pixelPERFEXION™
pixelPERFEXION.net
Site contents ©2021 Jack Neubart. All rights reserved.
  • Home
  • Reviews
  • News/Views
  • About
  • Contact

Software Review: Aurora HDR Professional – User-Friendly Mac-only HDR Plug-in and Standalone Software

5/11/2016

2 Comments

 
Picture
I wanted this shot to have more of a Magic Hour feel, so I built the HDR from TIFF files processed in Lightroom, instead of using the original RAW files. This is a view from Michigan Ave. of Chicago's historic Water Tower.
Before creating an HDR, you have to ask yourself: Is the process adding something of value to the picture? Am I rescuing key highlight and shadow information that would otherwise be lost? Am I adding something of aesthetic value to the picture?

Each time I export images to an HDR application, I ask myself these questions. Or I should. Sometimes, in the excitement of trying to do more, I end up doing less, and then I go back and chastise myself for forgetting to address these questions.

I’ve worked with numerous HDR apps, most often as plug-ins to Adobe Lightroom, always in search of the ultimate HDR solution. When Adobe endowed Lightroom with an HDR merge function, I thought, bye-bye plug-ins. I was wrong. Lightroom’s HDR is nice, but it’s bland and unimaginative in comparison to the independent third-party apps out there. The one thing Lightroom HDR has going for it is that all the processing remains under one roof.

But you have to step out the door every once in a while. And Aurora HDR Pro – for Mac only, co-developed by Trey Ratcliff and available through Macphun Software, is a nice breath of fresh air when you do step across that threshold.
​
Of course, as with any HDR app, when you do step outside, you may still encounter the odd cloud or two that unleashes anything from a drizzle to a downpour, destroying that carefully coiffed ‘do. But if you cover yourself with a simple umbrella – no overly elaborate steps needed, you’ll step back in with a more lustrous head of hair than when you started.
Picture
Aurora HDR Pro interface. I've enabled highlight and shadow clipping, which show up as scene tones marked by red and blue, respectively. The presets are the frames at the bottom; the settings panel is on the right, including a histogram. The application has practically all the settings you need for tone control, even when used as a standalone application with RAW files.
​Aurora HDR Pro’s Interface and Settings
Each HDR app brings to the table certain features and foibles. To begin, they all like to think they’re the flavor of the month. And that is true to a degree, because when they’re new, we all flock to them. But for some, that flavor soon fades or even sours. And just in time, another steps in, in this instance Aurora HDR, to pick up the gauntlet.
 
One of the things I look at is the set of presets and settings each app uses to create an HDR. Some use esoteric settings couched in an exotic language that doesn’t readily fall off the tongue. Not so with Aurora HDR.
 
First, the interface is clean and simple. Presets are shown along the bottom of the screen, with a settings panel on the right. My only complaint here is that the preset image is truncated – I’d like to see the full preview image.
 
The settings themselves are largely readily understood, but if any are new to you it just takes a few tweaks to see what they do. Just remember to Undo them afterwards, unless they’re to your liking, or hit the preset to start over. And if you’re really enthralled with your tweaks, save them as a User preset, so you can use them next time.
 
The one thing missing here is User Preferences. I may want one preset to initially apply to my HDR merges when launching Aurora HDR or perhaps I’d like to use the previously used preset, but, for now, I can’t dictate that. Also, you may want to default to a specific file format when exporting the HDR image. And you may want to customize the filename extension added to the resulting HDR image (although I’m sure most would be happy with the default).
​Step One: Choose RAW or TIFF Files
You can work with the standalone app or the plug-in (Lightroom, Photoshop and even the now defunct Apple Aperture). I prefer the plug-in, since I do my RAW conversions first – in Lightroom. A wide range of file types is supported. The standalone version has the advantage of being able to export the HDR to social media and to a broad range of applications, including Photoshop, Lightroom, and Macphun’s own Creative Suite.
 
Aurora HDR Pro installed itself effortlessly in Lightroom and Photoshop. In Photoshop, it’s listed under Filters. In Lightroom, the plug-in pops up in the list of export options: choose to work with the original, meaning RAW, files or adjusted (converted) TIFF files. I’ll be discussing the plug-in’s use in Lightroom.
 
As with any HDR app, the first thing to do is to select the bracketed exposures that will contribute to the merged image. When I shoot handheld with my Nikon D610, the maximum number of exposures for auto-bracketing is 3, and that’s worked well so far, usually at +/- 1 EV increments.
 
