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Beginning Photo
Retouching and
Restoration
Using GIMP
Learn to Retouch and Restore
Your Photos like a Pro
Second Edition
Phillip Whitt
Beginning Photo Retouching and Restoration Using GIMP: Learn to
Retouch and Restore Your Photos like a Pro
Phillip Whitt
Columbus, GA, USA
ISBN-13 (pbk): 978-1-4842-9264-8 ISBN-13 (electronic): 978-1-4842-9265-5

https://doi.org/10.1007/978-1-4842-9265-5
Copyright © 2023 by Phillip Whitt

This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or
part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way,
and transmission or information storage and retrieval, electronic adaptation, computer software,
or by similar or dissimilar methodology now known or hereafter developed.
Trademarked names, logos, and images may appear in this book. Rather than use a trademark
symbol with every occurrence of a trademarked name, logo, or image we use the names, logos,
and images only in an editorial fashion and to the benefit of the trademark owner, with no
intention of infringement of the trademark.
The use in this publication of trade names, trademarks, service marks, and similar terms, even if
they are not identified as such, is not to be taken as an expression of opinion as to whether or not
they are subject to proprietary rights.
While the advice and information in this book are believed to be true and accurate at the date of
publication, neither the authors nor the editors nor the publisher can accept any legal
responsibility for any errors or omissions that may be made. The publisher makes no warranty,
express or implied, with respect to the material contained herein.
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Retouching-and-Restoration-Using-GIMP. For more detailed information, please visit
http://www.apress.com/source-code.
Printed on acid-free paper
This book is dedicated to my supportive family and friends.
Table of Contents
About the Author��xiii
About the Technical Reviewer��xv
Acknowledgments��xvii
Introduction��xix
Part I: Starting with the Essentials��1
Chapter 1: An Overview of GIMP 2.10��3

In This Chapter��3
Downloading and Installing GIMP 2.10��4
GIMP for Windows��5
GIMP for Linux and Unix-Like Systems��6
GIMP for Mac OS X��7
The GIMP Interface��8
The Image Menu��13
The Image Navigation Bar��14
The Toolbox and Important Tool Functions��15
The Selection Tools��16
The Brush Tools��18
The Transform Tools��21
Other Tools��22
Working with Layers��23
v
Table of Contents
Layer Groups�� 26
Layer Blending Modes�� 28
Plug-ins to Enhance GIMP��29
Summary��29
Chapter 2: Digitizing Your Photos, Slides, and Negatives��31

Acquiring Your Digital Images��31
Starting with a Clean Scan��32
Scanning Photographs��33
Digitizing Large Images��35
Find a Service Provider��35
Use Your Camera and Tripod��35
Scanning Photos in Sections��38
Scanning Slides and Negatives��44
Before You Start��45
Using the Auto-Settings��47
Scanning Resolution for Transparencies��49
Straightening and Cropping Your Images��50
Summary��52
Part II: Tone, Exposure, and Color��55
Chapter 3: Correcting Tone and Exposure��57

Common Tonal Problems��57
Using the Histogram to Assess Tonality��58
Using the Color Picker Tool to Track Tonality��62
Using Sample Points��63
vi
Table of Contents
The Exposure Dialog��65

Tutorial 1: Using the Exposure Dialog��66
The Shadows-Highlights Dialog��70
Tutorial 2: Using the Exposure Dialog��72
The Brightness-Contrast Dialog��75
Tutorial 3: Brightness-Contrast Adjustment��76
Tonal Corrections Using Levels��79
Tutorial 4: Correcting Contrast with Levels��81
Tonal Corrections Using Curves��85
Tutorial 5: Correcting Contrast Using Curves��86
Tonal Corrections Using Layer Modes��88
Tutorial 6: Correcting Contrast in an Old Image��89
Tutorial 7: Correcting a Dark Image��91
Tutorial 8: Correcting a Light, Faded Image��95
Summary��97
Chapter 4: Color Correction and Restoration��99

Common Color Problems��99
Color Essentials��100
Additive Color��101
Subtractive Color��101
The Color Picker Tool��103
Color Channels��104
Correcting Color Casts��106
Tutorial 9: Color Correction Using Auto Input Levels��107
Tutorial 10: Correcting a Severe Color Shift��114
Tutorial 11: Color Correction Using Levels (No. 1)��119
vii
Table of Contents
Tutorial 12: Color Correction Using Levels (No. 2)��122

Tutorial 13: Restoring Severe Color Loss Using the Curves and
Hue-Saturation Dialogs��128
Tutorial 14: Correcting Color Temperature��138
Summary��140
Chapter 5: Creative Use of Color��141

Reimagine Your Pictures��141
Converting Color into Black and White��142
Tutorial 15: Converting Color to Black and White (No. 1)��143
Digital Sepia Toning��151
Tutorial 18: Converting Color to Sepia (No. 1)��151
Tutorial 19: Converting Color to Sepia (No. 2)��152
Selective Colorizing��154
Tutorial 20: Mixing Color with Black and White��154
Tutorial 21: Mixing Color with Sepia��158
Colorizing Black-and-White Images��165
Tutorial 22: Colorizing Black-and-White Images��166
Summary��172
Part III: Digital Cleanup and Repairing Damage��173
Chapter 6: Dust, Light Scratch, and Stain Removal��175

Digital Cleanup with GIMP��175
Removing Dust and Crud from Images��176
viii
Table of Contents
Tutorial 23: Removing Dust from a Slide��176

Tutorial 24: Removing Dust and Light Scratches��183
Tutorial 25: Removing Stains��189
Summary��196
Chapter 7: Repairing Moderate and Heavy Damage��197

Repairing Moderate Damage��197
Covering Up the Damage��198
Tutorial 26: Patching Damaged Areas��198
Tutorial 27: Repairing Moderate Damage��208
Repairing Heavy Damage��224
Tutorial 28: Repairing Heavy Damage��225
Summary��236
Part IV: Retouching Faces, Fun Projects, Preserving Your Images��237
Chapter 8: Editing Portraits and Recomposing Images��239

Retouching Portraits��239
Diminishing Imperfections and Removing Distractions��240
Tutorial 29: Portrait Retouch��241
Tutorial 30: Brightening Teeth��252
Recomposing Images��257
Replacing Backgrounds��257
Tutorial 31: Replacing a Background (No. 1)��257
Tutorial 32: Replacing a Background (No. 2)��264
ix
Table of Contents
Removing People��275
Tutorial 33: Removing a Person��275
Summary��286
Chapter 9: Sharpening Images��287

Sharpening—The Final Step��287
The Unsharp Mask Filter��288
Tutorial 34: Sharpening Using the Unsharp Mask Filter��290
High Pass Sharpening��293
Tutorial 35: Sharpening Using the High Pass Filter��293
Summary��298
Chapter 10: Fun and Artistic Projects with Your Photos��299

Turn Photos into Digital Works of Art��299
Add Artistic Functionality with G’MIC��303
Art Project No. 1: Salvaging “Unfixable” Photos��304
Creating Collages��309
Art Project No. 2: Assembling a Collage��311
Summary��314
Chapter 11: Printing and Preserving Your Images��317

Photo-Quality Printers��317
Ink-Jet Printers��318
Dye-Sublimation Printers��319
Protecting and Preserving Your Prints��320
Archiving Your Prints��320
x
Table of Contents
Displaying Your Prints��323

Storing Images Digitally��324
How Long Will Digital Images Last?��325
Video Montages��326
Summary��327
Closing Thoughts��328
Index��329
xi
About the Author
Phillip Whitt has been a photo retouching
professional since the year 2000. Over the
years, Phillip has served many photographers,
photo labs, and the general public, restoring
and editing countless images. He also offered
film-to-video transfer services for a number of
years, helping people preserve precious family
memories.
Prior to that, he spent the late 1980s and
much of the 1990s as the advertising manager
of a medium-sized hardware/home center.
Much of his work required learning graphic design and working with
images. This led to him eventually becoming proficient in programs such
as Adobe PageMaker (which was replaced by InDesign long ago) and
Photoshop.
Since 2014, Phillip has authored several books and produced several
video courses for Apress Publishing pertaining to image editing.
xiii
About the Technical Reviewer
Massimo Nardone has more than 22 years
of experience in security, web and mobile
development, cloud, and IT architecture.
His true IT passions are security and Android.
He has been programming and teaching
how to program with Android, Perl, PHP, Java,
VB, Python, C/C++, and MySQL for more than
20 years.
He holds a master of science degree in
computing science from the University of
Salerno, Italy.
He has worked as a project manager, software engineer, research
engineer, chief security architect, information security manager, PCI/
SCADA auditor, and senior lead IT security/cloud/SCADA architect for
many years.
His technical skills include security, Android, cloud, Java, MySQL,
Drupal, Cobol, Perl, web and mobile development, MongoDB, D3, Joomla,
Couchbase, C/C++, WebGL, Python, Pro Rails, Django CMS, Jekyll,
Scratch, etc.
He currently works as Chief Information Security Officer (CISO) for
Cargotec Oyj.
He worked as visiting lecturer and supervisor for exercises at the
Networking Laboratory of the Helsinki University of Technology (Aalto
University). He holds four international patents (PKI, SIP, SAML, and
Proxy areas).
Massimo has reviewed more than 40 IT books for different publishing
companies, and he is the coauthor of Pro Android Games (Apress, 2015).
xv
Acknowledgments
I’d like to acknowledge Susan McDermott and Jessica Vakili for their help
and patience over the years! They are both professionals of the highest
caliber.
xvii
Introduction
The Joy of Restoring Photos
When you look through your family photo album, chances are you’ll notice
that some of those pictures are showing their age. They might have faded,
lost a great deal of color, or have stains, tears, or other forms of damage.
There may be only one picture of a favorite aunt or uncle in existence,
possibly in poor condition. If you have photos that are precious to you,
you know how important it is to rescue and preserve them for posterity
(Figure 1).
Figure 1. A faded image rescued for future generations (Image

courtesy of Bruce Bundt)
xix
Introduction
With the advent of digital imaging software, it’s now possible to

perform minor miracles and revive damaged photographs that might
have been considered beyond repair. In this profession, there’s nothing
more gratifying than the look of surprise and joy on a client’s face as they
gaze upon a fresh, new copy of a restored family photo for the first time.
Sometimes, the client is moved to tears, which reiterates how important
family photographs are. Most of us in the photo retouching and restoration
profession love what we do. I personally find it very therapeutic—even
when wrestling with some of the more challenging jobs that come my
way. Learning these skills is a plus for photographers who want to add an
extra revenue stream to their business. Genealogists can greatly benefit
from knowing how to digitally resurrect images from generations past. The
family archivist will have fun preserving the history of mom and dad, as
well as an assortment of cousins, aunts, and uncles.
Why Photographs Are Important

