lighting has to do with the intensity of ambient light. Below, Virgil has graphically depicted four of its options: two methods of transmitting bright light, and one each for depicting weak light and atmospheric phenomena.

  • Vivid lighting: It is mainly characterized by a wide range of rich warm colors on illuminated surfaces accompanied by cool accents, contrasting shadow zones and a full range of pronounced tonal gradation. Bright lighting can be conveyed in several ways, here are two of them:
  1. Spotlight effect : Features a wide and rich color palette and contrasting tones. Please note that this approach does not allow you to select isolated items.

  2. Sundrenched subject and/or "glare" effect: In contrast to the harsh spotlight effect with intense color and contrasting tones, strong lighting can also be depicted with close tones and color contrasts that convey "dazzle". A feature of this method is the illusion of filtered light with softer contours or their absence, as well as weak color and tonal contrast.
  • Low light: Caused by lack of warm light. Thus, it is characterized by a limited range of cool colors on illuminated surfaces, cold accents and the presence of moderate or subtle shadows, depending on the desired effect and the brightness of the ambient light. Weak light is not characterized by an abundance of strong color or tonal contrasts. Forms appear flat, not prominent, with less obvious detail/texture.
  • Atmospheric effects on lighting: Rain, drizzle and fog are atmospheric phenomena that create special lighting conditions. Compared to weak light, they transmit even fewer colors and tones. Their contrast is almost imperceptible due to the predominance of medium and light tones, and the shades are very muted and cold. Forms become almost completely flat silhouettes, with a visual lack of volume, detail or texture.
  • Effects on surfaces: Under normal natural light, horizontal surfaces collect or reflect light and appear bright. Vertical surfaces, on the contrary, retain their hue and are perceived as darker in color and tone. As a result, situations arise when the black roof is lighter than the shaded wall.

Part 1 Stage 3

Direction of Light : The last important principle of painting with light is to understand the different directions of light falling. From this condition depends the form and clarity of the subject, as well as its position, along with the mood and atmosphere of the picture.

The light transmitted in the picture can fall in four directions, as shown below: front, three-quarters, side, back.

  • Front lighting : Light from the front tends to smooth out shapes because most visible surfaces are equally lit. Falling shadows are small or absent. There may be variegated, expressive colors and tones.
  • Three-Quarter Illumination: When the rays fall at approximately 45 degrees to the subject, light, penumbra and shadow are clearly visible. This helps to better convey the shape of the subject and makes it possible to use enhanced colors, tones and contrasts.
  • Side lighting : Similar to the previous case, it gives the impression of a uniform and three-dimensional object. Often such lighting is accompanied by sharp falling shadows, which can acquire distinct outlines and convey the features of the underlying surface. Side light has great potential in terms of composition and form building.
  • Backlighting: Backlighting creates a silhouetted image of the subject. Shape outlines can be made brighter and softer in appropriate places to create a "halo" or fringing effect. This type of lighting has a narrow spectrum of medium and dark tones. Colors should be cold and muted. Depending on the intensity of the light, shapes can become flat and details can become fuzzy. One gets the impression of general dullness, shading and coldness, ambiguity and even mystery. Back lighting allows you to create a spectacular composition.
  • Basic concepts and application of the main components of lighting: Part 2, stage 1

    Illuminated surfaces, self-shadow, cast shadows and reflections

    Let's start by explaining some common terms:

    • Illuminated surfaces: Subject surfaces illuminated by an accessible source Sveta.
    • Self shadow : Surfaces of an object that are far from a light source and are not illuminated by it. They are also called "object shadows".
    • Drop shadows: Shapes cast by illuminated objects onto adjacent shapes and surfaces. The contour of the shadows can change depending on the shape of the surface on which they fall. They are also known as "cast shadows".
    • Reflections: Distorted image, color or tone of an object reflected on adjacent shapes and surfaces under certain lighting conditions.

    General rules and regulations:

    • Composition: To enhance the effect of lighting in landscapes, either illuminated or shadow surfaces should dominate. If they are in balance, then the feeling of light is weakened, which threatens to create a “frozen” composition.
    • Temperature: Under normal conditions, illuminated objects tend to be "warmer" while shadows and cast shadows are "cooler".
    • Intensity and Tone: Drop shadows generally have a more intense color and darker tone than their own shadows.

    Part 2, step 2

    Shape and intensity of cast shadows

    The first fundamental property of cast shadows is their shape and intensity. It all depends on the brightness of the light source and on its distance from the object that casts the shadow.

    • Intense or hard cast shadows: Closer to light source and subject. They are more pronounced, warm, with sharp contours.
    • Muted or soft drop shadows: Far from light source and subject. They have less saturation, coldness and fuzzy boundaries.
    • Small or invisible cast shadows: Depending on the ambient light, cast shadows may be reduced or even eliminated due to low light or atmospheric conditions.