To minimize the possibility of shooting long exposures, I often set an ISO that will deliver relatively fast shutter speeds. The benefit there is in minimizing the gap between exposures, with the camera set to capture sequential frames at the highest rate, which minimizes camera and subject movement and possibilities for ghosting.
 
Working in Lightroom, I’ve worked with both RAW and TIFF files. In some instances, surprisingly or not, the TIFF files worked best. For the most part, though, my first choice is to merge RAW files. That means that none of the adjustments made in Lightroom carry over – and hence can’t taint – the resulting merged HDR.
 
The down side to using RAW files, at least when working with some lenses, is that the HDR image that Aurora returns to Lightroom doesn’t carry complete or entirely accurate EXIF data. For example, when I try to apply a lens profile in Lightroom, the profiles for images shot with Tamron and Sigma lenses are all wrong, judging by the ones tested so far. I’ve had to use a different lens profile, then further adjust that, or make the adjustment from scratch. Not a big deal, per se, just a minor annoyance. (And this quirk is not exclusive to Aurora HDR.)
 
When you work with converted TIFF files, you first apply the lens profile, so that’s written in stone. In other words, there’s no longer a need to concern yourself with that aspect of the editing process.
Picture
Once the files are uploaded to Aurora HDR Pro from Lightroom, you are greeted with this window. Check off the corrections you want the app to make, then proceed to the next step.
​Step Two: The Opening Dialog Window
When you export the files for the HDR from Lightroom to Aurora HDR Pro, you’re greeted by a dialog box, which gives you three options: alignment, ghost reduction, and chromatic aberration (color fringing) correction. When working with RAW files, I check all three. Alignment is especially important when shooting handheld, on a monopod, or even with tripod shots that show even the slightest discrepancy between frames. Note: when working with RAW files, even though you are using chromatic aberration correction in Aurora, you should also enable Remove Chromatic Aberration in Lightroom, since there may be a residual amount of color fringing that remains in the HDR.
 
When ready, click Create HDR.
Picture
Note that the Reference Image is the base (camera metered) exposure. Because there was a constant flow of traffic, I opted for the highest level of deghosting.
​Step Three: Choose a reference Image and Deghosting Strength
Moving on, now you have to choose a reference Image and the amount of deghosting (ghost removal) to be applied. I’ve found that selecting an overexposed frame that involves movement as the reference Image tends to result in ghosting that can’t be corrected by the software (this applies to Aurora and other HDR apps). So choose the metered exposure or the one below it.
 
If you’ve come this far, take the next step: click Create HDR (same command, different dialog box).
Picture
This is the HDR generated when using RAW files. As you can see, the sky is not nearly as dramatic as the earlier HDR, which used converted TIFF files. Also note the apparent ghosting, which showed up as dark patches in the asphalt. I cropped that out in the final rendition of the TIFF-based HDR shown at the top.
​Step Four: Making Your HDR Shine in Aurora HDR Pro
You’re now on the main screen, the Aurora HDR interface. It takes a few moments to get here while the program is processing the HDR, so be patient.
 
The easiest way to start is to select a preset. I find the ones labeled “realistic” are the best place to start. You can then tweak the settings in the panel on the right.
 
Presets have cute and clever names – a bit too cute and clever for my taste, but, hey, that’s me. What I would have liked is if each preset, when scrolled over, would offer a brief description that differentiates it from its neighbors. You can, of course, create your own presets, and the nice thing here is that presets are grouped by the overall impression they’re designed to make or a subject or situation they address, or by the person who customized them (Trey Ratcliff or User). There’s also a Favorites group, and a way to get more presets off the Web.
 
To Aurora’s credit, however, when you click on a preset, you’re presented with a slider that globally modifies the HDR look of the image. Specifically, this slider addresses the Layer Opacity (not to be confused with other Opacity settings, such as Denoise Opacity).
 
More to the point, changing this Opacity setting directly affects the histogram. For instance, you can use this setting to reduce clipping (lost highlight and shadow detail). Click on the two triangles top left and right above the histogram to see shadow and highlight clipping, respectively, which are shown as blue and red in the image.
 