Our old family photographs go largely unnoticed in our day-to-day lives.
They are tucked away in aging photo albums (Figure 2), displayed in
frames (often exposed to damaging light), or stored in drawers and boxes.
Improper storage and exposure to UV light cause the majority of damage
to photographs.
xx
Introduction
Figure 2. Photographs kept in an aging album
Our photographs are linked to our history. The fact is we often don’t
give them much thought until a milestone anniversary or birthday arrives,
a loved one passes on, or other significant events occur. Throughout my
career, I’ve had many desperate clients hire me to restore their treasured
images for all of these occasions.
Preventing damage is always preferable to repairing it. Keeping photos
in acid-free albums, displaying them in frames with UV-resistant glass,
and keeping them out of junk drawers and boxes will go a long way toward
preserving your images. It’s also important to digitize them, so copies can
be given to family members. Those images of our parents, grandparents,
kids—even distant relatives—are part of our heritage and well worth
preserving. It would be a shame if our visual family history couldn’t be
passed on to future generations. Fortunately, with the aid of this book, and
the image-editing power of GIMP 2.10, you’ll be able to rescue all of the
damaged images in your family’s collection, as well as those of your clients,
if you choose to make a profession out of this fun and challenging activity.
xxi
Introduction
IMP: The Powerful Free

G
Image-Editing Alternative
Years ago, there weren’t many options available for full-featured photo-
editing programs. Adobe Photoshop was by far the most powerful—and
the most expensive. While it is still considered the leading photo-editing
software, there are other options that have narrowed the gap over
the years.
One of the most powerful free photo editors is the open source GIMP
(currently in version 2.10.32).
GIMP stands for GNU Image Manipulation Program. The best part
about it (other than being free) is that you can share it with friends and
install it on multiple computers—all without fear of committing piracy or
violating licensing agreements. It is issued under the terms of the GPL,
which stands for General Public License. Photoshop is probably the most
pirated software on earth. With GIMP, that isn’t possible. The developers
encourage you to distribute copies (and yes, it says so on their website).
Open source software such as GIMP means that the source
code is openly available. Anyone with programming skills can make
improvements and enhancements. There is a large community of GIMP
users that contribute to its ongoing development and improvement.
Over the years, GIMP has matured into a powerful tool used by many
independent photographers, graphic designers, and artists who require a
full-featured image editor.
In May 2013, Adobe Systems, Inc., changed to a subscription-only
business model. It no longer sells physical boxed software packages or
downloads with perpetual licenses. Adobe customers must pay a monthly
fee to use the company’s current products on a continual basis. This
apparently angered many of Adobe’s customers, many of whom began
seeking alternatives to Adobe products, especially Photoshop. There was a
xxii
Introduction
dramatic increase in the download frequency of GIMP in the months that

followed Adobe’s decision. It would be reasonable to assume that GIMP
will become more popular over time, as it keeps improving.
Although GIMP lacks some of Photoshop’s features, it’s still an
extremely capable editor for photo retouching and restoration tasks. There
are plug-ins available that can restore some of the missing features, so
GIMP will become more on par with Photoshop.
To download the software and access the documentation and license,
visit the official website at www.gimp.org. GIMP can be installed on
Windows, Macintosh, Linux, and Unix derivatives. The website will help
direct you to the correct installer (or source code) for your system.
Even though this book is a beginner’s guide to photo retouching and
restoration, it’s not a beginner’s guide to GIMP. For the benefit of those
new to GIMP, Chapter 1 is an overview of some of this software’s important
features. It should provide beginners with enough information to follow
the tutorials, but the GIMP User Manual will provide much more specific
information about the software itself.
If you’re a complete beginner, consider my book Practical Glimpse
(also by Apress Publishing). Glimpse is a fork of GIMP (essentially meaning
it has its own team of developers). With the exception of only a couple of
minor things, Glimpse is identical to GIMP, so the information in the book
is applicable.
The retouching and restoration techniques in this book can be
replicated by other programs, such as Adobe Photoshop and Corel
PaintShop Pro. However, some of the tool names and command names
will differ.
If you’ve been eager to learn photo retouching and restoration without
the high price tag that accompanies Photoshop, I encourage you to get
started with GIMP 2.10. You can download the practice photos with which
to follow along in each lesson.
xxiii
Introduction
This book will teach you how to do the following:
• Acquire the best scans and digitize oversized photos
• Improve contrast to make faded photos look their best
• Correct exposure problems
• Make color corrections in photos that have color shifts

or color casts
• Colorize black-and-white photos
• Digitally clean up dust on photos (great for scanned

images acquired from old 35mm slides or negatives)
• Repair images with tears, cracks, and stains
• Remove unwanted objects from photos
• Recompose portraits (add or remove people, change

backgrounds, or make other changes)
• Digitally remove skin blemishes, whiten teeth, etc.
• Protect and preserve your restored images
Visualizing the Editing Steps

It will be beneficial to evaluate each photo and visualize your steps from
start to finish. This may be a little challenging in the beginning, but it gets
easier with practice. Outlined in the following is the progression of an
image restoration that should serve as a general guide:
1. Straighten the image: Sometimes, the image you are

working with will be tilted slightly. GIMP can easily
correct this. You can see in the example (Figure 3,
right-hand-side example) that the porch has been
straightened. Now the edges are at an angle and will
have to be cropped.
xxiv
Introduction
Figure 3. The image straightened
2. Crop the photo: In the next example (Figure 4), I

cropped the image to the client’s specifications.
Photos from the 1950s were often square, and
cropping eliminates the excess foreground.
3. Make the necessary exposure and contrast

adjustments: By using a combination of layers set
with the Multiply and Overlay blending modes,
the photo has much better contrast and brightness
(Figure 4, right-hand-side example). When editing
color images, make the needed color adjustments
after exposure corrections.
Figure 4. Image cropped (left) and contrast improved (right)
xxv
Introduction
4. Do your digital cleanup/editing: Remove scratches,

spots, blemishes, and any distracting elements. After
editing, recheck the exposure and contrast. In color
photos, recheck the color correction.
5. Recheck the photo for overlooked dust, blemishes,

etc.: Give the photo a final overview, to make sure
you removed all of the imperfections that might
have been overlooked the first time. Once you’re
satisfied with the outcome, it is finished. Be sure
to save a layered version of your work. (I’ll explain
this in greater detail in the section “Working with
Layers” in Chapter 1.)
6. Resize the image: Resize the photo to its final

output size.
7. Sharpen the photo: Last, sharpen the image slightly.

The end result looks much better (Figure 5).
Figure 5. Before and after comparison
xxvi
Introduction
Note This process will vary somewhat, depending on the image

and the editing requirements. For example, it’s better to repair images
with heavy damage (large cracks, tears, or missing areas, in which
large patches of underlying white from missing image emulsion are
visible) before making tonal and/or color corrections.
Improving with Practice

The tutorials in this book will help you learn a great deal about photo
retouching and restoration. Mastering the lessons in this book will help
you along the way to becoming an expert retouch or restoration artist, and
with dedicated practice, you will become one. This is especially important
if you plan to become a professional retoucher and restorer. Top-notch
work that exceeds your clients’ expectations will make them very happy,
which can promote glowing word-of-mouth testimony leading to potential
clients.
You’ll discover that some restoration work requires experimentation
with different approaches, before you achieve the results you want. You
won’t achieve perfect results with every image; some will be too far
damaged, and making the best attempt you can make will have to suffice.
In most cases, you can still achieve pleasing results!
As mentioned earlier, if you are going to professionally restore and
retouch photographs, skillful work will thrill your customers. That’s why
improving and maintaining your skill level is vital. There will be the
occasional hard-to-please client, and there will be times when revising
work will be necessary. While it’s important to keep revisions to a
minimum, they can also serve as learning experiences. Many times, I’ve
learned a new and better way of restoring a photo because my first attempt
wasn’t satisfactory. After the revision, I’d end up with a very happy client—
often leading to repeat business.
xxvii
Introduction
After you’ve spent a great deal of time editing a particularly difficult

photo, it helps to leave it alone for a day or so and then reexamine it with
a fresh set of eyes. (It also helps to have someone else look at it.) It can
be frustrating to print your finished work only to discover it wasn’t quite
finished, because you overlooked something. After mastering the tutorials
in this book, you might consider asking family and friends for practice
photos. It’s a great way to build a portfolio to show prospective clients. Just
be sure to ask for permission to use them first—especially if you plan to put
them online.
Equipment Purchases to Consider

