I will remove and replace backgrounds, people, objects and texts. for $10

I will remove and replace backgrounds, people, objects and texts.

If you want to have something removed and/or replaced in your image just send it to me and I will take care of it for you. I will replace the background with added shadows and remove anything without leaving a mark.


SPFX Web Part, site themes and section backgrounds – automatically apply the correct theme variant to the web part

SPFX web parts developed using the Office UI Fabric / Fluent UI components are out-of-the-box site theme aware. The colors used by the components automatically change to reflect the current in use site theme, so if for example one switches to a green background theme the web part styling will automatically adapt to that without any need for extra development work (obviously provided we don’t explicitly override the default colors somehow).

Yet, while sites themes are automatically reflected by the Office UI Fabric components, apparently section colors – the ones that can be specified for a specific page section – are not.

Section background color selection

In the above example the Sea Monster theme has been applied to the site. In this case a custom SPFX web part will by default use the Sea Monster colors. Yet, if we were to change the section background option from the default to any of the other three options, the web part will not reflect this automatically. This means that if we were to chose the fourth option the section background would be orange, yet the web part would render with an “Rum Swizzle” background instead (the Sea Monster default color name, at least based on some color-name-from-rgb tools).

Searching for a solution is quite easy to find many options that all require extra development work to associate each semantic color to the web part components explicitly.

  • Microsoft solution: implement an interface, some custom hooks and event handlers, pass a theme variable down the React components chain… apply the colors by hand when needed.
  • Hugo Bernier blog same as above but quite more clear with a list of semantic classes names and intended use.
  • Prasanta’s article on netwoven similar approach, but they advocate a way to use the semantic class to build styles, with the advantage that one wouldn’t need to pass the theme around as a parameter to children components.
  • Don Kirkham does basically the same as in Prasanta’s solution, but while Prasanta defines styles in TS classes, Kirkham’s solution uses regular scss.

As you can see every solution requires the developer to do extra work to ensure that the web part is theme-variants aware. And apparently not even every Microsoft out-of-the-box provided web part is guaranteed to be theme-variant compatible so I fear this feature is simply badly supported.

Yet I still wonder. Can anyone provide a solution that would make a web part aware of the variant-specific subtheme colors and avoids the need for the developer to specify all the coloring manually?

To be clear. The Microsoft solution for example contains this code snippet:

return (
<div style={{backgroundColor: semanticColors.bodyBackground}}>
  <p>This React web part has support for section backgrounds and will inherit its background from the section</p>


In this case the bodyBackground semantic color is explicitly applied to the div so that the correct theme variant color is used. Yet, since the framework code must already be aware of the theme (since that gets applied if we don’t use the above snippet) is there a way to make it aware of the selected variant too?

Notice: this is not related to question like this one: How to apply a theme to a spfx web part?. The problem here is that if we use a standard Office UI Fabric component in a web part without any further customization it will automatically reflect the current site theme but it will fail to reflect any theme variant specific to the zone where the web part is collocated.

website design – Is there a problem with using black text on white backgrounds?

When non-dark RGB colors on a screen are translated into XYZ colors in the eye and then to something similar to hue-saturation-lightness colors by the brain, small changes in RGB values will result in small changes XYZ which will then yield small changes to hue and saturation (which I will refer to collectively as chroma). When darker colors are translated to HSL, the same-absolute-size changes in RGB values will lead to larger changes in XYZ, and thus larger changes in chroma. When a darker area of a given hue/saturation is next to a lighter area with the same hue/staturation, the boundary will generally be blurred slightly (since the eyeball focuses well but not perfectly) but all areas on the boundary should have the same chroma. Even if there are non-linearities in the process of converting RGB colors in memory to XYZ colors in the eyeball, any consequent non-uniformity in the chroma will be slight.