You may find that you’re overwhelmed by all the settings. Don’t be. Creating an HDR image that’s worth sharing is worth the effort. You can use the presets for a quick fix, but step through all the settings to show that you really care about the image, at least initially. Over time you’ll discover that certain settings are more relevant to delivering the look you’re after.
​The Final Step
Next, export the image back to Lightroom. Here you can make the necessary lens corrections that weren’t previously applied, add sharpening, and finesse the image further to deliver the look you want.
Pros
  • Admirable results
  • Inviting interface
  • A wide range of user-friendly settings (not couched in an exotic language no one understands), designed to let you tweak the image to your satisfaction
  • Lots of presets arranged in groups, including User presets, so you have a better, faster handle on what you need
  • Fairly robust denoising (noise removal) filters (but also see below, under Cons)
  • Fast learning curve thanks to presets (going beyond the presets may involve more effort and time, but is well worth it)
Cons
  • Deghosting (ghost removal) algorithms are inadequate when it comes to dealing with obvious subject movement within the bracketed sequence
  • One piece of information missing is the dynamic range of the image in numeric values
  • User Preferences missing, so you can’t automatically invoke certain settings that you’d like to use when launching the app
  • Truncated previews (you should see the entire image in a preview to get a greater appreciation for the effect)
  • I’d prefer separate sliders for luminosity and chrominance (color) noise

​Capsule Comments/Aurora HDR Pro
User-friendly, with lots of presets; very competent HDR application and plug-in, with numerous creative options; does a nice job whether shooting on a tripod or handheld; one foible: deghosting algorithms may not fully address subject movement.
 
Conclusions:
I may have found my new favorite HDR plug-in. Aurora HDR Pro delivers on many levels. I found the settings fairly easy to understand and use and the results compare favorably against the existing frontrunner in this arena. In fact, I’d say, the king is dead, long live the king.

There were fewer troubling artifacts, aside from ghosting, which only cropped up in extreme cases. Add to that, Aurora HDR Pro adds layering and painting of effects to a degree defined by the user, so they don’t overwhelm the image and instead contribute to restoring the scene to what you saw with your mind’s eye. I found that the resulting HDR images, when not taken to excess, were truly representational of the scene I originally envisioned.

System Requirements
Mac requirements:
  • Processor Core 2 Duo from late 2009 or newer
  • Minimum 4 GB RAM
  • OS X 10.9.5 Mavericks or newer
  • 2 GB free space on hard drive
  • Display resolution 1280 x 800 or higher
  • Retina displays supported
Image formats:
  • PNG
  • JPG
  • TFF 8-bit and 16-bit
  • GIF
  • PSD
  • Popular RAW formats: CR2, NEF, ORF, RAF, ERF, ARW, RW2, PEF and more
  • Color Profile settings supported
Supported devices:
  • Magic mouse or other multi-button mouse
  • Magic trackpad, force touch trackpad or other touchpad device
  • Wacom tablet or other tablets with pen

​Tested Platform/Hardware: 
Mac OS X 10.9 (Mavericks); 21.5” iMac equipped with a 3.1 GHz Intel Core i7 processor, 16 GB RAM, NVIDIA GeForce GT 650M 512 MB.

​Where can I get more info?
Aurora HDR Pro
 
Who publishes it?
Macphun Software
 
How much is it?
Aurora HDR Pro is available for $99 
Aurora HDR (the basic standalone version, which does not include the plug-ins) is available for $39.99 via the App Store.
 
Free trial available: Yes (click here)

To HDR or Not to HDR - That Is the Question
Read more about the in's and out's of HDR and how to produce the most effective HDR.

Read More
2 Comments

Software Review: Alien Skin’s Exposure X – More Than a Film Emulator These Days

1/19/2016

0 Comments

 
I was never a big fan of film emulators, so any time I used one, it wasn’t in an attempt to replicate the look and feel of a film as much as to lend a distinct character to an image. Besides, what I remember about film are scratches and fading, although a few films did leave an indelible mark in my memory. Well, almost indelible, as memory does fade over time, along with film.
 
But I do remember the rich colors of Kodak Kodachrome and the grainy texture of Kodak Tri-X, the increased contrast and grain when pushing film, and the look of some Polaroid instant slide films and how easily they were scratched.
 