    Part 2, step 3

    Color and temperature of cast and own shadows

    The second important characteristic of shadows is their color and temperature:

    • Bright light: When the light is strong enough, the shadows pick up the colors around them and on the underlying surfaces. Try to make your own shadows and cast shadows as glowing as possible. Don't make them too tight! Keep the above principles in mind and change the cast shadows as they move away from the light source and the object that casts them.
    • Low light: the temperature of the light is closer to cold, and its intensity is less. In this case, the cast shadows, if any, will be much more muted, cold and soft.

    Part 2, Stage 4

    Painting Effects

    In painting, cast shadows can include the color of the surfaces that cast them, especially in strong light. The introduction of additional shades helps to achieve an unusual, shimmering brilliance, in particular when working with bright ambient light. Moreover, random "pearls" of color inclusions will enliven both illuminated and shaded surfaces.

    Part 2, step 5

    Reflexes, light traps and halos

    The last and most important feature of drop shadows and self shadows has to do with three small design elements that can add impact to a painting. The illustrations below show uses for all three of these features.

    • Reflexes:
    1. Reflections enhance the painterly effect of color and light, making illuminated hues play and creating a "shiny" ambient light effect.
    2. Reflexes can appear on illuminated surfaces, cast shadows and cast shadows, especially in bright light.
    3. Reflections are best seen on a clear sunny day or under intense lighting. They are less likely to be seen in weaker light. They are almost absent under the conditions of certain atmospheric phenomena.
    4. General rules for rendering reflexes: they are a lighter tone than any drop shadow area on which they are displayed; they have a darker tone compared to any illuminated surface where they form.
    5. Application Techniques: Reflections can be drawn on vertical and horizontal surfaces using the wet method. They can also be transferred by removing a layer of paint.
    • "Light Traps": This term is a personal invention of Virgil. With it, he describes the intersection of vertical and horizontal shapes or surfaces, where light is perceived as being "trapped" as it reflects from one surface to another. Display techniques are similar to the reflex transfer methods above.
    • Halo effect : With this term Virgil defines the boundaries of forms that give the impression of light reflected or passing through them. It can also be called the "edging" illusion. It is especially pronounced in backlighting, but is also noticeable in other directions of light incidence. Ways to convey it include softening or blurring the contours, in combination with applying the color of the surface in a damp way or removing watercolor to create the appearance of a "halo". Apply this effect in doses, it is easy to overdo it.

    Part 2, step 6

    Myths about self and cast shadows

    • Self and cast shadows mean "lack of light" : Cast shadows are not associated with a lack of light, it is always present in both cast and self shadows. Check it out for yourself: go outside and look at any object in the shade. You will be able to clearly distinguish all the details! If there really was no light, you would not be able to see anything.
    • Cast shadows and cast shadows have "universal color": There is no "universal" eyeshadow color like grey, purple, blue or "shadow green". The color of a drop shadow is made up of the shades of the ambient light and the surfaces it falls on. For example, the color of the shadow on a brick wall is different from the color of the same shadow on the grass growing nearby. And, of course, you can pick up your own palette for a unique painterly effect.

    Demonstration of painting "Spring on the doorstep": Part 3, stage 1

    The original photo, titled "Spring on the Threshold", features a landscape depicting both natural and man-made objects. This gives you more opportunities to apply the principles covered in this lesson. The main subject of the picture is a charming hotel located in Wilmington, Delaware. You can print this photo to make it easier to redraw it.

    The light falls from the side, giving forms illuminated and shaded surfaces. The side lighting also produces distinct cast shadows, which Virgil has chosen to enhance for greater visibility and picturesqueness. He also added several objects and intersecting shapes to the painting to make the composition more interesting.

    Part 3, step 2

    In your sketchbook, use a simple HB pencil to draw some sketches. Experiment with the composition and choose the most optimal. Also decide on tonal gradation. Next, prepare your Arches watercolor paper by taping it around the perimeter to the wood board. Put the paints on the palette, add water to them and mix the desired colors.

    Part 3, step 3

    Sketch the composition on the watercolor sheet with light lines. Then, start painting the sky and background using the wet method. Apply some light shades of the sky to the background area to achieve color harmony, especially in areas that do not contain shadows. Now write in light natural elements and foliage that overlaps buildings and other artificial objects (also in a damp way).

    Part 3, step 4

    Paint houses and man-made objects in the wet technique and apply some midtones.

    Part 3, step 5

    Write the rest of the mid-tone natural objects. Start working with dark colors: outline drop shadows and other dark areas using the same wet technique. Before working, prepare more washes of the desired shade to ensure tonal uniformity and consistency.

    Part 3, step 6

    Add the necessary details and work on the texture of the surfaces (tree poles, branches and other elements). Adjust the final composition, including correcting colors.

    Part 3 Stage 7

    Overview:

    1. Use the sketchbook to analyze your photograph, select and develop design, composition and tonal gradation, and create an overall plan for your painting.
    2. Start by defining and drawing the lightest areas and objects.

      Learn more

© SUSIE Hadeed PHOTOGRAPHY | designed by rachael earl

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