These days, most people own a computer, scanner, and printer. All-in-one
printer/copier/scanners are now quite common. These are the minimum
equipment requirements for scanning, editing, and printing photographs
up to 8” × 10”. For many people, this will probably be sufficient. For those
editing images at the serious amateur level or offering a professional
service, there are a few other items to consider. They will make your
workflow smoother and more efficient and will also enable you to handle a
wider range of editing tasks. If you’re a professional, you probably already
have this equipment. If not, you might consider obtaining these:
• A multiformat flatbed scanner (Figure 6): Using a

multiformat photo-quality scanner will capture images
with a wide dynamic range (greater detail in shadow
areas), as well as transparencies, such as 35mm slides
and negatives. They typically range in price from about
$100 for basic models to as much as $1200 for models
that can scan 12–16 slides at one time.
xxviii
Introduction
Figure 6. A multiformat flatbed scanner
• A good quality tripod: You may encounter large images,

such as 16” × 20” portraits. With a tripod and a good
camera, you can digitize large images for editing. A
decent consumer-quality camera will work, but a
camera that captures in the RAW format is best. The
tripod should have a head that tilts 90 degrees, so that
the camera can be aimed straight down.
• Lighting: Digitizing large images outside on an overcast

day works very well but may not always be possible.
You can purchase from your local camera shop lighting
equipment to illuminate large images. Photoflood
bulbs emit light at 3200 or 3400 degrees Kelvin to work
with your camera’s indoor setting.
• Graphics tablet (Figure 7): A graphics tablet can make

your work much easier and faster. It mimics the feel of
using a brush, pencil, or pen. This is especially useful
when applying colors to an image, such as colorizing a
black-and-white photograph.
xxix
Introduction
Figure 7. A graphics tablet can make your work easier. (Image

courtesy of Sasha Kim/Pexels)
Copy with Caution

If you are learning the art of digital photo restoration for professional
purposes, you’ll have to be careful when duplicating and editing some
images to avoid committing copyright infringement. Because I’m not
an attorney, I can’t really offer this as specific legal advice, but more as
a general cautionary guide for you to keep in mind. You should always
consult an attorney who specializes in intellectual property law for legal
specifics.
On occasion, a customer will request retouching or modifying a
professionally shot portrait. Legally, the photographer who took the
picture owns the copyright to the image (unless other arrangements
were agreed upon beforehand). When possible, have the customer
obtain written permission from the photographer or studio that owns the
copyright, before proceeding with any work. Naturally, some portraits
will be decades old, and the photographer will have passed on or closed
their business, or there simply may not be any way of knowing who the
photographer is. In those cases, it’s probably a moot issue.
xxx
Introduction
It’s good practice to have the customer sign a waiver (your attorney can
help you draft one) releasing you from any copyright infringement liability.
However, if the picture is obviously the work of a professional (especially
a local photographer), obtaining permission to edit the image is very
important. Photographers can be very protective of their work (trust me, I
know), and you can’t really blame them. If it happened to get back to them
that you were editing their work, a lawsuit might follow. (I personally know
of a photo lab owner who was almost sued over just such an incident.)
Many people believe that because they paid for the photography
service and prints, they own the copyright to those images. It can
sometimes be difficult to convey the concept that the photographer (or
studio that employs them) owns the copyright. However, it’s important
that you do. Customers won’t always understand why they need to obtain
permission or sign a waiver, but you must legally protect yourself. It’s
also just professional courtesy to ask for permission to edit someone
else’s work.
So, be sure to remember these important points:
• When possible, have the customer sign a waiver

releasing you from any potential copyright
infringement. Most of the images you work with will be
family snapshots or an old portrait that was the work
of a professional. It may be impossible to identify the
photographer.
• When it’s obvious that a photo is the work of a

professional, obtain permission from the copyright
owner to edit the image, if at all possible. There is
usually an embossed signature at the bottom-right
corner of a photo and a “Do Not Copy” warning on
the back.
• Consult an attorney when you need more specific legal

advice. It pays to be careful.
xxxi
Introduction
Macintosh Users
The tutorials in this book use the Windows/Linux keyboard shortcuts,
but if you are a Macintosh user unfamiliar with the Windows keyboard
shortcuts, the Mac equivalents are shown in Table 1.
Table 1. Mac/Windows Keyboard Shortcut Equivalents

Editing
Function Mac OS Windows
Cut to clipboard Command + X Control + X
Copy to clipboard Command + C Control + C
Paste from clipboard Command + V Control + V
Undo Command + Z Control + Z
Contextual menus Control-click Right-click
Practice Images
You can download the Practice Images folder that contains the images
that accompany each tutorial in this book. The images are contained in
each corresponding subfolder. To download the Practice Images folder,
download the source code package here: https://github.com/Apress/
Beginning-Photo-Retouching-and-Restoration-Using-GIMP.
If you’re ready now, you can start on your path to becoming an image
retoucher and restoration artist!
xxxii
CHAPTER 1
An Overview of
GIMP 2.10
In This Chapter
• Downloading and Installing GIMP 2.10
• The GIMP Interface
• The Image Menu
• The Image Navigation Bar
• The Toolbox and Important Tool Functions

• Working with Layers
• Plug-ins to Enhance GIMP
Note If you are an absolute beginner, I hope that this chapter will
provide you with enough information about GIMP to follow along with
the exercises in this book. The GIMP User Manual will provide much
more detailed information and can be accessed from the official GIMP
website at www.gimp.org.
© Phillip Whitt 2023 3

P. Whitt, Beginning Photo Retouching and Restoration Using GIMP,
https://doi.org/10.1007/978-1-4842-9265-5_1
Chapter 1 An Overview of GIMP 2.10
Downloading and Installing GIMP 2.10

If you don’t already have GIMP installed on your computer, then the
first thing to do is go to the official GIMP website at www.gimp.org. Next,
just follow the following steps that apply to the operating system of your
computer. Remember: GIMP is free—no need to have a credit card ready!
Once you are on the GIMP website, you’ll see the Download button at
the top of the home page (Figure 1-1). The GIMP website will automatically
detect your computer’s operating system. Click the Download button, and
you’ll be taken to the appropriate download link(s).
Figure 1-1. The Download button on the GIMP home page
4
GIMP for Windows

The following steps will help assist you in installing GIMP 2.10 on
Windows:
1. Once you are on the GIMP for Windows page, you
are offered a choice of downloading GIMP via
BitTorrent, downloading directly (my preferred
option), or from the Microsoft Store (Figure 1-2).
Figure 1-2. GIMP for Windows can be downloaded via BitTorrent,

directly, or from the Microsoft Store
2. After the download completes, the GIMP installer

will be in the Downloads folder (or the place you
normally designate for downloads). Click the GIMP
installer, and the Open File-Security Warning dialog
5
box will open. Click the Run button, and GIMP will
be installed on your system. The installation process
might take several minutes (Figure 1-3).
Figure 1-3. Installing GIMP on Windows
GIMP for Linux and Unix-Like Systems

Some Linux distributions may already have GIMP installed. If your
version of Linux doesn’t, there’s usually a software repository that it can be
downloaded from; Figure 1-4 shows GIMP in the software catalog for Zorin
OS (a popular Linux distribution). When the icon is clicked, GIMP will be
downloaded and installed on the system.
6
Figure 1-4. GIMP can be acquired from the Linux distribution’s

software catalog
GIMP for Mac OS X

This page (Figure 1-5) is where you’ll find the download links for your
Macintosh. You can now download the GIMP 2.10 installer via BitTorrent
or directly.
7
Figure 1-5. GIMP for Mac OS X
The current version of GIMP requires macOS 10.12 Sierra or newer.
The GIMP Interface

This is where it all happens—the digital darkroom where you’ll learn how
to retouch and restore your treasured images (or those of your clients). The
interface may differ slightly in appearance from one platform to another,
but the operations are pretty much the same across the board. Like many
modern image-editing programs, GIMP sports a dark theme by default.
In fact, it bears a strong resemblance to Adobe Photoshop’s interface as
shown in Figure 1-6.
8
Figure 1-6. The GIMP interface
The other themes are Gray and Light; to change Themes, go to Edit ➤
Preferences, and the Preferences dialog will open. Select Theme (from the
left-hand panel) and choose the one you want to use (Figure 1-7).
9
Figure 1-7. You can choose a Theme from the Preferences dialog
There are several Icon Themes available as well, Symbolic being the
default. The others are Color, Legacy, Symbolic-High Contrast, Symbolic-
Inverted, and Symbolic-Inverted-High Contrast. To change Icon Themes,
go to Edit ➤ Preferences, and the Preferences dialog will open. Select Icon
Theme (from the left-hand panel) and choose the one you want to use
(Figure 1-8).
10
Figure 1-8. You can choose an Icon Theme from the

Preferences dialog
GIMP launches in the Single-Window mode by default (all of the docks

and image window are unified). GIMP can also be used in the Multi-
Window mode; in this mode, the panels and image window are separate
and can be moved around if needed (this is especially useful when screen
space is limited).
To change from the Single Window to Multi-Window mode, select
Windows ➤ Single-Window, then click in the box to disable the Single-
Window mode (Figure 1-9). GIMP will now operate in the Multi-Window
mode. If you’re new to GIMP, I recommend trying both modes to see
which one you’re more comfortable using.
11
Figure 1-9. A comparison of the Single-Window and Multi-

Window modes
12
The Image Menu

The Image Menu is located above the GIMP image window (under the Title
bar). Figure 1-10 shows the Colors Menu being accessed from the Image
Menu. The Image Menu can be thought of as “Command Headquarters”;
you can access almost every function from here. The following is a quick
run-through of some (but not all) of the functions within each option:
• File: Opens existing files, creates new files, saves,

and exports
• Edit: Undoes and redoes, copies, pastes, and accesses

preferences
• Select: Provides various options for choosing and

modifying selections
• View: Provides viewing options for images, layers,

navigation, and guides
• Image: Provides options for adjusting image

orientation, size, printing images, and canvas settings
• Layer: Creates new layers, duplicates existing layers,

and works with layer properties
• Colors: Accesses the color adjustment dialogs, such as

