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Choose a selection tool and subtract from an existing selection by holding the Alt/Option key while dragging. Or, click the Subtract from Selection icon in the Option bar.

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The spacing between magnetized points. The higher the number (from 0 to 100) the more frequently Photoshop will add points.

Choose Fixed Aspect Ratio from the Style drop-down list in the Option bar, shown at the top in Figure 5/6. Leave the Width and Height values at their default 1, and forget about holding down the Shift key. You’ll draw only perfect squares or circles every time you click and drag when this option is active.

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Use Photoshop’s Brightness/Contrast controls to give the image a somewhat washed-out, old-timey look if you like. The finished photo should resemble Figure 3/51. Figure 3/51 Finish the effect with some extra contrast to give the photo an old-timey look.

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Creating the Alpha Channels We’re going to use alpha channel selections to perform the magic. As you follow these steps, keep in mind that, unless you change the values using a control I describe next, the darker the pixels in the alpha channel/selection, the blurrier the corresponding pixels will be after the filter is applied.

Slide the Saturation slider to 0 and click OK. Desaturating the green channel often improves some color infrared shots, but your results will vary. Your final image will look like Figure 3/43. Figure 3/42 Swap the red channel for the blue channel.

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This control manipulates the contrast of the midtones of your image. Adobe (discover this) recommends using this control after setting the Exposure, Shadows, and Brightness.

Your image will look like Figure 2/39. You can see the effects of the 35mm and 50–300mm zoom lens settings in Figure 2/40. Experiment with different brightness settings to achieve different effects. You can also apply the lens flare only to a selected portion of your image to keep the glare from obscuring some parts of the image.

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Automatically Crop and Straighten Photos Photoshop CS added a great automation tool called Crop and Straighten, which can be a lifesaver if you capture a photo with your scanner and then discover that the picture wasn’t squarely lined up on the scanner bed. You can also use this tool to fix digital photos you might have taken with the camera held askew. This one’s so easy that I’ll simply provide a list of the steps to carry out. There are no dialog boxes to mess with, or any other parameters to choose. Just follow these steps: 1. Load the image you want to realign into Photoshop. I used the portrait shown at left in Figure 3/53.

Cropping The first thing to do is crop the photo a little better to remove some of the extraneous stuff at all four sides of the photo. While you can simply make a rectangular selection with the Rectangular Marquee tool, and then choose Image > Crop, there’s a better, more flexible way.

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You can easily create high-contrast images by manipulating Photoshop’s brightness and contrast controls. Select Image > Adjustments > Brightness/Contrast, and then manipulate the brightness and contrast sliders to get the effect you want. The contrast control determines the number of different tones in the final image. A typical black-and-white image contains up to 256 different tones; moving the contrast slider to the right reduces that number gradually until, when it reaches 100%, you’re left with only black and white. The brightness control adjusts the lightness of all the tones in an image, making the darkest tones brighter and the lightest tones gradually so bright they merge into white. Figure 3/22 shows a series of six versions of the same image, with the contrast set at 25%, 35%, 50% (top row), and 65%, 75%, 85% (bottom row). If you compare the individual images side by side, you can see how details are gradually lost as the increase in contrast moves them across the threshold boundary, and they change from gray to black or white. In Figure 3/23 you can see the effect of adjusting the brightness control. The image at top left is the basic head shot at the 50% contrast level. The next three have brightness set for 25%, 50%, and 75%.

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Black-and-White Infrared Film The look of black-and-white infrared films is not a darkroom effect but, instead, is a result of using, in conventional situations, specialized films that are intended to capture a bit of the infrared spectrum along with the normal visible light. Despite the common misconception, widely used infrared films don’t image “heat” as we think of it. Instead, they are simply more sensitive to light that’s even redder than the reds we capture with ordinary films, light in the near infrared portion of the spectrum. Because infrared films see light that the unaided eye cannot, these pictures look quite a bit different from a standard black-and-white image. Anything that reflects infrared illumination especially well, such as clouds, foliage, or human skin appears much lighter than it does to the naked eye. Subjects that absorb infrared, such as the sky, appear much darker than normal. You can’t predict ahead of time what an infrared photo will look like (because the image is affected by light you can’t see), so these pictures are often surprising and mysterious looking. Infrared film is difficult to use, too. Light meters don’t accurately measure the amount of infrared light, so exposures may vary quite a bit from your meter reading. You should bracket exposures on either side of the “correct” reading to increase your odds of getting a good picture. Infrared film must be loaded and handled in total darkness, too, and your fancy new autofocus lens might not focus properly with infrared film.