When it came to E-6 reversal (slide) films, Fuji fast became a favorite, with Velvia and Provia leading the pack. Ilford’s black-and-white emulsions also had a unique place, capturing a certain depth of tone. Agfa color film never quite did it for me; ditto their black-and-white emulsions. Fuji black-and-white, too, was one I rarely used, although it did have its adherents. There was also 3M and Konica – each a poor but economical substitute. Some of these films are still available today, although I doubt they’re the same. On the other hand, for the more adventurous film shooter there is Lomography film, for a unique twist on analog photography.
 
One of my favorite black-and-white films was known as chromogenic—a favorite not because it was processed in color chemistry and yielded a black-and-white negative, but because it could be exposed over a wide range of ISO settings – kind of like what we do today with our digital cameras – one film fits all, kinda.
 
What I don’t miss about film is changing cassettes amid a storm of midges, the time wasted to change film cassettes, the need to change film cassettes whether because you’ve run out of exposures or to suit the lighting or the subject – and the need to carry around all those canisters of film. Good thing back then that airline travel was a simpler thing.
 
Still, I wonder if I’ll ever recapture the feeling of looking at a cardboard-mounted frame of Kodachrome on a lightbox, seeing  those rich colors, that fine grain. I know I won’t recapture it in a film emulator, but at least this software can imbue my images with a quality they did not have before. And that’s what I’m going for. And that’s what I found so remarkable about Alien Skin’s Exposure X.
​​What Is the “X” in Exposure X?
Exposure X is not simply the Exposure app updated. Exposure has something “X”tra – new life and a new vitality. It’s now also a RAW converter, which means that you no longer have to first process your files before taking them to the next level. But how practical is Exposure X as a RAW processor? Regrettably, it's missing a number of things, not least of which is a histogram. But if you're not working in Adobe Lightroom or using Adobe Photoshop to process your RAW images (or any other RAW processor), then this is a quick and easy RAW converter. And it's non-destructive.

I personally use the software as a Lightware plug-in. I could also use it as a Photoshop plug-in, but Lightroom is where I do all my RAW processing.

Why I Don't Like Film Emulators 
The main reason I don’t believe in film emulation software is that film is variable: from batch to batch and with how the film was exposed, processed, and stored (before and after exposure), and if it was used beyond the expiration date. Professional photographers would buy film in bulk and control processing to minimize variables. And each would get from that roll of film a definable quality and consistency.

Today there are too many variables, not least of which is sourcing the film for testing.

So, Why Am I Even Bothering with This Software?
Because it’s fun to use and lends my images a distinct quality. No one who looks at the results asks, what film did you use or, more shrewdly inquires, what emulator did you use? No, they simply marvel at the images. I'll let the results speak for themselves.

I don’t even take notes on which presets I used, although a few stay with me. I just apply those presets that appear to best suit the image, and I of course tweak them to my taste.

Where can I get more info?
Alien Skin Software
 
Who publishes it?
Alien Skin Software
 
How much is it?
Direct: $149 

Free trial available: Yes


Some Tips From Alien Skin Software
Exposure uses the brush button to combine effects. You can stack two effects with this procedure:

* Open Exposure, select an image, and select the first preset from the presets pane.
* Click the brush button
* Select the second preset from the presets pane.
* Choose 'close' from the brush panel.
* The result is the second preset applied over the first.

You can also use brushing to apply an effect selectively.

* Open Exposure and select an image.
* Click the brush button.
* Choose the 'neutral' preset from the brush presets on the brush panel. Velvia affects the entire image.
* Select a dust texture from the overlays panel
* Choose the brush size, feather, and flow options
* Use the brush tool in the preview to add the effect.
* Choose 'close' from the brush panel.
* Repeat the procedure to add another layer, such as scratches.
* If you want to modify existing layers, select the pins in the preview area while the brushing panel is open. The selected pin has a black center.

In summary, opening the brushing panel and applying a preset will add a layer that affects the entire image. Opening the brushing panel and starting to brush will start a new layer that affects the regions you brush. 

As you may notice, changing the sliders in the editing panels doesn't modify the preset you applied. If you want to save a modified version of a preset for later use, you can save it as a new preset. We designed it this way to prevent presets from being accidentally modified.