Color Balance, Levels, Curves, and Hue/Saturation
• Tools: Accesses the image-editing and color tools
• Filters: Accesses the filters, such as Blur or Sharpen, as

well as artistic and specialty filters
• Windows: Accesses the recently closed docks, hiding

docks, etc.
13
• Help: Accesses the GIMP User Manual (if installed

on your computer) and also links to the online GIMP
User Manual
Many of the functions used routinely have keyboard shortcuts. It’s a

good idea to familiarize yourself with them and make a habit of using them
on a regular basis; this will help you work faster and more efficiently.
Figure 1-10. This shows the Colors Menu accessed from the
Image Menu
The Image Navigation Bar

This is a useful new feature for GIMP 2.10. The Image Navigation Bar allows
you to easily browse through all of the images that are open in GIMP, by
viewing the thumbnail images just above the image workspace (Figure 1-11).
14
Simply click the thumbnail of the image you want to display in the
workspace. The thumbnail of the active image displays a Close View box to
the right.
Figure 1-11. Image Navigation Bar
The Toolbox and Important Tool Functions

The Toolbox groups many of the functions you’ll use on a routine basis. To
identify each tool, hold the cursor over the icon and the tool name. A brief
description of its function and the keyboard shortcut pop up in a small
callout (the Perspective Clone tool doesn’t use a keyboard shortcut). When
a tool is active, the Tool Options dialog is also displayed (Figure 1-12).
15
Figure 1-12. The Toolbox and the Tool Options dialog
The Selection Tools

GIMP offers a variety of selection tools that will enable you to isolate
certain areas of the image you’re editing. This confines the changes you
want to make to the pixels within the selection boundary, leaving the rest
of the image unaltered. The Free Select tool is one of the most commonly
used selection tools, allowing you to draw an outline around the area you
want to isolate. The Fuzzy Select tool is useful for isolating regions by color
range (Figure 1-13).
16
Figure 1-13. An example of a freehand selection and a selection by

color range
Selections can be further refined with the Quick Mask function, which
will be explored further later on. You’ll be able to edit selections with
great precision, which is useful for isolating people to put on different
backgrounds or to recompose images. Refer to Table 1-1 to become
familiar with the name, shortcut, and function of each tool.
17
Table 1-1. Tool Shortcuts and Functions

Icon Name Shortcut Tool Function
Rectangle R Selects rectangular or square areas

Ellipse E Selects elliptical or circular areas
Free Select F Draws free-form and polygonal selections
Fuzzy Select U Selects continuous areas of color
Select By Color Shift + O Selects areas of similar color

Intelligent Scissors I Selects shapes, using intelligent edge fitting
Foreground Select (none) Selects an area with foreground objects
The Brush Tools