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Photoshop’s RAW Support Photoshop CS now includes a Camera RAW plug-in (which was formerly an extra-cost option with Photoshop 7) that works quite well. It can be used only with the particular digital cameras that Adobe supports, typically from Nikon, Canon, or Konica Minolta and quite a few other vendors. In addition, Camera RAW supports the new Adobe Digital Negative (DNG) format.

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Choose Image > Adjustments > Brightness/Contrast and adjust the sliders to darken the left side of the lighthouse. Don’t move the brightness slider too far to the left, or you’ll eliminate the dramatic lighting entirely. We just want to reduce the excessive contrast.

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High Contrast with Photoshop’s Posterize Command Photoshop’s Posterize command can also be used to create high-contrast images. Its dialog box (accessed by choosing Image > Adjustments > Posterize) has only one parameter: You type in the number of different tones in your final image. In practice, once you include more than about 16, the image tends to look like an ordinary photograph. Figure 3/30 shows our clown rendered in 4, 8, 12, and 16 different levels.

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Check out your background and other parts of the picture before you shoot. One of the most frequent needs for retouching arises from “mergers” where a tree or some other object appears to, say, grow out of the top of someone’s head.

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Film Development Techniques Some of the most interesting, and, unfortunately, permanent, visual special effects can be achieved by doing abusive things to your film during development, including exposing your latent images to light, boiling the film, overdeveloping it, or plunging it into icy cold water. Back when film was popular, these techniques found their way into many darkroom workers’ repertoire. As you might guess, none of these processes are very forgiving. Developing the film a few seconds too long, exposing it to a bit too much light during processing, raising the temperature of the developer a few degrees too much, or any of a dozen other “errors” can change the results you get dramatically. After you’ve tried out the effects that follow, you’ll wish you had Photoshop’s Undo features available for conventional film processing.

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You can preview the results visually, but use a few rules of thumb to decide how much to move this control. The main thing to keep in mind is the original resolution of your image. Low-resolution images (under 100 dpi) can’t benefit from much more than one- to three-pixels worth of edge sharpening, whereas higher resolution images (300 dpi and up) can accommodate values of 10 or more. You’ll know right away if you have set your values too high. You’ll see thick, poster-like edges that aren’t realistic, accompanied by a high degree of contrast. You may, in fact, actually like the weird appearance, but you’ve left the realm of sharpening and ventured into special effects at this point.

Making Selections with the Paths Palette If you have used an object-oriented illustration program, you will recognize the Pen tool as a Bézier (Bez-ee-ay) curve drawing device. With the Pen tool you can create lines and shapes that can be fine-tuned, saved as paths, filled with color or outlined (stroked), and used as the basis for selections. Conversely, you can change selections into paths and edit them with the tools on the Paths Palette. The smallest part of a path is a segment—the line connecting two anchor points. Several segments, linked, make a subpath, and subpaths combine to form paths. A path can be a line or a closed shape or a series of lines, a series of shapes, or a combination of lines and shapes. You can stroke and fill subpaths as well as paths. Importantly, paths can be converted to selections, which is useful when you want to select an area of an image that can be closely approximated by a path. Here’s a quick refresher on the Pen tool. Open an empty document and try out the individual tools and options to make sure you’re up to speed.

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Fixing Dual Catchlights Here are those dual catchlights again, as shown in Figure 4/13. The brightest catchlight was caused by the electronic flash used to take the picture. The secondary catchlight can be blamed on a bright window behind the photographer. It’s sometimes difficult to previsualize a picture well enough to realize that double catchlights are going to result (the main catchlight doesn’t appear until the flash goes off, for example), so the easiest solution is simply to remove one of the reflections in Photoshop.

If a lens is unable to provide even illumination out to the corners of the image area, the result can be dark corners. This is often found in wideangle zoom lenses at their widest setting, and when a lens is mounted on an SLR that has a larger sensor size than the lens was designed for. Vignetting can also be produced by using a lens hood that is too small for the field of view, or generated artificially using image-editing techniques.

