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Description
The industry standard for photo enlargements. Powered by Genuine Fractals. The best results for all of your photos Use Genuine Fractals powered algorithms for optimizing clarity and detail for different image types. Get the best quality enlargements for your photos, whether taken with a DSLR or your mobile device. Enlarge Mobile Device Photos. Security Update 2021-004 (Catalina) macOS Catalina Security Update 2021-004 (19H1323) is recommended for all users and improves the security of macOS. Genuine Fractals 5 Mac Download Cambria Math Font Download Mac Java Mission Control Mac Download Lightroom 5 Mac Download Serial Office 365 Download Excel Mac Pinegrow Web Editor 4.3 Crack build responsive websites faster with live multi-page editing, CSS & SASS styling.It speeds up working with HTML.It is a user-friendly interface from which.
Genuine Fractals 7 is Perfect Resize 7. It's the same great product, just with a new name and it remains the industry standard for enlarging and resizing images. Perfect Resize, formerly Genuine Fractals, is renowned across the photographic and printing industries for its ability to increase image size without the loss of sharpness or detail that you might normally expect. The patented, fractal-based interpolation algorithms work like nothing...
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- Release Date:07/21/2011
- License:Shareware
- Category:Multimedia & Graphic Design
- Developer:onOne Software
- Downloads:141
- Size:63.65 Mb
- Price:$99.95
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System Requirements
Genuine Fractals requires Windows.
Genuine Fractals v.7.0.2 Copyright
Shareware Junction periodically updates pricing and software information of Genuine Fractals v.7.0.2 full version from the publisher using pad file and submit from users. Software piracy is theft, Using crack, password, serial numbers, registration codes, key generators, cd key, hacks is illegal and prevent future development of Genuine Fractals v.7.0.2 Edition. Download links are directly from our publisher sites. Links Genuine Fractals v.7.0.2 from Bittorrent, mediafire.com, uploadfiles.com, hotfiles.com rapidshare.com, megaupload.com, netload.in, storage.to, depositfiles.com and other files hosting are not allowed. The download file is obtained directly from the publisher, not from any Peer to Peer file sharing applications such as Shareaza, Limewire, Kazaa, Imesh, eDonkey, eMule, Ares, BearShare, Overnet, Morpheus, BitTorrent Azureus and WinMX.
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Genuine Fractals™ |
Review Date: March 2000
The Road to Digital High-Res
For more than two years, I’ve been exploring the world of digitalphotography using what have become known as 'pro-sumer' cameras.Almost from the beginning, I was convinced that there were waysI could produce images with these modestly priced tools that weresuitable for commercial applications. However, the key to achievingthis goal was 'processing' the raw image through sophisticated softwarethat could take the captured data, enhance it to maximize the qualityof the image so that it could be reproduced, either in the formof a high quality print, or by graphic processes that utilize CMYKcolor separations.
By the time I began my experiments, studio photographers and a handfulof hardy outdoor types were already using higher end digital scanningbacks on medium and large format cameras to produce excellent imagesfor commercial and fine-art applications. Their systems, however,were tethered to computers, and although some were portable in thesense that they required tethering only to a lap-top, I wanted atruly portable system that was as convenient to use as the conventionalcameras I’ve carried into the field for more than forty-fiveyears. I also wanted to be able to produce my images independently.As a photographer/artist, I’ve never been comfortable havingsomeone else process and print my images and then taking personalcredit for the work. I believe the art and the process are inextricablybound together.
Early Experiments Showed Promise
By the end of my first year, I had managed to produce and exhibit8' x 10' digital black and white prints that could be hung side-by-sidewith conventional, chemically processed gelatin silver prints. ButI could not exceed that size without displaying an obvious difference.I did not offer digital prints for sale however, because I was certainthat the life expectancy of these early efforts would be rathershort-probably less than five years.
During this same one-year period, I also succeeded in using my 'megapixel'digital color images in a handful of commercial print projects.In each instances, the reproduction size of all images was heldto 5' x 7' or smaller. By the end of 1999, I had succeeded in producinglarger images that reproduced well in print, but this was accomplishedby upgrading cameras as newer technology became available. Currently,I’m using an Olympus C-2500L that produces a 2.5 megapixelimage file.
Getting back to my earlier comments, however, It is important tosay that my success in using 'pro-sumer' digital images is due largelyto the capabilities of the software I use. No one could use theraw file produced by the camera to achieve the same effects.
My primary processing tool is Adobe® Photoshop®2 5.5. Thisis the industry’s premier photo retouching and image editingprogram, used by every professional graphic designer, commercialpre-press operation, service bureau and photographer I know. I knowonly a few people who use more than half of this powerful program’scapabilities, and although my experience with Photoshop began manyversions ago, I still use it primarily to produce what most of uswould call 'conventional images'where even the most complicatedretouching is not the least bit apparent to viewers who have notseen the original image.
Routinely, by the time an image is ready for reproduction, I havealtered the levels and curves (modifying tonality and contrast),balanced the colors, retouched the picture to eliminate blemishes,minimize reflections, and neutralize obvious distractions, and I’vesharpened the image with the unsharp masking tool.