The brush tools (brushes) in GIMP allow you to paint, repair flaws, and
apply local exposure corrections, among other things. Out of all of the
brushes (for the purposes of retouching and restoration), the “dynamic
duo” of the set would be the Clone tool and the Healing tool. These are the
two you’ll most often use to correct imperfections and repair damage on
the images you edit (Figure 1-14).
18
Figure 1-14. Repairing damage with the Clone tool and the
Healing tool
The Clone tool works by sampling the pixels from one part of an
image and pasting them on a target area on another part. The Healing
tool is a type of “smart clone” that takes the surrounding texture and tone
of the sampled area into account and seamlessly blends the pixels in for
a flawless repair. Generally, the Clone tool is better suited to repairing
larger cracks and creases, and the Healing tool, although it can be good
at repairing smaller cracks and creases, is usually best at removing facial
blemishes in portrait retouching.
There are plenty of other tools you’ll be using in your retouching
and restoration exercises. Table 1-2 briefly describes each tool with its
keyboard shortcut and function.
19
Another random document with
no related content on Scribd:
mean, that they did it as Juglers and those that use the Art of Leger-
de-main do, that is, by shewing one thing, and then by nimble sleight
and agility convey it away, and suddainly and unperceiveably
substitute another thing in its place, which they perform by leading
the Eyes and attentions of the spectators another way with staring
and using of strange and insignificant words, then we should be soon
accorded, for so they might probably and easily have been performed
as we shall prove anon, but this is not the thing they mean or intend.
But some do mean that the Devil did only deceive the Phantasie and
imagination of the beholders, in causing them to imagine and believe
that the rods were changed into Serpents, when they were not
changed at all, but only their imaginations deceived in thinking them
to be Serpents when they were but only rods, as melancholy persons,
Men in Feavers, Phrensies and Maniacal distempers do often think
and affirm that they see strange things when they see no such things
externally, but the Phantasie is only deceived with the species and
images of those things within. This might be granted if Pharaoh and
all the Spectators could be proved to be Men under those forenamed
distempers and the like, though yet that might (and doth often) come
to pass from meer natural causes, where the Devil hath nothing to do
at all. But the beholders of these actions of the Magicians are neither
proved, nor can rationally be supposed to be Men under any such
distempers; but must be understood to be Men of several
constitutions, tempers, and of sound health, and therefore not any
way capable of any such illusions, neither could the Devil in a
moment have so vitiated their imaginations, which we affirm he can
no ways do, except the humours, fumes and spirits in the Body be
first altered by natural causes, which cannot be done
instantaneously, and if it could, then it would follow that no Man
could certainly tell, when he were deceived in his imagination, when
not: neither could it be, (as some imagine,) by casting a mist before
their Eyes; for though Christ did hold the two Disciples Eyes going
from Emaus, that they did not know him, it were blasphemous to
think that Satan could do so also. And a mist casting before their
Eyes might make them to see more dimly and confusedly, and cause
things to appear greater than they were, but not to make one thing
seem a quite contrary. But it never was yet proved that Satan could
do such a thing, and what was never proved, may safely and
rationally be denied. Some do suppose that the Devil did cloath or
cover the Magicians rods with some such vestment of an airy
substance, as might make the rods appear to the eye like Serpents;
but this is as groundless a whimsey as any of the rest, and as it hath
no proof, so it needs no confutation.
4. But to come Hist. 1. Argum. 4.
more close to the
matter, it is most plain and perspicuous that what they did was
meerly by Art, or by Art and Nature joined with it; for if we may trust
any thing to propriety of the words (as we have proved sufficiently
before) they are called mechassephim, præstigiatores, that is
Juglers, such as by sleight of hand, and nimble conveyance, could
perform strange and wonderful things, and after they are called
Hartummin, that is, Magicians, such as had skill in natural things,
and by knowing their causes, and making due and timely application
of them to passives that were suitable, could produce wonderful
effects. And if we seriously consider the few things that they
performed, they might easily be brought to pass by Leger-de-main
alone. For, as for holding a rod in their hands, and seeming to throw
it down upon the ground, how soon might they throw down an
artificial Serpent in its stead, and immediately and unperceivedly
make conveyance of the rod? And if it be thought difficult or
impossible, I shall unriddle the mystery, as I have sometimes seen it
performed, and is but thus. The Jugler that is to perform this feat is
usually provided before-hand with a wiar so twined and wrested, that
it may be pressed together with the little finger in the ball of the
hand, and when let loose it will extend it self, like a spring, and make
a pretty motion upon a Table, this is fitted with a suitable head, and a
piece of neatly painted linnen, perfectly resembling a Serpent, with
Eyes and all. This thus fitted he holdeth in his right hand betwixt his
little finger, and the ball of his hand, then with his left hand he taketh
up a little white rod that he hath upon the Table, with which he
maketh people believe he performeth all his feats: And then telling
them a Story to amuse them, that he will like Moses and Aaron,
transform that rod into a Serpent, then he presently beginneth to
stare about him, and to utter some strange and nonsensical words, as
though he were invoking some Spirit or Goblin, and so immediately
conveyeth the rod either into his lap (if sitting) or into his sleeve (if
standing) and then lets loose the Serpent forth of his right hand with
pushing it forward, that what with the wiar, and the nimble motion
of his hand, he maketh it to move a pretty space upon the Table,
which he continueth, while offering with the one hand to catch it by
the neck, he nimbly with the other puts it forward, and turneth it by
touching the tail, and the mean while hisseth so cunningly, that the
by-standers think it is the Serpent it self, and presently whips it up
and conveys it into his pocket. And such a trick as this well acted
might make Pharaoh and the beholders believe there was as much
done, as Moses and Aaron did, but only that Aarons rod swallowed
up their Serpents, or his Serpent theirs, which they might easily
excuse. As for the changing water into blood, and the producing of
Frogs, they were so easy to be done after the same manner, that they
need not any particular explication, for by this the manner of their
performance may most easily be understood. Though I once saw a
Gentleman that was much delighted with these kind of tricks, and
did himself play them admirable well, who performed it with a living
Snake, that he had got for one of his Children to keep in a box; for in
this North Countrey they are plentiful, and are also innoxious; and it
might have deceived a very wary person. So that it is very foolish and
absurd to bring in a Demon from Hell, or an Angel from Heaven, or a
Soul from above, to solve a thing that seems strange and uncouth by,
when the craft and cunning of Men (if duely considered and
examined) are sufficient to perform the same, and much more.
5. And in this place of Exodus where our Argum. 5.
Translators say: and the Magicians did so
or in like manner with their inchantments, the word being
Belahatehem ought to have been rendered, suis laminis (as we have
proved before) that is, with their bright plates of metal, for the word
doth not signifie Inchantments in any one place in all the Old
Testament. And if truth and reason may bear any sway at all, it must
be understood that they were deeply skilled in natural and lawful
Magick (as generally the Ægyptians and the Eastern Nations were)
though they did use and apply it to an evil end, namely the resisting
the power of Gods miracles wrought by Moses and Aaron: and so by
this word suis laminis, with their plates of Metal must be
understood, Metalline bright plates framed under certain fit
constellations, and insculped with certain figures, by which naturally
(without any Diabolical assistance) they did perform strange things,
and made the shapes of some things appear to the eye. And though
we may be derided and laughed to scorn by the ignorant, or hardly
taxed and censured by the greatest part of Cynical Criticks, yet we
cannot so far stifle the knowledge of our own brains, nor be so
cowardly in maintaining the truth, but we must assert, That anciently
there hath been a certain lawful art, whereby some sorts of metals
might be mixed together under a due constellation, and after
ingraven in like fit Planetary times with sundry figures, that would
naturally work strange things; And this piece of learning though it
may justly be numbred amongst the Desiderata, and might very well
have been placed in the Catalogue of the Deperdita of Pancirollus;
yet was it well known unto the ancient Magicians, and by them often
with happy success put into practise; And amongst those many noble
attempts of that most learned and experienced (though much
condemned) person Paracelsus, this part of learning was not the
least, that he laboured to restore. The truth of which we thus prove.
1. That there Exerc. 196. 6. p. Argum. 1.
have been formerly 637.
in the World many Cap. 2. Hist. 1.
such like planetary Vid. Gaffarel Hist. 2.
Sigills or Unheard of
Talismans, (as the curiosities, p. 165.
Persians called &c.
them) is manifest Hist. 3. Epist. ad Vazet.
from the authority Ut supra p. 164. Hist. 4.
of divers Authors of good credit and account. For the learned and
most acute Julius Scaliger relateth this saying: “The novelty of this
History also may sharpen the wits of the studious. In the Books of
the Arabick Ægyptians (he saith) it is thus written. That Hameth
Ben Thaulon the Governour of Ægypt for the Arabians did
command that a certain leaden Image or Picture of a Crocodile,
which was found in the ground-work of a certain Temple, should be
melted in the fire. From which time the inhabitants did complain,
that those Countreys were more infested with Crocodiles than before,
against whose mischief that Image had been framed, and buried
there by the more ancient Wise-men or Magicians. Junctin, upon the
Sphear of Sacrobosco, affirms that his Master who was a Carmelite,
named Julianus Ristorius à Prato, one that was not any whit
superstitious, was intreated by a Friend of his to make one of these
Images for the cure of the Cramp, which he was very much subject
to. This learned Man resenting his Friends sufferings, taught him the
manner how to make one: so that he, not content to make only one,
made divers of them when the Moon was in the Sign Cancer; and
that with so good success, and with such certainty, as that he
immediately found the benefit of it. Confecit (saith he) plures
imagines, pro se, & amicis suis: quibus effectis, unam pro se accepit,
& liberatus est. The same he reports of a certain Florentine, a very
Pious Man, who made one of these Talismans, for to drive away the
Gnats, which he did with good success. Nicolaus Florentinus, (saith
he) Vir religiosus fecit in una constellatione annulum ad
expellendum culices, quas vulgo Zanzaras dicimus, sub certis &
determinatis imaginibus; & usus fuit constellatione Saturni
infortunati, & expulit culices.” Another Story take from an Arabick
Cosmographer, cited by Joseph Scaliger thus: “This Talisman (he
saith) is to be seen in the Countrey of Hamptz, in a City bearing the
same name; and it is only the Figure of a Scorpion graved upon one
of the Stones in a certain Tower; which is of so great virtue, as that it
suffers not any, either Serpent or Scorpion to come within the City.
And if any one, for experiment sake, bring one of these out of the
field into the City, it is no sooner at the Gate, but that it dies
suddenly. This Figure hath this virtue besides; that when any one is
stung with a Scorpion, or bitten by any other Serpent, they need but
take the Image of the Stone with a little clay, and apply it to the
wound, and it is instantly healed.” Unto which Mr. Gaffarel addeth
this: “If any one doubt (saith he) of the credit of this Cosmographer,
he may yet adventure to believe Mr. de Breves, as having been an
eye-witness of the like experiment: who says in his Travels, that at
Tripoli a City of Syria, within a Wall that reacheth from the Sea-side
to the Gate of the City, there is a certain inchanted stone; on which is
figured, in Relief, or by way of Imbossment, the Figure of a Scorpion,
which was there placed by a Magician, for to drive away Venomous
Beasts, which infested this Province, as the Serpent of Brass in the
Hippodromus at Constantinople did. And a little above the City,
there is a certain Cave, which is full of the Carkasses and Bones of
Serpents, which died at that time.” And further Gaffarel saith: “Now
whereas he calls this an inchanted Stone, and says that it was placed
there by a Magician, you must note, that he there speaks according to
the sense of the inhabitants, who knew not how to give any other
account of the thing, as not understanding any thing at all of the
natural reason of it.”
2. And that the Observat. Argum. 2.
election of fit times Communicat. 7. p.
according to the 329.
Configuration of De simpl. medic. Hist. 5.
the Stars and facul. p. 1076.
Planets, is of great Deut. 33. 13, 14. Pharm. med. Chym.
efficacy and virtue, is sufficiently known to c. 9. p. 24.
Husbandmen and Sailers, and of no small power both in respect of
natural and artificial things, as we shall shew in this instance.
Lazarus Riverius who was Counsellor and Physician to the French
King, a person of extraordinary learning and experience in the
Medical profession, both in the Galenical and Chymical way, doth
give us this relation saying: “I have not seldom experienced, and I
have many witnesses of this thing, that Peony gathered under its
proper Constellation, to wit, the Moon inclining (inclinante) being in
Aries, doth loose the Epilepsie, by application alone: for the middle
and chief root divided by the greater Longitude, I have (he saith)
compassed about the neck and the armes of a certain Virgin in the
Hospital, of eighteen years of age, who had been afflicted with this
Disease from her childhood, and had the Paroxysmes every day; but
from that day seemed altogether to be cured. From whence it is
manifest how greatly the observation of the Stars is to be esteemed of
in the Art of Medicine.” Agreeable unto which is the judgment of that
Industrious person Galen, who affirmeth that Peony by appension
doth cure the Epilepsie, though he declare not the fit time for its
collection. From whence it is most clear that the careful and precise
observation of the Heavenly influences is most necessary to a
Physician, and to all others that would produce strange and desired
effects. Therefore doth learned Schroderus tell us this concerning the
power and efficacy of those influences, saying: “The influences of the
Stars are effluvia, or Steams endowed with peculiar faculties, by
which they make strong (if they be in their strength and vigour)
things that are familiar to them, and do prosper and promote their
virtues; but on the contrary they debilitate, hinder and make worse
things that are not agreeable to them.” And this is that which Moses
fully mentioneth in these words, as they are fitly rendred by Arias
Montanus. Et ad Joseph dixit, Benedicta Domini terra ejus, de
delicia Cœlorum, de rore, & de voragine cubante deorsum: & de
delicia proventuum Solis, & de delicia ejectionis lunarum. Which
our Translation gives thus: And of Joseph he said, Blessed of the
Lord be his land, for the precious things of heaven, for the dew, and
for the deep that coucheth beneath; And for the precious fruits
brought forth by the Sun, and for the precious things put forth by
the Moon. The full evidence of the truth of these influences of the
Stars, and necessity and utility for due and proper seasons for the
collection of Flowers, Fruits, Roots and Plants, may be seen in that
learned piece that Bartholomæus Carichterus Chief Physician to
Maximilian the Second, writ and dedicated to his Master in the
German Tongue. As also, what is written in the same Language by
those learned Germans, Johannes Pharamundus Rhumelius, and
Israel Hebueras that learned Mathematician, in a Treatise which he
calleth, Mysterium Sigillorum herbarum & lapidum, which do
compleatly verifie the certain efficacy and virtue of Planetary Seals,
Images or Figures.
3. These things Usefulness of Argum. 3.
are confirmed by Exper. Phil. c. 10. p.
the effects of 207.
appensions of Hist. 6. De Lapid. & Gemm.
many natural De Gemm. & Lapid. l. 2. c. 11.
things which l. 1. c. 23.
produce strange Mod. Intrand. p. De Lapid. & Gemm.
and wonderful 604. l. 2. p. 102.
effects, some of which we shall give in the words of that honourable
person Mr. Boyl, who saith: “That great cures may be done by bare
outward applications, you will scarce deny if you disbelieve not the
relations which are made us by learned men concerning the efficacy
of the Lapis Nephriticus, only bound upon the Pulses of the wrists
(chiefly that of the left hand) against that stubborn and Anomalous
disease the Stone. And that which gives the more credit to these
relations is; That not only the judicious Anselmus Boetius de Boot
seems to prize it, but the famous Monardes professeth himself, not
to write by hear-say of the great virtues of this Indian Stone, but to
have made tryal of it himself upon persons of very high quality: And
that which is related by Monardes is much less strange than those
almost incredible things which are with many circumstances
delivered of that Stone, by the learned Chymist Vutzerus. And
although it must be acknowledged that some Stones that go under
that name have been ineffectually applied in Nephritick Distempers.
Yet the accurate Johannes de Laet himself furnisheth us with an
answer to that objection, informing us that many of those Nephritick
Stones (which differ much in colour, though the best are wont to be
greenish) although not at all counterfeited or sophisticated are of
little or no virtue. But that yet there are some others of them which
can scarce be distinguished from the former, but by tryal upon
Nephriticks, which are of wonderful efficacy, as he himself hath more
than once tryed in his own Wife. Garcias ab orta mentions a Stone
found in Balagat, called Alaqueca; of which he tells us, that though it
be cheap: Hujus tamen virtus (to use his own words) reliquarum
Gemmarum facultates exuperat, quippe qui sanguinem undequaq;
fluentem illico sistat. Monardes (cap. 35.) relates the great virtues of
a Stone against Hysterical suffocations, and concludes; Cum uteri
suffocationem imminentem præsentiunt, adhibito lapide subitò
levantur, & si eum perpetuò gestant (Hysterici) nunquam simili
morbo corripiuntur: exempla hujusmodi faciunt ut his rebus fidem
adhibeam. The same Author in the next Chapter, treating of the