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ALIGNED/UNALIGNED When the Aligned box is marked, Photoshop copies pixels from the point that you first marked as the source (by pressing Alt/Option when you clicked) to the point in the image where you begin cloning. Then, as you move away from that point, Photoshop uses the distance and direction the cursor moves from the cloning point to determine which pixels to copy. For example, if you move 1/4 inch up and to the left of the first point where you start painting, the Clone tool will copy pixels that are 1/4 inch up and to the left of the origin point. It doesn’t matter if you stop painting and start again. Unless you Alt/Option click again somewhere else, the origin point will be used as the reference point. When the Aligned box is not checked, each time you begin painting again, the origin point is used in the new location.

Fixing Chromatic Aberration This one’s a toughie because chromatic aberration may be difficult to see and evaluate, and is difficult to fix. The effects differ from camera to camera and lens to lens, too. So, your results will generally vary from mine. I’m going to provide you with the basics so you can experiment on your own. Figure 2/58 shows an image that’s been enlarged so you can see the chromatic aberration, which is most noticeable as the blue/yellow (green) fringing around the shoulders of the softball player’s jersey. To partially fix this problem, I used Filters > Distort > Lens Correction to produce the Lens Correction dialog box shown in Figure 2/59.

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Produces a set of handles you can use to modify the selection using Photoshop’s transformation tools. Right/Control (on the Mac) + click the selection to choose one of the transformation options, such as Scale, Rotate, Skew, and so forth.

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MODIFYING THE GRID You can turn the grid overlay on or off, change the spacing of the grid to make the pattern of squares larger or smaller, and use the Move Grid tool (press M to activate it) to drag the grid around the image area so it aligns more closely with vertical or horizontal lines in your image. Double-click the Color box to change the grid from its default gray to another hue that may contrast better with your subject matter. For example, if you’re modifying an image that’s heavy in neutral grays, you might want to select a vivid magenta color for the grid.

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MARKING UP DIGITAL IMAGES You don’t need a grease pencil to mark up your digital images. If your photograph was taken with a digital camera or already has been scanned, you can use Photoshop’s layers and annotation features to mark up your image. Press N to select the Annotation tool in the Toolbar, click in an area you’d like to comment about, and type your comments. You can collapse a comment down to a stickynote icon when you don’t need to view it. Choose different color notes for the various meddlers working with the photo. Should your instructions be really complicated, Photoshop includes an audio annotation feature. If you need to “draw” directly on the image, say, to mark cropping, create a new empty layer and draw on that. Make the layer invisible when you no longer need to view the instructions on the comment layer. Figure 4/7 shows a typical marked up digital image.

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Correcting Barrel and Pincushion Distortion These defects are sometimes so slight that you don’t notice them at all in your pictures, unless your subject matter happens to have straight lines near the edges that obviously bow outwards towards the edges of the frame, or inwards, towards the center. Figure 2/60 shows an image that has been exaggerated in both directions so you can clearly see the barrel and pincushion distortion. Figure 2/60 Pincushion distortion (top) and barrel distortion (bottom) can be fixed in Photoshop.

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Click the Rotate tool at the left side of the dialog box, and then drag the images. Focus your attention on the building that overlaps both photos at the edge, rotating until left and right sides of the building are lined up. Figure 5/25 shows how the two pictures will be oriented when you’ve finished rotating them.

If you like, you can use the Clone Stamp to copy some of the sky in to the area above it. Or, you can copy sky sections and paste them in, as you can see in Figure 5/26. This will let you crop the picture a little “taller” once you’ve merged the photos.

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Click on the point and drag it. The shape of the curve will change as you do. 3. Now place the arrow on one of the direction points (at the end of a direction line), and drag it back and forth. This is another way to change the shape of a curve. When you select the pen again, you can continue drawing from where you left off.