With colors that are overly dark, however, tiny changes in RGB values may result in large changes in chroma. If there are any non-linearities in the process of converting RGB colors on the computer to XYZ colors in the eye, the variations in perceived chroma may be quite large. If an RGB value of (0,0,0) is perceived as though it’s (0.0001, 0, 0) then it will appear reddish; if it’s perceived as (0,0,0.0001) it will appear bluish. If one uses a background color of (96,128,128) and a foreground color of (3,4,4) the foreground and background will appear to have the same chroma. If instead one uses a foreground color of (0,0,0) the perceived chroma of parts of the text might not only differ from that of the background, but it could easily be non-constant and non-uniform. Even though the chroma of such dark objects isn’t meaningful, that doesn’t mean the meaningless chroma variations won’t be distracting.

Where were the rock formations in the new wallpaper backgrounds from iOS 14.2 and macOS Big Sur photographed?

With the release of macOS Big Sur and iOS 14.2 apple put new backgrounds with different rock formations as options for wallpapers (in macOS they are called dome, peak, and valley). Does anyone know where they were photographed or where around these rock formations are? I am thinking Utah or Arizona. Anyone know?
I tried looking to see if there was any exif data for a few of the backgrounds but there wasn’t any. Below is one of the wallpapers: enter image description here

applications – Where does the Messages app store custom backgrounds?

The “Messages” app allows users to customize the background that text messages are shown on by selecting an image stored on the phone. I did this, so my chosen picture is shown along side the background choices that are built into the app. Since I lost the original and have no backups, I would like to find out where “Messages” stores the image so that I can make a copy (rescue my “lost” photo). Any help would be greatly appreciated!

Android version 7.1.1

Messages: Version

Samsung SM-J700T1

color – What’s it called when white objects or white backgrounds become blue in photographs?

Your camera, for whatever reason, is setting the color temperature and white balance at different points for the two images.

That gives it what we often call a color cast, *tint*, or hue which simply means the white balance used to interpret the raw data from the sensor was not correct for the light that illuminated the scene and gives it a predominance of one color that causes the rest of the colors to look inaccurate. Incorrect white balance means the exact same thing. Incorrect color temperature is near synonymous.

Different light sources emit light at different color temperatures. Even “white light” sources that emit light that includes most or all of the visible spectrum have most of their light centered on various color temperatures. This affects the color of the things they illuminate. Light sources that emit a more limited spectrum of the range of wavelengths we call visible light are even more problematic when we try to balance them to get accurate color.

Our eye/brain systems are incredibly good at adapting to various sources of lighting, particularly those that have been found in nature since the dawn of time and those artificial sources we have invented that closely mimic such natural light sources. Our brains can compensate for the differences in light and we perceive most objects to be the same color under different types of light sources.

Cameras, however, must adjust the bias they give to the red, green, and blue channels in the images they capture. Unless we have told the camera, via a setting such as ‘daylight’ or ‘shade’ or ‘fluorescent’ or ‘tungsten’, what the color of the light source is it has to make an ‘educated guess’ based on clues in the scene. When scenes don’t give the expected clues, such as the brightest parts of the scene is not a neutral/white color, the camera can often get it wrong. Another scenario that can often fool cameras is when most of the frame is a uniform brightness which the camera will attempt to expose as a medium brightness halfway between pure white and pure black. Your example image in the question demonstrates both.

gm techniques – How should players purchase supernatural backgrounds when using a Prelude?

Hunter: The Reckoning has a concept of of a “prelude”. A prelude is essentially a one-shot or one-session adventure which tells the story of how a normal, mundane human became called to the Hunt. It’s like a superhero origin story, where the player character gains their first edges.

Two approaches to preludes are described in the Hunter rules (pg.221-223). In one case, players create their characters like in most games. They can assign all their powers and various scores before play begins. In the other, more thematically appropriate option, players create mundane characters and the Storyteller assigns supernatural powers and other benefits during the prelude.