A Breakthrough from Altamira
Over the years, I have employed a number of plug-ins for Photoshop.For those unfamiliar with the term, 'plug-ins' are compatible additionsthat work from the Photoshop palette even though they’re producedby companies outside Adobe Systems, Inc. They include products likeExtensis Mask Pro and Intellihance, and the remarkable product byAltamira Group that I’m going to describe in a moment GenuineFractals.
Though it is not a newcomer to the software market (Version 1.0won the Macworld 'Eddy Award' as the best graphics plug-in of 1997and Genuine Fractals PrintPro won the 1998 'Eddy Award' as the bestpublishing utility), I didn’t discover it until late in 1999.Moreover, when I inquired about the product among my friends ineducation and the graphics arts industry, I found I wasn’tthe last kid on my block to discover Genuine Fractals.
My first exposure to this plug in was on the recommendation of avisitor to the Imaging Resource Web site. He had written to complimentme on my article about digital landscape photography and closedhis correspondence with the remark, 'I hope you have discoveredGenuine Fractals.'
Well, I had not discovered Genuine Fractals and although I had heardof fractal technology and read a definition, I had no practicalknowledge or experience. I immediately searched the Internet andfound the web site of Altamira Group, Inc., a software developmentcompany located in Burbank, California. The Company describes itselfas a developer of applications for high-resolution graphics utilizingstate-of-the-art digital imaging technology.
I immediately downloaded a trial versions of Genuine Fractals 2.0and GF PrintPro and began a test on one of my raw image files capturedwith the Olympus C-2000Z. It was a photograph of an antique goldpocket watch that can be seen on my web site. I saved it in theGF PrintPro.STN format and enlarged it to 300% of its original size.I was speechless. Not only was the image sharper than I’d seenit before, but I saw on the smooth metal inner surface of the watchface cover a small fingerprint I’d never before detected inworking on the file. I couldn’t wait to get my hands on thefull program and explore the full capability of Genuine Fractals.Meanwhile, being the curious type, I 'needed' to know more aboutfractal technology, so I looked it up.
Here’s what Genuine Fractals software does:
After you have optimized your image file in Photoshop, establishing howthe final image will appear, you save the image using the preferred GenuineFractals file extension (FIF or STN). GF transforms the image into 'resolutionindependent-assets' eliminating the relationship between pixels and resolution. The image becomes mathematically encoded as an algorithm and the pixelsof the original raster image are replaced with a new file structure thatstores the entire image and none of the pixels. When you open the imageagain, you can re-scale it to the desired size and the algorithm willgenerate new pixels while maintaining sharpness regardless of image size.
Genuine Fractals lets you save time by allowing you to work in mediumsize original files for high resolution output. What’s more, when youscan images from film, no longer is it necessary to scan images at outputresolution. You need only between 15MB and 40MB of RGB data to capturean image for large format output.
Now, I know some of you are beginning to show your skepticism, but bearwith me. This really works and I can prove it. I’ve actually tested thefollowing statement found in the GF product sheet:
'You can scan a 4' x 5' transparency at 25MB, do all the image editingat that scan resolution, then encode the image. The encoded filewill typically be 2MB to 12MB. Now, if you need to output the imageat 450MB and 60MB, you can generate both resolutions from the sameencoded file.' 'For smaller print-quality output, you can startwith a 4MB-5MB original, encode to less than a megabyte, then renderthe image easily and beautifully to 20MB. For screen resolutionoutput, start even smaller.'
A Test: Getting the Most from Photoshop
Here’s another experiment you can try, comparing the best methodof Photoshop image enlargement against Genuine Fractals. The Photoshopmethod was recommended by an instructor friend some time ago and it doesproduce a pretty good result. Download the JPEG or TIFF image from yourdigital camera and open it in Photoshop (see figure. 1) . Open the actionspalette under the Window menu by clicking on Show Actions. Begin a newset of actions following instructions in your Photoshop user guide andenlarge your image to the desired size by just a few percentage pointsat a time. For 'speed,' you can enlarge the image in 5% increments, althoughyou’ll get a far better result resizing the image just 1% at a time.Let’s go over this step-by-step.
Though this process is rather time consuming, you will get a much betterresult that you would if you simply resized your image in a single step(Image Size under the Image menu).
Step Number 1:
First, I downloaded a JPEG image file from my Olympus C-2500L and made a copy of the file. (It’s a good idea to make a copy to work from the first time you try this, so that you can preserve the original for future use in the event you make a major mistake and damage the file you’re working on.)My objective was to end up with a 300 ppi file at 8 x 10 inches.
Step Number 2:
I then resized the original image without resampling (that would have altered the original file size) to 300 ppi (4.56' x 5.7' for this particular file).
Step Number 3:
My next step was to begin enlarging the image in steps, 5% at a time, resampling to keep the image at 300 ppi, until the final image size was just over 8' x 10'. You’d expect this to take some time, but using the actions palette speeds the process substantially.
Step Number 4:
I saved the enlarged image in TIFF format.
Continuing the Test: Enlarging the Image with GenuineFractals
I reopened the original image file and again resized it to 300 ppi withoutresampling. This time, however, I simply saved the original file withGenuine Fractals using the STN extension (see figure 2).