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Zoom Zooming while making an exposure became popular in the 1960s as a way of adding movement to an otherwise static image. The technique is fairly easy to achieve with a conventional camera, especially one with manual controls: Simply take a picture using a shutter speed that is slow enough to let you zoom your lens during the exposure. Depending on how quickly you can zoom with your left hand on the lens barrel after you’ve pressed the shutter release with your right hand, a motion zoom of this type can be made successfully at speeds from 1/30th second or slower. Zoom in or out as you prefer, and use a tripod with longer exposures if you want the smoothest effect. While the image will be blurred as it changes in size from the minimum/maximum zoom settings, there can be a relatively sharp image at some point in the zoom (usually the beginning or end) if you pause during the zooming. An electronic flash exposure, most easily made (automatically) at the beginning of the exposure, can also provide a sharp image to blend with your zoom blurs. Figure 2/14 shows a zoom-during-exposure effect I created in-camera using a 4:1 zoom lens on a digital SLR camera that was mounted on a tripod. It’s an interesting abstract picture, but I didn’t have much control over the effect. I had to experiment, and then take what I got. Owners of digital point-and-shoot cameras would be left out in the cold most of the time when trying to get a picture like this because their motorized zooms aren’t fast enough to produce a blur effect except for very long exposures.

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A small loop appears to the side of the Pen tool icon, letting you know that clicking will close the path. Click on the first anchor point to close the triangle. Photoshop will create this new shape in its own shape layer, called Shape 1 by default. Each new object you create with the Pen tool will be created in Figure 5/11 The dark anchor point is the one that is its own layer, too. Be certain that you do not drag the mouse as you create any of these lines. If you do, you will create curved lines, not straight-edged ones. Press Delete twice to eliminate all lines before going on to the next part of the exercise. Hold down the Shift key to constrain the placement of an anchor point to a 45 degree angle or a multiple of 45 degrees, such as a 90 degree angle. This also works to constrain the angle of a direction line to 45 degrees or a multiple thereof. Both constraints are helpful for drawing some geometric shapes.

Double Catchlights Photographers know that catchlights in the eyes are the key to making a portrait subject look alive and vibrant. It’s the moisture on the cornea catching reflections from the lights that give eyes their sparkle. Without catchlights, even a smiling portrait looks wooden and unrealistic. We may not even know what’s wrong until it’s pointed out to us. Figure 4/3 shows our portrait with the catchlights removed. Compare it with Figure 4/4, and you’ll see what I mean. The original photo does have catchlights. The problem is it has too many of them, as you can see in Figure 4/4. Although the portrait is an informal one, it was shot in a studio, and if you look closely, you can probably make out the outlines of the two umbrella reflectors I used to light the picture. You’ll see quite a few octagonal photo umbrellas reflected in the eyes of portrait subjects as catchlights. Sometimes the reflections are used as a creative element, showing up as a glamorous studio-oriented element in the lenses of wrap-around sunglasses.

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Make sure the Source box is checked. That tells Photoshop to use the area where you Alt/Option + click as the source for the cloned pixels.

Fix colors and tones, even if you don’t know color correction or gamma correction from brightness-contrast controls, and think a histogram is a cold remedy. Photoshop has at least four different ways to bring off-color or dull originals to blazing life, ready for use in web pages and other applications.

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Why does Photoshop include two filters called Film Grain and Grain, rather than one? In practice, each operates a little differently than the other, producing different effects, but we can thank the free enterprise system for their existence. Photoshop’s current Film Grain filter was originally part of a third-party set of 16 compatible plug-ins called Aldus Gallery Effects, which sold for $199. These filters proved so successful that Aldus Corporation followed up with a second set of 16, which included the slightly different Grain filter. Soon after Aldus released the third Gallery Effects library, Adobe acquired the company (adding PageMaker to its product line along with Gallery Effects). The filters were sold by Adobe (important source) for a time, but disappeared as a separate product when they were folded into Photoshop 4/0.

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Correcting Vignetting This is two features in one! Not only can you remove vignetting in the corners of your image, but you can add some darkness rather quickly and efficiently if you want dark corners (or lighten the corners, too, if that’s what you prefer). To use Photoshop’s vignetting correction feature, follow these steps. If you want to try this feature out on your own, use one of your images for practice.

Learn to move your camera with the action (a technique called panning), which reduces the relative speed of your subject to the camera, allowing you to capture action with a slower shutter speed. As a bonus, panning often blurs the background enough to add the kind of motion blur you want to achieve.