Lapis Sanguinaris or Blood-stone, found in New Spain (having told
us, that the Indians do most confidently believe, that if the flesh of
any bleeding part be touched with this Stone, the bleeding will
thereby be stanched) adds this memorable observation of his own:
Vidimus nonnullos hæmorrhoidum fluxu afflictos remedium
sensisse, annulos ex hoc lapide confectos in digito continue
gestando; nec non & menstruum fluxum sisti. And to these for
brevity sake, we shall only mention the virtues of the Jasper, which is
blood-red throughout the whole body of the Stone, which Boetius de
Boot of his own experience doth avouch in several trials to have
stopped Fluxes of Blood, only by bare appension: As also the child of
a famous Chymical writer, who had his child (supposed to be
bewitched) cured by hanging a piece of that Noble Mineral by
Paracelsus called electrum minerale immaturum, of which Helmont
tells us this: Imprimis electrum minerale immaturum Paracelsi,
collo appensum, liberat, quos spiritus immundus persequitur, quod
ipse vidi. Illius potum verò plures à veneficiis solvisse, memini.
Nemo autem, qui appenso illo simplici, non præcaverit, ne injecta
intromittantur: vel ab importunis ligationibus confestim non
solvatur.” All which do manifest the great and wonderful virtues,
that God hath endowed Stones, Minerals, Plants and Roots withal,
that the Devil need not be brought in to be an adjutant or operator in
their effects.
4. And it is also Ut supra. 209. Argum. 4.
manifest that Paracels. in Helm. de Febr. c. 2.
Metals may be so Archidox. mag. l. 6
artificially in fit p. 714.
Constellations commixed together, that their effects will be rare and
stupendious, as the aforesaid honourable person doth transcribe and
relate to us in these words: “What Monardes, (he saith) mentions of
the virtue of the Lapis Sanguinaris to cure Hemorrhoidal Fluxes,
puts me in mind of a yet much stranger thing, which Helmont
affirms, namely, That he could make a metal, of which if a Ring were
worn, the pain of the Hæmorrhoids would be taken away, in the little
time requisite to recite the Lords Prayer; and within twenty four
hours the Hæmorrhoids themselves, as well internal as external, how
protuberant soever, would vanish, and the restagnant blood would
(as he speaks) be received again into favour, and be restored to a
good condition. The same Ring he also commends in the suffocation
and irregular motion of the Womb, and divers other Diseases: But if
Paracelsus be in any case to be credited in an unlikely matter, we
may think by his very solemn protestations that he speaks upon his
own experience, that he had a Ring made of a metalline substance,
by him called electrum, (which by his description seems to be a
mixture of all the metals joined together under certain
constellations) which was of far greater virtue than this of Helmont,
For, hoc loco (says he) non possum non indicare admirandas
quasdam vires virtutesq; electri nostri, quas fieri his nostris oculis
vidimus, adeoq; cum bona veritatis conscientiâ præferre attestariq;
possumus. Vidimus enim hujus generis annulos, quos qui induit,
hunc nec spasmus convulsit, nec Paralysis corripuit, nec dolor ullus
torsit, similiter nec Apoplexia, nec Epilepsia invasit. Et si annulus
hujusmodi Epileptici digito annulari, etiam in Paroxysmo
sævissimo, insertus fuit, remittente illicò Paroxysmo, æger à lapsu
illico resurrexit, &c.” And though Mr. Boyle a person of a
perspicuous judgment, and of a great understanding, doth seem to
question his authority with a kind of dubitation, being in probability
staggered by the groundless censures of his greatest adversaries; yet
we must affirm that it is very hard that his veracity and experience
(which was as great as any Mans) should be undervalued, by reason
of the ignorance and idleness of those that judge him: who were
never able in regard of their ignorance to understand the meaning of
his mystical and dark way of writing, nor because of their supine
negligence had ever made trial of those things he treateth of, with
that curious diligence and care that is requisite to accomplish such
occult effects withal; not considering that, Dii sua bona laboribus
vendunt. But notwithstanding this, and the monstrous lies and
horrid calumnies of that pitiful Rapsodist Athanasius Kircherus, we
shall add one testimony more from the same Author, which in
English runs thus: “Also (he saith) I cannot here pass over one great
wonder, which I saw performed in Spain of a great Negromancer,
who had a Bell not exceeding the weight of two pounds which as oft
as he did Ring, he could allure and stir up many and various
Apparitions and Visions of Spirits. For when he lift he did describe
certain words and characters in the inward superficies of the Bell:
After if he did beat and ring it, forthwith the Spirits (for shapes) did
come forth or appear of what form or shape soever he desired. He
could also by the sound of the same Bell, either draw unto him or
drive from him many other Visions and Spirits, as also Men and
Beasts, as I have seen many of these performed by him with mine
own eyes. But whensoever he did begin any new thing, so oft he did
renew the words and Characters also. But notwithstanding he would
not reveal (he saith) unto me, those secrets of the words and
characters, until I my self more deeply weighing and considering the
matter, at last by chance found them forth. Which notwithstanding,
and the examples of which I here studiously do conceal. But it is not
obscurely to be noted here, that there was more of moment in the
Bell, than in the words: For this Bell was certainly and altogether
compounded or made of this our Electrum.”
5. And that there In Verb. Herb. & Argum. 5.
are great and lapid. mag. vis est.
hidden virtues p. 579.
both in Plants and De secret. oper. Vid. lib. de Doctr.
Minerals, artis & natur. c. 2. promisc. c. 24. p.
Paracels. Archidox. 187.
especially in
Metals and magic. lib. 1.
Precious Stones as they are by Nature produced by Mystical
Chymistry prepared and exalted, or commixed and insculped in their
due and fit constellations, may not only be proved by the instances
foregoing, but also by the reasons and authorities of persons of great
judgment and experience in the secrets of nature, of which we shall
here recite some few. And first that learned and observant person
Baptista van Helmont tells us thus much: “But this one thing (he
saith) I willingly admit: To wit, that metals do by many degrees
surpass Plants and Minerals in the art of healing. And therefore that
metals are certain shining glasses, not by reason of the brightness;
but rather that as often as they are opened, and their virtues set at
liberty, they act by a dotal light, and a vital contact. Therefore metals
do operate, by a manner attributed to the Stars, to wit by aspect, and
the attraction of an alterative biass or motion. For the metals
themselves are glasses, I say the best off-spring of the inferiour
Globe, upon which the whole central force, by some former ages,
hath prodigally poured out its treasure, that it might espouse most
richly, this liquor, this sweat, and this off-spring of Divine
Providence, unto those ends which the weakness of nature did
require. But (he saith) I call them shining glasses, which have the
power of penetrating and illuminating the Archeus, from its errors,
furies and defects.” Neither are those arguments of that learned
person Galeottus Martius, for defending the natural and lawful
effects of Planetary Sigills, when prepared forth of agreeable matter,
and made in their due constellations, of such small weight as some
insipid ignorants have pretended, but are convincing to any
considerate and rational person, as this one may manifest, where he
is speaking of the Figure of a Lion ingraven in a Golden Plate in these
words: “The Figure of a Lion (he saith) insculped in the fit hours, in a
right constellation, doth not act, but doth bring the beginning of the
action, as S. Thomas and Albertus magnus do testifie: not as a
Figure and Image impressed Mathematically, but that it may effect
this or that preparation in the thing figured: which may in divers
moods receive the Celestial action without difficulty: Because if the
Image of a Dog, or an Horse, or some other Animal were insculped in
a Golden Plate, there would not be that disposition of the matter,
which doth accompany the Image of a Lion &c. From whence (he
saith) we conclude, that this aptitude to draw in the Celestial virtue
in the Figure, is not as Figure, but as the Gold is formed more dense
or thin, by the condition of the Image. For even in looking-glasses,
the variety of the Figure, doth bring a most vast difference. For how
much a Concave doth differ from a gibbous Looking-glass, is even
known unto old Wives.” Of these things also our learned
Countreyman Roger Bacon, who was second to none in the secrets of
Art and Nature, doth teach us thus much: “But they who know in fit
constellations, to do their works according to the configurations of
the Heavens; they may not only dispose Characters, but all their
operations, both of Art and Nature, agreeable to the Celestial virtues.
But because it is difficult in these things to know the certitude of
Celestials; therefore in these there is much error with many; and
there are few that know to order any thing profitably and truly.” But
we shall shut up this particular with that memorable and irrefragable
responsion of Paracelsus to the common objection, which in English
runs thus: “But (he saith) they will thus urge; how comes it to pass, I
pray thee, that Metals, with their assigned Characters, Letters and
Names, should perform such things, unless they be prepared and
made by Magical and Diabolical power intervening? But (he saith) to
these I return this answer. Therefore thou believest (as I hear) that if
such things be made by the help of the Devil, then they may have
their force and operations. But should not thou rather believe this?
that also the Creator of Nature, God who dwelleth in the Heavens, is
so powerful, that he in like manner can give and confer these virtues
and operations to Metals, Roots, Herbs, Stones and such like things?
As though forsooth the Devil were more strong, more wise, more
omnipotent, and more powerful than the only Eternal, Omnipotent
and Merciful God, who hath created and exalted their degrees, even
of all these aforesaid Metals, Stones, Herbs, Roots and all other such
like things that are above, or within the Earth, and do live and
vegetate in the Water or Air, for the health and commodity of Man?”
This argument we desire that any of the Witchmongers or
Demonographers should answer, ere they conclude so strongly for
the power of Devils and Witches.
So we conceive we have sufficiently Exod. 8. 19.
proved that what Pharaohs Magicians did
perform, might rationally, and probably be brought to pass by
Natural Magick or confederacy, and sleight of hand, without any
other Diabolical assistance than what was mental and spiritual in
regard of the end, which was the resisting of Moses. And by all they
did, as in changing their Rods, bringing in of Frogs and changing
Water into Blood, it doth not rationally appear, that they had any
supernatural assistance, for then they could not have been so amazed
at the miracle of turning the Dust into Lice; for what skill did the
Devil want that he could not perform this? If by his power the former
things were brought to pass, could there be more difficulty in doing
of this, than in the bringing of Frogs? Neither could their
Legierdemain have failed them but that they were surprized, and
taken unawares, being not provided to play all kind of tricks, but only
some few for which they had made provision. And so to excuse their
own inability, they cryed out, this is the finger of God; a pitiful shift
to excuse their own knavery, and couzenage, for there could be no
more of the finger of God in this than the former, but only a shift to
put off their own shame.
Another place from whence they would draw arguments to
maintain the power of the Devil and Witches, is the Story of Balaam
in the Book of Numbers, from whence in the first place they would
conclude that he used wicked and Diabolical Divinations, and that by
words he could either bless or curse. In answer to which we shall give
these pressive reasons.
1. Though it Numb. 22. 6. Reas. 1.
might be granted Numb. 23. 8, 23.
that he used Divinations that were not
lawful, yet what is that to a killing and murthering Witch? Surely
nothing at all. And though Balak believed that whosoever he blessed
were blessed, and whosoever he cursed, were cursed, and therefore
fetched him so far, yet there is nothing apparent to prove that
Balaam could do any such matter, and from Balaks belief to
Balaams performances proceedeth no argument, for his belief that
he could either bless or curse, did not confer any power to Balaam to
produce such effects withall. And Balaams blessings, or cursings
might be intentional, and declarative, but could not be effective, for
he confesseth a great piece of truth: How should he curse, whom
God had not cursed, or how should he defie, whom the Lord had not
defied? He might have done it verbally, but it would have been
frustrate, and to no effect, and therefore he concluded: Surely there
was no inchantment against Jacob, nor no Divination against
Israel.
2. And though it Chap. 24. 1. Reas. 2.
be said, that he
went not as at other times, to meet Auguries (for as we have before
shewed, the word doth properly signifie that) It must be understood,
and is manifest that at the former times he went to attend solitarily
what the Lord would say unto him, and those two times that he went
before was only to meet the Lord, to hear and receive what he would
say unto him. But here he did not, nor had need to go, for the Spirit
of the Lord came upon him, and he took up his Parable, and
prophesied. Where though his going to meet the Lord, be called to
meet Divinations, yet it cannot be taken in the worse sense, for
unlawful Divinations, but for such as were sent him and taught him
by God, by Visions, Angels, Trances, or other such like wayes as God
in those times used to reveal his Will to his Prophets by: For from
first to last, it appeareth that he neither professed, nor did (in this
case) utter any thing but what the Lord commanded him, and so was
no false Prophet.
3. He was no Numb. 22. 18. Reas. 3.
false Prophet, that Vid. Caten. Aur. Ibid c. 24. 4, 16.
is, he had, nor Tho. Aquin. p. 10.
used any
Divinations, but what he had from God, is most clear from these
particulars. 1. When Balak first sent messengers unto him, his
responsion was: If Balak would give me his house full of Silver and
Gold I cannot go beyond the word of the Lord my God, to do less or
more. “Whereby it is apparent that he feared the Lord Jehovah, and
calls him his God, thereby shewing the confidence that he had in
him, and that he acknowledged him for his only God. 2. In the whole
transaction of the business betwixt him and Balak, he never took
upon him to declare any thing, but what the Lord would say unto
him, neither did he at all vary from the same in the least tittle.” 3. He
confesseth all along, that he had his eyes opened, and that he heard
the words of God, and had seen the vision of the Almighty, falling
into a trance, but having his eyes open. And these were things that
were not peculiar to any, but such as were the true Prophets of the
Lord Jehovah. 4. The truth of his Prophecie, which was of the
Kingdom of Christ, and the Glory and Dominion of it, with the
prosperity of his people, doth plainly evince that he was a true
Prophet of the Lord, and that his Divinations came from the
Almighty. And this caused S. Hierome, and some other of the Fathers
believe, that by this Prophecie of Balaam, the Magi or Wise men
were directed, to come to Hierusalem to seek and worship Christ the
Saviour of the World.
4. Though this 2 Pet. 2. 15, 16. Reas. 4.
Prophet fell into Revel. 2. 14. Jude 11.
hainous crimes, 1 Kings 13. Jonah 1. 3. & 4. 1.
and enormous
sins, as tempting of God, who when the first Messengers came from
Balak unto him, was positively commanded not to go with them, and
yet as though God would change his mind entertained them again,
whereby Gods anger was kindled against him. And though he was
drawn to love the wages of unrighteousness, and so was rebuked by
the dumb Ass, and though he taught Balak to lay a stumbling-block
before the children of Israel, and therefore had that judgment to be
slain among the Midianites: Yet none of these do conclude at all, that
therefore he used Diabolical Divinations, or had not what he
declared from Divine Revelation, no more than the flying of Jonah to
Tarshish, when he was commanded to go to preach against Nineveh,
or his repining at Gods mercy shewed to that great City, manifested
him to be a lying Prophet, or to use devilish Divination. Neither the
Prophets being seduced, that cried against the altar at Bethel,
before Jeroboam, by the old Prophet, and his being slain in the way
by a lion, & his carkase left there, did at all argue that his Prophecie
was false, or that he had not his message from God, but they only
shew, that even those that have been truly inspired by God and been
truly taught by him, have notwithstanding often disobeyed him, and
have had therefore fearful temporal judgments faln upon them, and
yet no argument that they used unlawful Divinations.
From hence also the Witchmongers use to urge a frivolous and
groundless argument which is this; that the Angel did speak in
Balaams Ass, and therefore the Devil may speak in a Dog, or a Cat to
a Witch, but this is confuted by these reasons.
1. What the Angel did there was by Reas. 1.
command and commission from God, but
we never read, nor can it be proved that the Devil is sent upon such
idle, and ordinary errands, to work a miracle, to speak in a Dog, or a
Cat, to a Witch; for God doth not work wonders for any such wicked
and abominable ends. And if he be not sent of God, he cannot of
himself perform any such matter, who could not enter into the
Swine, without Christs leave and order; but is kept in chains of
everlasting darkness, from whence he is not loosed, but when God
sends him as an instrument to accomplish his will, which is always
for good and just ends, and not for such execrable and wicked
purposes.
2. They take up a Verse 28. Numb. 22. 26, 27.
false supposition,
for the Angel was not in the Ass either essentially, or effectively, for
at the very instant that the Ass spoke, the Angel was standing in a
narrow place, where was no way to turn either to the right hand or
to the left, and then seeing the Angel of the Lord she fell down under
Balaam, and spoke, and the Angel could not both stand in the
narrow way and likewise be in the Ass, in the same moment of time,
except we should grant that absurdity that a creature may be in two
distinct places at one and the self same time, which was never yet
allowed to any created being. But they openly belie, and falsifie the
words of the Text, for it doth not say that the Angel spoke in the Ass,
but that the Lord, (the word is Jehovah) opened the mouth of the
Ass. So that (we suppose) here is enough demonstrated that from
none of the places of Scriptures hitherto enumerated, any colourable
grounds can be drawn to uphold those particulars that we have
laboured to confute, and therefore we shall pass to another Chapter.
CHAP. VIII.
Of the Woman of Endor that pretended to raise up Samuel, and of