I’d like to use this second version in a Hunter game I’m planning. During this introductory sesssion, I’ll assign powers and abilities to the characters based on their activities. However, I’m confused how to advise players to purchase backgrounds. Some backgrounds and abilities are supernatural (like patron) or more appropriate for experienced hunters (like occult knowledge). Should I allow players to purchase these before hand or restrict them?

Some options I can foresee:

  • I should allow players to purchase them before hand, even though this isn’t thematic. Doing otherwise would restrict their strategic choices in an unpleasent way.
  • Players could withhold some their points from character creation to spend later. This seems both thematic and enhances player agency, but means that initially some characters will be stronger than others.
  • Players could spend all their points on mundane options, and I can assign supernatural options as the Storyteller. This doesn’t sound ideal, since some options (like the Mentor background) are best chosen upfront. If I assign a high Mentor score to someone it would unbalance the group.

How should I handle this situation? Do the Hunter rules or some other White Wolf guidance explain this? Is there an experienced-based way to handle this?

image processing – Is there a more practical way to remove backgrounds from a list of files in a folder on my computer?

Is there a more practical way to remove backgrounds from a list of files in a folder on my computer?


Imagine a folder with three image files… Unfortunately I waste time manually renaming the files in the folders so that my code can be done …

enter image description here

The code below eliminates the background and adds a suffix to differentiate the files:

n=3;(*Number of files*)

The result is satisfactory…

enter image description here

…but I was thinking of making this code cleaner and adding something that eliminates my manual file renaming action

Files used in the test:

enter image description here
enter image description here
enter image description here

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Studio – What are the differences between different types of fabric backgrounds?

You may want to consider that I haven't been in professional play for a while and that I tend to shoot people "in the wild" these days, so I'm not up to date with the latest offers. I was really hoping to see other posts from people who have recent experience in a professional studio environment, but here is:


Canvas is extremely durable, but not particularly portable or storable. As a lacquered fabric, it is well suited for surface cleaning (wiping with a cloth or sponge); As a dyed fabric, you need to make sure that bright colors get a little grubby over time and the darkness fades – dry cleaning versus washing helps, as does dark storage in a sealed bag. White is not very white unless the canvas is painted (bleaching only takes you so far). So you need space to light the background separately if you want something that is apparently White. (We assume that you have to overexpose if you want "digital white" any Background.)

Canvas can be quite heavy; Even the lighter varieties of cotton ducks that are sold as "canvas" are in the 10-12 ounces. Region and painted surfaces contribute significantly to this, so you need stable support (not necessarily a certified and approved official background stand set, but a few thumbtacks are not enough). It takes and shows wrinkles and creases, although they relax almost invisibly over time if the canvas is colored and not dimensioned (and can be ironed out). Painted canvas really has to be treated like roll paper. The binder in the color (even if there is no visible color film) makes wrinkles and creases very clear. It's great for interchangeable scenes or for permanent seamlessness, but they really need to be either hung or rolled up (and it can take days to be used if they were folded when purchased, even around a shape).

Synthetics may have changed the game a little since I last looked it up. I can imagine that something other than dropcloth-quality cotton duck (which was the basis for all the lighter canvases I've worked with) behaved a little better, but I haven't seen any evidence of this in my region Pro Foto Emporia.


I don't know what the kids do with muslin these days, but in my day it was the location alternative to speckled canvas backgrounds. Not only is muslin much lighter and a little cheaper, it also absorbs wrinkles better. Yes, that was the point. Bringing canvas in one place meant either bringing an unwieldy long roll of fabric with you, folding it neatly and having a regular fold pattern (which looks like a poor background image of a website) or a very distinctive spider web with irregular folds. Canvas is a heavy fabric; it just scratches so much. Muslin, on the other hand, is very light and boasts the ability to get an almost fractal, irregularly folded texture if you just shred it and put it in a pocket. When this texture is combined with the soft stain that usually occurs, it simply disappears. If you want a simple background, you have to treat muslin almost as carefully as canvas.