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Acknowledgments Once again thanks to Andy Shafran, who realizes that a book about working with color images deserves nothing less than a full-color treatment, and knows how to publish such a book at a price that everyone can afford. It’s refreshing to work for a publisher who has actually written best-selling books on imaging, too. Also, thanks to senior editor Kevin Harreld, for valuable advice as the book progressed, as well as project editor Jenny Davidson; technical editor Michael D. Sullivan; book/cover designer Mike Tanamachi; interior design William Hartman; proofreader Sara Gullion; and indexer Kelly Talbot. Also thanks to my agent, Carole McClendon, who has the amazing ability to keep both publishers and authors happy.

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High-Contrast Images Many years ago, some well-meaning soul discovered that super-high-contrast images had an interesting, minimalist look that stripped images down to their bare bones. Andy Warhol, although not best known as a photographer, used this effect in his work, including his famous Marilyn Monroe series. Indeed, high contrast images are easy to achieve simply by using lithographic films intended for reproducing line art. Litho films have a built in “threshold” that must be exceeded before an image is formed. That is, if a portion of an image is below the brightness threshold of the film, it won’t register at all. If the portion of an image is above that threshold level, it is recorded as black. Figure 3/21 shows a black-and-white image at left, with a high-contrast version at right. While this example could have been produced using lithographic film, Photoshop lets you do much the same thing without resorting to special films and litho developers. Figure 3/21 A normal blackand-white image (left) and a high-contrast version (right).

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Usually, you’ll choose to open the image at the same resolution at which it was recorded. If you plan to resample to a larger or smaller size, you might find that carrying out this step on the RAW file yields better results because of the new algorithm incorporated in this version of the plug-in.

More recently, I’ve gone on trips with a digital camera, its builtin zoom lens, and a stack of memory cards as my sole still photography equipment. It’s also possible that you had a particular piece of equipment available but didn’t think to use it, or were unable to put it to work in a fast-moving shooting situation. A second reason to use Photoshop to mimic traditional photographic techniques is that you simply don’t have the interest in or budget for a particular item, but, from time to time, would still like to take advantage of its capabilities. Many photographers who generally work with a single zoom lens (including the one built into their digital camera) might want a fisheye picture on occasion.

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Both Basic and Advanced modes are available. The Advanced mode has an additional tab that lets you apply noise reduction separately to individual channels. That’s a valuable capability, because some cameras are particularly poor performers at high ISO settings (ISO 800 and above) in particular channels. If you learn that your digital camera needs noise reduction in, say, the green channel, you can do it with the Reduce Noise filter in Advanced mode.

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That produces lower overall sharpness in most of your image (the non-edge parts), which tends to blur any speckled areas so the speckles blend in. However, because the edges remain sharp, your image may still look acceptable. The Despeckle filter is a quick way to mask a lot of dust in images that contain many different spots, or to minimize the halftone screen of pictures that already have been printed in a book or magazine. It works best in images that are fairly sharp to begin with, especially those that may have a bit of noise that can benefit from the blurring. It works worst with images that are not very sharp, because the blur effect can be objectionable. This filter has no controls to adjust. Simply select it from the Filter > Noise menu and see if it does the job. If not, choose Edit > Undo, or Edit > Fade to fully or partially reverse Despeckle’s effects.

Unlike the most common Photoshop brush tools, the Healing Brush doesn’t have a selection of preset brushes from which to choose. In fact, the Brush Palette is deactivated while the Healing Brush is in use.

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Printing Techniques The fun doesn’t stop when the film is developed and hanging from clothespins. There are many different things in the darkroom that you can do to your images while they are being printed. Those of us who rely on digital output hardcopies can still enjoy the pleasure of fine-tuning pictures in the digital darkroom. Here are a few techniques to work with.

WORKING WITH ADJUSTMENT LAYERS For maximum flexibility, create an Adjustment Layer using Levels as the control (select Layer > New Adjustment Layer > Levels) to let you play with the levels without making any permanent changes in your image. The Adjustment Layer appears in the Layer Palette with a special icon, shown in Figure 3/29. You can access the layer’s Levels dialog box at any time by double-clicking the icon. When you’re satisfied with the result, flatten the image before saving to make the changes permanent. Adjustment Layers can be used with the Curves and Brightness/ Contrast controls you’ve also used in this chapter.

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Many of the things we’ll work on with our Mardi Gras picture could have been avoided if the photographer hadn’t been looking specifically for a bad photo to use as a “before” picture for this book. The original image is shown in Figure 4/8. There is an entire panoply of things to fix in this picture, most of them easily discerned by the unaided eye. We’ll tackle them one at a time.