some other places in the Scriptures, not handled yet, and of
some other objections.
Concerning the Woman of Endor, that our English and many other
Translators have falsly rendered a Witch, or a Woman that had a
familiar Spirit, we have spoken sufficiently, where we treated of the
signification of the word Ob. And there have shewed plainly, that she
is only called the Mistriss of the bottle, or of the Oracle, and that
what she there did, or pretended to do, was only by Ventriloquy, or
casting her self into a feigned Trance lay groveling upon the earth
with her face downwards, and so changing her voice did mutter and
murmur, and peep and chirp like a bird coming forth of the shell, or
that she spake in some hollow Cave or Vault, through some Pipe, or
in a Bottle, and so amused and deceived poor timerous and
despairing Saul, or had a confederate apparelled like Samuel to play
his part, and that it was neither Samuels Body, Soul, nor no Ghost or
Devil, but only the cunning and Imposture of the Woman alone, or
assisted with a confederate. And though this might be amply
satisfactory to all sound and serious judgments, especially if
hereunto be added what Mr. Scot, Mr. Ady, Mr. Wagstaff, and the
learned Authors of the Dialogue of Spirits and Devils have written
upon this subject: yet because we have promised before to speak
something of the History and matter of fact, and that Mr. Glanvil a
Minister of our English Church hath of late espoused the quarrel, we
shall confute his arguments and clear the case as fully as in reason
can be required, and that in these particulars following.
1. The certain Confid. about 1 Sam. 3. 19. Id. c. 7.
and infallible Witchcraft, p. 8. v. 13.
prophecies of Samuel so punctually coming to pass according as he
foretold them, for it is said: And Samuel grew, and the Lord was
with him, and did let none of his words fall to the ground; were
manifestly known to all Israel, as in the case of the destruction of Eli,
and his house, and by the overthrow of the Philistines at Eben-ezer,
and in the anointing of Saul to be King, and in the case of sending
Thunder and Lightning in Harvest time, and such like. And as these
were publickly known unto all Israel, and they had seen, and tryed
what infallible certainty followed upon them, so it was as generally
known, that Samuel had told Saul that God had rejected him from
being King over Israel, and that he had anointed David to be King in
his stead; and therefore any rational Man, that knew these things,
and also saw that David prospered in all things that he did, and that
it was quite otherwise with Saul, might certainly know that the
Kingdome would be transferred from him unto David, and so there
needed neither spirit nor Devil be fetched up to predict this, being
sufficiently known unto all, of which also the Woman at Endor could
not be ignorant as a thing of concern to her, especially in the point of
her practise which was meer couzenage and Imposture. And
therefore Mr. Glanvils argument concludes nothing, where he saith:
“And this Samuel truly foretold his approaching fate, viz. That Israel
should be delivered with him into the hands of the Philistines, and
that on the morrow he, and his Sons should be in the state of the
dead, which doubtless is meant by the expression that [they should
be with him:] which contingent particulars, how could the couzener,
and her confederate foretel, if there were nothing in it extraordinary
and preternatural?” To answer which we say, that there was no
contingent particular that was foretold, but Mr. Glanvil might have
foretold it, if he had been there, and known but that which was
publickly divulged in Israel, without incurring the danger of being
reputed a Witch or a Diviner.
1. Because Samuels prophecies were Isa. 63. 16.
certainly known to come to pass, and he had
openly declared, that the Kingdom should be rent from Saul, and
given to David. 2. She or her confederate might have guessed as
much, because of the extream fear and consternation that Saul was
in, for heartless and fearful Generals seldom or never win Battels. 3.
Because that he confessed that God had forsaken him, and when he
saw the hoast of the Philistines, he was afraid and his heart greatly
trembled, and those that God doth forsake cannot prosper. 4. The
word to morrow in the Hebrew doth not precisely denote the day
following, but the time to come, so that how true soever Mr. Glanvil
may think it, there was but a piece of ambiguous Equivocation in it,
for it cannot be made out that it was fought the very next day, neither
were all Sauls Sons slain with him, at that very time. 5. And if
nothing must be supplied but meerly what is totidem verbis in the
Text (as he urgeth against Mr. Scot) then how will it be proved, that
the Phrase (to morrow thou and thy Sons shall be with me) is to be
understood of the state of the dead, seeing the words (if literally to be
taken) do imply a locality, not a state or condition? 6, But if it be
supposed to be the Devil, how comes he to know contingencies so
certainly? It is a thing that is easily affirmed, but was never yet
sufficiently proved. For if it be said he gathered it from the Prophecie
of Samuel, so might the Witch have done without any assistance of a
Devil. 7. And if he take it to be Samuels Soul (as he seems to hold)
how come departed Souls to know, and foresee what contingent
effects are to fall out here below? Where reads he or finds any such
Divinity except in Popish Authors? But he may consult the Text:
Doubtless thou art our Father, though Abraham be ignorant of us,
and Israel acknowledge us not.
2. That this Woman was a meer 1 Sam. 9. 2. & 10.
dissembling and lying cheater, and used 23.
nothing but Imposture, is manifest from these reasons. 1. Because
that she was but of the same Crew and Stamp that Manasseh, and
Ahab set up, is most plain, but they were meer Impostors and
deceivers pretending to divine for other persons, and in other
matters, but could not foresee their own destruction, and therefore in
probability she was of the same practice. 2. Because she falsly
faigned that she knew not Saul, of whom she could not be ignorant,
he being so publickly known, and seen, and was taller by the head
and shoulders than any man in Israel. 3. If she had not known that it
had been Saul, when he came to her at the first, she would never
have relyed upon his oath when he swore by Jehovah, for there was
none but the King that could protect her from destruction. 4. She
must needs be a most notorious dissembling cheater, because she
pretended to call up any, for she said: whom shall I bring up unto
thee? which is most certainly false, she had no such universal power,
no nor all the Devils in Hell, if they had all assisted her. 5. She did
plainly dissemble, for the Text saith, and when the woman saw
Samuel she cried out with a loud voice; now if she saw Samuel
(whom he could not but know) why did she answer to Saul, when he
asked, what sawest thou? She answered, I saw gods ascending out
of the earth. Let Mr. Glanvil, and all men judge if this be not gross
and palpable lying, Gods is plural, but Samuel was but one.
3. As it is 1 Sam. 15. 23, 27. 1 Sam. 16. 14.
manifest that this 1 Sam. 28. 6.
Woman was an active deceiver, and one
that intended to cheat and couzen, so it is as plain that Saul was in a
condition fit to be deluded, and imposed upon, even by those that
had been less cunning and skilful than she was in the craft of
cheating, which is apparent from these reasons. 1. The Spirit of the
Lord was departed from him, and consequently, Wisdom, Prudence
and Discretion, and so that which should have guided his Will,
Affections and Actions in the right way, had totally left him. And
when these are gone, what is man, but a fit instrument to undergo
and suffer even the worst and lowest of delusions and abuses? 2. The
Spirit of the Lord had not only left him, but an evil Spirit from the
Lord was come upon him that vexed and terrified him. And to what
madness, folly and wickedness is not he subject to, who is led by the
Spirit of lies and darkness? 3. The Lord had openly declared, that
because he had rejected the word of the Lord, therefore the Lord had
rejected him from being King over Israel, and that the Kingdom
should be rent from him, and given to one more worthy than him.
Now what despondency of mind, what torture and vexation of Spirit
must needs be in him, that having been a King, is thus threatned to
have his Kingdom rent from him and given to another, is easy to be
imagined. 4. He must needs be under a most fearful consternation of
mind not only because of these things named, but especially having
before in his dangers and straights received counsel and advice from
the Lord, though he now inquired of the Lord, yet the Lord
answered him neither by dreams, nor by Urim, nor by Prophets.
The Lord answered him not by dreams; for the union and converse
that had been betwixt him and the Lord before, was now broken by
reason of his Sins and Rebellion. Neither did the Lord answer him by
Urim, for the Urim was not in the possession then of Saul, but of
David, Chap. 23. 6, 9. Neither did the Lord answer him by Prophets,
for Samuel had left him, after his last denouncing judgment against