​System Requirements
  • Apple Mac users need OS X Yosemite (10.10) or newer
  • Microsoft Windows users need Windows 8 64-bit or newer
  • An Intel Core 2 processor or compatible
  • A monitor with 1280×768 resolution or greater

Host Requirements
Exposure X can be used standalone or as a plug-in (Adobe Photoshop CS6 or Adobe Photoshop CC 2015 or newer; Adobe Lightroom 6 or Adobe Lightroom CC 2015 or newer)
 
Tested Platform/Hardware: 
Mac OS X 10.9 (Mavericks); 21.5” iMac equipped with a 3.1 GHz Intel Core i7 processor, 16 GB RAM, NVIDIA GeForce GT 650M 512 MB.
 
File Types Supported: 
RAW (all popular formats), TIFF, JPEG
​Capsule Comments
A film emulator that also does RAW processing. Exposure X offers numerous settings to let you tweak the results, but not enough to lend each image a distinct feel. When you process a true wet plate, for example, each and every image looks different. You don’t quite get that here with the wet plate options. That said, you can always go into Photoshop to finesse the image further and give it that distinctive quality.
 
Conclusions:
I was enamored of Alien Skin’s software way back, specifically Eye Candy and the now ill-fated Xenofex when Photoshop plug-ins were few and far between and well before I started using Lightroom. These plug-ins helped me produce some of my most creative composite images.
 
Sadly, I haven’t had them on my computer in a while and I miss them. But at least I now have Exposure X. No, it’s certainly not a replacement for those plug-ins, but it does let me add a new flavor to my images and one that no other film emulator has allowed me to do – and to achieve these results easily and efficiently.

​Despite some weakness (which I’m told will be addressed in time), Exposure X is a decidedly worthwhile addition to my image editing library.

0 Comments

Affinity Photo Software Review: Has Photoshop Met Its Match?

8/12/2015

0 Comments

 
Posted 7/22/2015 on www.shutterbug.com.

I’ve worked with Adobe Photoshop since it was first introduced. While it wasn’t my favorite image editing software initially, Photoshop grew on me as its capabilities grew, and it has become my go-to editor outside Lightroom.

In fact, Photoshop has led the field among image editors for as long as I can remember. It’s a robust package with an array of tools that far surpasses what many of us would normally use—although, granted, it’s nice to know they’re there when needed. And no pro photographer I know would consider abandoning Photoshop in favor of a fledgling software application. Not just yet, anyway.

However, for the many photo enthusiasts who have yet to dabble in Photoshop or who find it too unwieldy or intimidating, or downright too expensive, something new is always an enticement. This is especially true in light of Adobe’s recent and controversial subscription-based Creative Cloud service, which many photographers balk at. Even some pros I know prefer to stick with the tried-and-true, standard desktop versions to the Cloud-based subscription versions.

Well, Affinity Photo from Serif Labs is here to address the naysayers among us. First of all, it’s available at a one-time price, and a very inviting one at that: for $49.99, you get not only the software, but also all future updates and releases. Affinity Photo is available from the Mac App Store—currently (and likely for the foreseeable future) Mac OS X only, 10.7 or later, 64-bit processor—courtesy of Serif Labs. READ THE ENTIRE REVIEW.
Picture
DEVELOP PERSONA. Open a Raw file and you’re immediately taken to this module, where you’ll find all the classic Raw processing tools. In this image, I used the WB picker icon (on the far left, looks like Saturn) to read white balance, and the app responded nicely. I then corrected converging verticals in the Lens panel, added a grid, and engaged cropping. It would have been nice if I’d had the option for automatic cropping (they’re considering it). ©Jack Neubart. All rights reserved.
0 Comments

Adobe Photoshop Lightroom CC Software Review

8/12/2015

0 Comments

 
Posted 7/7/2015 on www.shutterbug.com.

Lightroom has always been available as retail standalone software that you buy, install, update, and pay to upgrade when applicable. Well, that has changed, in part, thanks to the Adobe Creative Cloud, which unleashed a torrent of cloud-integrated apps, among them Lightroom CC.