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There are lots of tricks optical magicians can work with, including non-spherical lens surfaces, special coatings, and combinations of lens elements that move in strange ballets to improve your results. There are even lenses that jostle their elements in response to camera movement to stabilize the image when the shutter speed isn’t fast enough. Because of all the compromises that must be made in building a lens, various types of distortion and aberrations are unavoidable. Photoshop’s new Lens Correction filter helps you fix some of them.

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The black background is still a little disconcerting, so you might want to use the Magic Wand selection tool to select the background, then click inside the black areas within the largest filter on the right side of the image, too. Then choose Image > Adjustments > Invert to convert the black background to white, as shown in Figure 3/8. Figure 3/8 Inverting the colors produces a more viewable image like this one.

Figure 3/44 The original lighthouse photo looks like this. Figure 3/45 Darken the wall in front of the lighthouse with the Burn tool.

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I used Graininess, Glow amount, and Clear amount settings of 1, 4, and 12, respectively. Finally, for the example in the lower right I concentrated the attention on the model’s eyes by using settings of 7, 10, and 15, and then merged the layer with a copy of the original, unmodified layer, using the Layer palette’s Merge drop-down list set to Lighten. In that mode, Photoshop looks at each pixel in the two layers and uses the lightest pixel for the final image. The resulting picture is very washed out and grainy with an interesting high-contrast appearance.

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Solarization Solarization is a process which, like the reticulation technique discussed in the next section, started out as a disastrous error that some photographers soon adopted as a creative technique. Wildly popular as a means of adding a psychedelic look to photos of rock bands in the late ‘60s, solarization lives on as a creative tool in Photoshop. Adobe’s flagship image editor offers several different ways to create solarization effects, and I’m going to show you all of them. But first, a little refresher for those who may have seen traditional solarization many times, but are a little uncertain on how it is achieved.

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Reduce Noise Noise shows up in conventional photographs as grain, although that kind of graininess comes from the silver halide clumps in the photosensitive media when the photo is taken and processed. Noise can be added to a film image or print as it is scanned and converted to digital form, because electronic noise is an inherent part of the digital process. Any time an electronic signal is converted from analog form to digital, or is amplified, some random information gets mixed in with the actual picture data in the form of noise. Noise is often removed by the electronic gadget, such as a digital camera, that produces it. The process involves comparing the image data with a “blank” image exposed under the same conditions. Certain kinds of fuzziness that appear in the blank version and the image can be assumed to be noise and safely removed. Photoshop has its own noise reduction function, which can be summoned using the Filters > Noise > Reduce Noise command. The dialog box shown in Figure 4/10 pops up.

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Use Image > Adjustments > Brightness/Contrast to adjust the brightness and contrast of the ball so it looks more natural in the image. You’ll need to judge the amount of brightness and contrast to apply visually.

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You’ll see that the right picture is rotated slightly relative to the left picture, and offset vertically. That’s because these photos were taken handheld, without benefit of a tripod.

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To draw a perfect square or circle, click and hold down the Shift key while you drag. Hold down both the Shift and Alt/Option keys when you first click, and the selection will radiate from the centerpoint where you clicked.

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Despeckle Despeckle is a clever filter that examines the pixels in your image, looking for areas with a great deal of contrast between them. In an image, such areas generally mark the boundaries of edges.

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The Camera RAW plug-in will pop up, showing a preview of the image, like the one shown in Figure 3/1. Figure 3/1 Photoshop’s Camera RAW filter provides a wealth of options.

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To take the original photo, you’ll need a camera that can “see” infrared (take a picture of your TV remote control in action to see if a dot shows up from the sending end), and a filter that blocks visible light and passes infrared, such as the Hoya R72. Mount your camera on a tripod, because infrared photos may need exposures well below 1/30th second, and venturing into the multi-second range (that makes non-moving landscape subjects your best bet).

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Figure 1/1 One of these photos was taken with a digital SLR camera, the other with a cheap point-and-shoot camera. Which setup would you rather use?

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Click on OK to apply the change. The image will now look like the one shown in Figure 3/37. Figure 3/37 After adjusting the Red and Green channels the image will look like this.