Muslins are typically made from a higher level of thread than canvases (the source looms and threads are used for bedding rather than industrial use and for painting unless they do their 20-minute photographic use per year). This means that the results of bleaching and dyeing tend to be better – you can get good white and intense, bright colors without painting, and darknesses without gloss. But wrinkles and creases will always be a problem if you need to keep them or move them.


Leotards tend to get around the wrinkling and creaking problem very well, and for this reason, they are great for plain-colored backgrounds. As fabrics, they will of course crease and wrinkle, but these folds and creases can be easily stretched. But as the man said, there is no free lunch.

Jerseys don't just hang there; They have to be stretched pretty much. If you place a simple jersey background field on a standard background stand, the top may be the specified width, but it tapers to this small, six-inch-wide cylinder at the bottom. You need to clamp the fabric to the posts to maintain the width, and the clamps must be frequent enough to avoid a visible diamond pattern due to tension fluctuations. And it's pretty much background material. It does not work well as a suture, even if you try to stretch and weight the circumference of the piece on the floor / table. (The stretch means that a blister almost always appears somewhere.) However, it makes a fantastic pop-up and works great on a frame – folds just go away.

And there is the pilling problem. If you never have to clean the fabric, it can look new for a long time. If you need to wash it, remember that you're dealing with something that is really just an oversized t-shirt. Hand washing in cold water in the bath by squeezing (no movement) and hanging to dry works well, but anything rougher will pretty much ruin it. If it's something that's going to experience a lot of rough-and-tumble, it's the wrong stuff.

Velor / velvet

These make great solid colors (assuming we're not talking about the "crushed" variety) and there is no substitute for black velvet as absolute black, apart from immense distance – light goes in and it doesn't come out. The nap hides folds and creases in the base material very well. For lighter / lighter colors, you may need to brush the surface of the nap to avoid obvious color changes (one of those large erasers, which is essentially a foam block that contains a pen and a chamois glued over a face ) very quickly and effectively for that). Velvet / velor is ideal for solid white tones, solid absolute black tones and for chromakey colors. A white or gray plate in combination with gelled lighting can ensure very even color gradients. Velvet fabrics can be surprisingly light (although some that are manufactured as coating materials, ie fabrics whose weight is suitable for coats and those based on a jersey knit rather than a fabric, can be surprisingly heavy).

However, velvet and velor are lint magnets, and the lighter colors can quickly deal with dirt. They are absolutely not suitable for seamless applications where something heavy (such as a person or even a large table object) is involved – lifting the nap again after thorough squeezing is a bear job.

There is a large selection of washability – the name really only says what the surface of the fabric looks like; it doesn't say much about the underlying construction. Some will get bald if you look at them funny, others will feel, others will laugh at your "hot" water and your measly washing machines. Some dry quickly and easily, others absorb Lake Superior in one go and will be ready for use again in February if you are lucky. It is probably safe to assume that any company that depends on the goodwill of professional photographers (Lastolite, Photek, Photoflex, Westcott, etc.) will sell you something that is suitable for this purpose. But like anything else in life, I'd be careful not to do anything that's "too good to be true" – it might work right away, but it's probably disposable.

Really, really white

If you work in a small space (not real space to evenly illuminate the background from the front evenly) and need something that is digitally white and not just seemingly white (that is, something that doesn't just look white to the viewer and can have shadows have, but these are actually all Fs, if you look at the values), it may be worth looking at the backlight. Commercially, this means using a huge Lastolite softbox or Hilite background system (which is essentially a soft box with flat sidelights). A DIY version wouldn't be too difficult to create Рthe only critical part is the diffusion panel, and that's really only "critical" in the sense that it has to be seamless (one piece). The rest are just reflective fabric (this can be the cheapest silver lam̩ you can find in the fabric store, and it can be full of seams everywhere) and a hanging frame (PVC, anyone?).