Fig. 2: The Photoshop Save As dialog box showing theSTN extension
I then opened the STN file at exactly the same size as my first enlargementand in two side-by-side windows made a direct comparison of portions ofthe images at 100% magnification.
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The Comparison Results
Without question, the GF image won this comparison test. The GF imagewas reasonably free of artifacts, was smoother, and had better color qualitythan the image enlarged in increments. At 200%, the differences becameeven more obvious. Photoshop’s bicubic interpolation method producesgood results, but a side-by-side comparison with fractal technology isa bit like comparing apples and oranges, if you’ll excuse my useof a tired cliche.
Fig 3: The portion of the image used for thiscomparison at 200% shows the brass ring on the puppy’s collar (whichalso may be seen in Fig 1). On the left is the image enlarged in 1%increments in Photoshop. On the right is the identical image enlargedusing Genuine Fractals.
One also should consider, that even if you have the time to use the incrementalmethod of enlarging images (though I can’t imagine why you wouldwant to), you still may have to store multiple copies of your files fordifferent uses. I’ll address that issue further as we continue.
Using Genuine Fractals: Two Options
Currently, there are two available GF products: Genuine Fractals 2.0 andGenuine Fractals PrintPro. GF 2.0 is designed for digital artists, photographersand photo service bureaus that output digitized photographs or computergenerated images. It also is ideal for photographers and web designerswho want to optimize their capabilities for producing web images, providing50 web graphics options and encoding for 10:1 compression.
I chose the PrintPro version because I work with commercial printers andgraphic designers and need the capability to scale images that are separatedinto CMYK color channels for traditional four-color printing. (GF 2.0doesn’t offer that option.)
Fig.4: The Genuine Fractals 'Save As' dialog box showing the Losslessand Visually Lossless options.
With Genuine Fractals PrintPro, there are two 'Save As' options availablewhen you encode your optimized image from Photoshop: Lossless and NearLossless (See figure 4). Both use the STN (STiNG4 ) file extension. [GF2.0 offers these plus 2 more options for FIF (Fractal Image File) extensionweb graphics.] When you choose lossless encoding, GF produces a file ofapproximately 2:1 compression that renders the image exactly when openedat 100%. This option produces the highest quality enlargements. When youchoose near lossless encoding, GF produces a file of approximately 5:1compression yet still enables you to render an image well beyond 100%with excellent quality. Inasmuch as I am not strapped for storage capacityand normally save my images to CD-ROM, I prefer to use lossless encoding,but if you are storing snapshots that probably will never be reproducedas large size images, near lossless encoding is a wonderful space-savingoption.
Genuine Fractals Print Pro speeds the process of transmitting images andeliminates the need to rescan or store several copies of a single imagefor multiple output requirements. For example, a photograph that is usedfor the cover of a publication might also be used on a poster, an insidepage and in a cropped thumbnail version as a complement to the table ofcontents. Traditionally this would require as many as four scans and thestorage requirements would be significant. Moreover, Internet transmissionof such files can be very time consuming. But, with GF, a single fileof medium size could be transmitted to serve all intended uses—froma magazine illustration to a billboard.Fig, 5: The Genuine Fractals Print Pro image opening screen
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When you open your files, GF’s on-screen menu (see figure 5) displaysimage dimensions in inches, pixels, picas, points, lines or dpi. It alsodisplays the original image’s bitmap file size, width, height and theencoded file size. It gives you the option to constrain image proportionsto maintain the aspect ratio or to unconstrain to distort the dimensions.It provides a thumbnail image with a cropping tool that lets you defineand render only a portion of the original image, and it gives you threerendering options from highest quality to fastest rendering. GF also willdisplay the image on your desktop for quick launch and easy recognition.
Conclusion
It may be a slight exaggeration to say that Genuine Fractals is the greatestthing since sliced bread, but it is a truly remarkable plug-in for users ofPhotoshop. It’s given me a way to produce 16' x 20' and larger reproductionsof my pro-sumer digital photographs and that’s something that would havebeen called wishful thinking a very short time ago. Nikon now includes GF2.0LE in the software package for its Coolscan® 2000 and Coolscan®III film scanners and Epson bundles it with its Stylus Photo 1200 printer.
For more information on Genuine Fractals and a free trial download, go to theAltamira Group Web site. The complete version of Genuine Fractals 2.0 may bepurchased for $159, while genuine Fractals PrintPro is priced at $299.00. (Ownersof the full version of GF 2.0 can upgrade to PrintPro for $139) Both productsare available for Mac or Windows 95/98/NT platforms.
UPDATE : The Genuine Fractals products were acquired by LizardTech in 2001 and were eventually acquired by ON1 Software in 2005. ON1's Perfect Resize product still uses the technology. Their contact info is available here.
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Note to readers: Uponpublishing our review, we received a large amount of email concerningour perceived bias towards Genuine Fractals. In actuality, we try ourbest to keep our reviews free of bias, therefore, an addendum has beenadded to this review to clear up any problems or misunderstandings thatour readers may have encountered. Please read our addendumfor full details...