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Mark the Anti-aliased box in the Option bar to smooth the edges of an elliptical or freehand selection. Rectangles don’t need anti-aliasing, so this option is grayed out when the Rectangular Marquee tool is active.

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Examine the folder structure and make corrections where necessary(Including copying/moving required resources to right places. To find out, you need to look into the plugin).

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Figure 4/20 shows the finished image with the extra image area cloned out. The instructions to lighten parts of the image will be handled in the next section.

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Retouching Prints Color and black-and-white prints can be retouched, and often are, if the original negative is too small for the detailed work that must be done. Dyes, pencils, airbrushes, or any other way of applying tone can be used for retouching prints. If a pigment will stick to paper, it’s probably been used to retouch prints. Retouching has always involved a great deal of artistic skill as the retoucher painted or drew changes on the film or paper, and the training required to achieve that skill could easily be as extensive as for any other area of photography. Photoshop doesn’t eliminate the need for artistic skill, but it does make any retouching change you make more easily reversible. So, even those of us whose sketches look like we had the pencil taped to our elbows can spend as much time as we need to make our images look their best.

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For example, color negative film can be developed in solutions intended for color transparencies, yielding a dark blue-tinged positive image. Or, color slide film can be processed in color negative chemicals, creating an interesting negative image. Of course, the resulting negatives-cum-slides are much too dark to be used as slides, but they can be successfully reproduced in books and magazines. Likewise, the slides-cum-negatives lack the orange mask found in normal negative films, but still can be printed or reversed by a skilled darkroom technician. In both cases, the results are images with colors unlike any scenes found in nature or nightmare. There are several methods for creating cross-processed images in Photoshop, but this is one of the easiest.

Introduction Photoshop and photography were made for each other. Whether you’re using a digital pixel-grabber or hanging onto your beloved film camera, Adobe’s revamped flagship image editor, Photoshop CS2, has the tools you need to fine-tune your photos, correct errors in exposure, lighting, or color balance, and go beyond your basic picture to create triumphant prize-winning photographs from shoebox rejects. Adobe Photoshop CS2: Photographers’ Guide is aimed squarely at those who want to use photography creatively to produce compelling images, and want to master all the tools available to them. The emphasis here is on both traditional and leading-edge photographic techniques, and how to reproduce or enhance them in Photoshop. You don’t need to be an ace photographer or Photoshop expert to create these eyecatching effects. All you need is this straight-forward, “all meat” book that shows you how to use Photoshop to enhance your images with the kinds of effects you admire.

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In Photoshop’s default mode, the lower-left-hand corner represents 0,0 (pure black) and the upper-righthand corner is 255,255 (pure white). Whenever you open the window, the graph begins as a straight line, because unless changes are made, the input will be exactly the same as the output, a direct 1:1 correlation. As you change the shape of the curve, you adjust the values in the image at each point along the curve. If you haven’t used Curves before, it’s easier just to play with the curves to see what your manipulations do.

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Switch to wide-angle mode and tilt the camera to include the entire subject, and you get the distorted photo shown in Figure 2/2. The monument appears to be falling back, and the base appears proportionately larger than the top, because it’s somewhat closer to the camera. Figure 2/2 In wide-angle mode, tilting the camera makes the monument look like it’s falling backwards.

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Grainy Images Film grain is an inescapable fact of life in conventional photography, as clumps of silver grain are roughly the equivalent of the pixel in digital imaging. Generally speaking, the larger the grains of silver in a film, the more sensitive that film is to light, and the better able it is to capture images in reduced lighting or with faster shutter speeds and/or smaller lens openings. In the never-ending quest to increase the exposure “speed” of films, grain has been a frequent byproduct. Given the “if you can’t beat ‘em, join ‘em” attitude of photographers, grain itself has found a place as a creative tool. Grain can mask defects in a person’s face and, like high contrast (which often goes hand-in-hand with grainy pictures) reduces an image to its bare essentials. In conventional photography, extra grain can be produced in several different ways. You can use a faster, inherently grainier film, or underexpose your film and then use longer processing times to make the grains that were exposed (usually the largest, clumpiest grains) visible. Warm developer solutions or even “grainy” overlays used to add grain to an image as it is printed are other options. Photoshop offers several different ways of creating grain effects. Figure 3/31 shows the dialog box for the Film Grain filter, which is available by choosing Filters > Artistic > Film grain, or from the Filter Gallery (Filter > Filter Gallery).