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Python for Teenagers: Learn to Program like a

Python for Teenagers: Learn to Program like a

Quick Start Guide to FFmpeg: Learn to Use the Open

Postman for API Testing: A Beginner's Guide: Learn to

Beginning C: From Beginner to Pro 7th Edition Gonzalez-

Data Engineering with AWS: Acquire the skills to design

ISBN-13 (pbk): 978-1-4842-9264-8 ISBN-13 (electronic): 978-1-4842-9265-5

Copyright © 2023 by Phillip Whitt

About the Technical Reviewer������������������������������������������������������������xv

Part I: Starting with the Essentials�������������������������������������������������������1

Chapter 1: An Overview of GIMP 2.10���������������������������������������������������3

Chapter 2: Digitizing Your Photos, Slides, and Negatives�������������������31

Part II: Tone, Exposure, and Color�������������������������������������������������������55

Chapter 3: Correcting Tone and Exposure������������������������������������������57

The Exposure Dialog�������������������������������������������������������������������������������������������65

Chapter 4: Color Correction and Restoration��������������������������������������99

Tutorial 12: Color Correction Using Levels (No. 2)���������������������������������������������122

Chapter 5: Creative Use of Color�������������������������������������������������������141

Part III: Digital Cleanup and Repairing Damage�������������������������������173

Chapter 6: Dust, Light Scratch, and Stain Removal��������������������������175

Tutorial 23: Removing Dust from a Slide�����������������������������������������������������������176

Chapter 7: Repairing Moderate and Heavy Damage�������������������������197

Part IV: Retouching Faces, Fun Projects, Preserving Your Images���237

Chapter 8: Editing Portraits and Recomposing Images��������������������239

Chapter 9: Sharpening Images���������������������������������������������������������287

Chapter 10: Fun and Artistic Projects with Your Photos������������������299

Chapter 11: Printing and Preserving Your Images���������������������������317

Displaying Your Prints���������������������������������������������������������������������������������������323

Figure 1. A faded image rescued for future generations (Image

With the advent of digital imaging software, it’s now possible to

Why Photographs Are Important

Figure 2. Photographs kept in an aging album

 IMP: The Powerful Free

dramatic increase in the download frequency of GIMP in the months that

This book will teach you how to do the following:

• Acquire the best scans and digitize oversized photos

• Improve contrast to make faded photos look their best

• Correct exposure problems

• Make color corrections in photos that have color shifts

• Colorize black-and-white photos

• Digitally clean up dust on photos (great for scanned

• Repair images with tears, cracks, and stains

• Remove unwanted objects from photos

• Recompose portraits (add or remove people, change

• Digitally remove skin blemishes, whiten teeth, etc.

• Protect and preserve your restored images

Visualizing the Editing Steps

1. Straighten the image: Sometimes, the image you are

Figure 3. The image straightened

2. Crop the photo: In the next example (Figure 4), I

3. Make the necessary exposure and contrast

Figure 4. Image cropped (left) and contrast improved (right)

4. Do your digital cleanup/editing: Remove scratches,

5. Recheck the photo for overlooked dust, blemishes,

6. Resize the image: Resize the photo to its final

7. Sharpen the photo: Last, sharpen the image slightly.

Figure 5. Before and after comparison

Note This process will vary somewhat, depending on the image

Improving with Practice

About the Technical Reviewer��xv

Part I: Starting with the Essentials��1

Chapter 1: An Overview of GIMP 2.10��3

Chapter 2: Digitizing Your Photos, Slides, and Negatives��31

Part II: Tone, Exposure, and Color��55

Chapter 3: Correcting Tone and Exposure��57

The Exposure Dialog��65

Chapter 4: Color Correction and Restoration��99

Tutorial 12: Color Correction Using Levels (No. 2)��122

Chapter 5: Creative Use of Color��141

Part III: Digital Cleanup and Repairing Damage��173

Chapter 6: Dust, Light Scratch, and Stain Removal��175

Tutorial 23: Removing Dust from a Slide��176

Chapter 7: Repairing Moderate and Heavy Damage��197

Part IV: Retouching Faces, Fun Projects, Preserving Your Images��237

Chapter 8: Editing Portraits and Recomposing Images��239

Chapter 9: Sharpening Images��287

Chapter 10: Fun and Artistic Projects with Your Photos��299

Chapter 11: Printing and Preserving Your Images��317

Displaying Your Prints��323

Why Photographs Are Important

IMP: The Powerful Free

Visualizing the Editing Steps

Improving with Practice

Equipment Purchases to Consider

Copy with Caution

Downloading and Installing GIMP 2.10

GIMP for Windows

GIMP for Linux and Unix-Like Systems

GIMP for Mac OS X

The GIMP Interface

Figure 1-9. A comparison of the Single-Window and Multi-

The Image Menu

The Image Navigation Bar

The Toolbox and Important Tool Functions

The Selection Tools

The Brush Tools