I wasn’t convinced of the necessity to dive into the cloud when Photoshop CC was first introduced, choosing instead to remain firmly grounded with CS6. But things took a turn that would force my hand when Adobe chose to no longer support Lightroom 5 with updates. When testing new cameras and lenses, I found myself resorting to Photoshop CS6 so I’d have access to the latest Adobe Camera Raw (ACR). I was at a crossroads. Creative Cloud, show me what you’ve got. READ THE ENTIRE REVIEW.
Picture
Vertical panorama created in Lightroom CC. Original images shot with Samsung NX500, in Hawaii.
0 Comments

    Reviews

    TECHNICAL EDITOR
    Jack Neubart

     

    Archives

    December 2019
    September 2019
    August 2019
    July 2019
    May 2019
    April 2019
    February 2019
    November 2018
    September 2018
    August 2018
    May 2018
    January 2018
    November 2017
    September 2017
    July 2017
    June 2017
    May 2017
    April 2017
    February 2017
    December 2016
    November 2016
    October 2016
    August 2016
    July 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    August 2015
    December 2014
    August 2014
    July 2014
    April 2014
    November 2013
    October 2013

    Categories

    All
    13x19-inch Printers
    35mm-style Digital Cameras
    Acratech
    Adobe Software
    Austin
    Backpacks
    Ballheads
    Camera Backpacks
    Camera Bags
    Camera Cases
    Camera Holsters
    Camera Luggage
    Camera Supports
    Canon Cameras
    Canon Lenses
    Compact DSLRs
    Compact Photo Printer
    Compact System Cameras
    Desktop Printers
    Digital Projectors
    Digital Retouching
    Digital SLR
    DSLR
    Epson
    Exposure Control
    Fashionable Bags
    Fast Lenses
    Film Emulation
    Flash Photography
    Hawaii
    HDR Plug-in
    HDR Software
    HD SLR
    HD-SLR
    High-resolution DSLR
    Holster Bags
    Image-editing Software
    Image-stabilized Lenses
    Inkjet Printers
    L Bracket
    L-bracket
    Lens Cases
    Lenses
    Lens Pouches
    Leveling Base
    Long-lens Bags
    Macphun
    Macro
    Macro Flash
    Manfrotto
    Mega-zoom Digital Camera
    MindShift Gear
    Mirrorless Cameras
    Nikon Cameras
    Nikon Digital Cameras
    Nikon Mirrorless
    Nikon Pro Digital Cameras
    Nissin
    Nodal Rail
    Nodal Slide
    Olympus
    Outdoor Photography
    Panorama Head
    Panoramas
    Panoramic Photography
    Photo Accessories
    Photo Backpacks
    Photo Belts
    Photo Luggage
    Photo Rollers
    Plug-ins
    Point-and-shoot Zoom
    Portrait Retouching Software
    Printer
    Pro Cameras
    Pro Digital Cameras
    Radio Remote Flash
    Radio TTL Wireless Flash
    Rain Covers
    Rain Hoods
    RAW Conversion Software
    Review: Photo Accessories
    Review: Phottix Odin Radio Remote
    Review: PocketWizard ControlTL
    Review: Software
    Ring Flash
    Rolling Cases
    Samsung Cameras
    Shimoda Designs
    Shoe Mount Flash
    Shoulder Bags
    Shutterbug.com Review
    Shutterbug Magazine
    Sigma Lenses
    SKB Cases
    Sling Bag
    Sling Bags
    Sling Pack
    Snapshot Printer
    Software
    Software Effects
    Super Wide Lenses
    Super-wide Lenses
    Superzoom
    Tamron Lenses
    Telephoto Zooms
    Tenba
    Texas
    Think Tank Photo
    Tripod Heads
    Tripods: Carbon Fiber
    TTL Radio Wireless Flash
    TTL Wireless Flash
    Ultra Wide Lenses
    Ultra-wide Lenses
    Ultra-zoom Digital Camera
    Wide Format Printers
    Wireless Flash
    Zoom Lenses

    RSS Feed

    All products and services are the trademarks or registered trademarks of their respective owners.
    Use or mention of any product or service is not an endorsement - compensated or otherwise.
    However, manufacturers, distributors, vendors & services may provide products or services for use.

    Your purchase and/or use of any product or service tested, reviewed, listed or mentioned is solely at your discretion and you release us from any and all liability associated with such purchase and/or use.

Your satisfaction, our expertise. They go hand in hand.
Bringing over 35 years' experience into everything we create.

Entire contents of this website is comprised of original works created by Jack Neubart, including but not limited to photographs, digital work, musical compositions, stories, humor, poetry, and any other artistic or textual material. 
All work Copyright ©2021 Jack Neubart and is protected under United States and International laws and treaties.
All rights reserved. None of the contents may be copied, extracted, abstracted, adapted, transmitted, digitally altered, or otherwise used or published without express permission of the Copyright owner.
Webmaster: Jack Neubart (building on a Weebly.com template).