If you use Photoshop to reduce the wrinkles around Aunt Mary’s eyes, touch up her hair a little, and change her skin color from a ghastly pale to a more healthy-looking ruddy glow, that’s retouching. If your improvements to Aunt Mary’s appearance involve replacing her head with that of Cameron Diaz, that’s compositing. Should you want to learn more about retouching (and compositing), check out my book Digital Retouching and Compositing: Photographers’ Guide (ISBN: 1932094199), also from Course Technology. When I finished writing the first edition of Photoshop CS: Photographers’ Guide, I realized that most of the individual sections in this chapter and the next one could be expanded into entire chapters of their own in a more specialized treatment of image manipulation.

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Drawing Curves Here’s how to draw curves: 1. Click the pen once in the window to create an anchor point in a new shape layer, and holding down the mouse button, drag at an angle to form the first part of a curve. As soon as you begin dragging, the pen will turn into an arrow. The lines that emerge as you drag are called direction lines. The slope of the curve is the same as the slope of its direction lines, and the height of the direction lines determine the height of the curve. There are two dark dots at the end of each direction line.

Mezzotint The Mezzotint filter (Filter > Pixelate > Mezzotint) is another technique borrowed from traditional printing, in which a special overlay is placed on top of a photograph to add a pattern during duplication. Digital filters offer much the same effect with a little less flexibility, since the range of mezzotints you can achieve with Photoshop is fairly limited. Only dots (fine, medium, grainy, or coarse), lines, or strokes (in short, medium, and long varieties) can be applied. You can rotate your image, apply this filter, and then rotate it back to the original orientation if you want to change the direction of the lines or strokes. Figure 3/32 shows examples of grain effects produced by the Film Grain, Grain, Add Noise, and Mezzotint filters.

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The default mode draws a selection as if you were sketching it with a pencil. The Polygonal Lasso tool lets you create selections in straight lines by clicking, dragging to the next point and clicking again, and then repeating this process until you click back at the origin point to close the selection. The Magnetic Lasso tool examines the image area as you drag, and attempts to “hug” the edges of the area as closely as possible, using parameters you type into the Option bar, shown at the bottom in Figure 5/6. You can see the Magnetic Lasso at work in Figure 5/7.

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Lens designers depart from the theoretical “perfect” lens design to add features that photographers demand. Perhaps the lens is intended for low-light photography, so the designer makes a trade-off here or there to allow a wider maximum aperture. Or, the lens must be developed so it is physically shorter, lighter, or can be attached to an SLR camera without interfering with the mirror. Some lenses are designed so they can better work with ultraviolet illumination for scientific purposes, or optimized for close-up photography.

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Reticulation Reticulation is another one of those darkroom processes that can either ruin your film or generate some “I meant to do that”-style images. It results from rapid temperature changes during development. As you probably know, conventional photographic film consists of a silver-rich (and relatively soft) gelatin emulsion coated on a thin, but tough substrate such as polyester. When developing, black-andwhite film is moved from a warm developer to a significantly cooler solution, the soft gelatin warps in strange-looking patterns, and the grain in the image increases dramatically. The result is an interesting texture that can be used as a creative tool. Like solarization, reticulation effects are difficult to plan or duplicate. In the darkroom, a slow-working developer is used at, say, 100 degrees instead of the more usual 68 to 75 degrees, and its action is stopped by plunging the film into ice-cold water or acidic stopbath, prior to normal fixing and washing. Done properly, and with a bit of luck, you’ll end up with some interesting film effects. With bad luck, you may end up with emulsion that slides right off your film substrate, as has happened to me a few times. There’s no such danger when using Photoshop to produce reticulation.

Figure 2/26 The pixels are the same size, so the resolution must be the same. Yet, the more contrasty half of the image, on the left, looks sharper than the lower-contrast image on the right.

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PC AND MAC KEYBOARD SHORTCUTS As you work through this chapter and those that follow, keep in mind that some keyboard shortcuts are different for the PC and Macintosh. Most tools from the Tool Palette can be selected by pressing the appropriate alphabetical key on the keyboard, except when the Text tool is active. So, you can switch to one of the Marquee tools by pressing M on both PCs and Macs. Press Shift + M to cycle through the alternative versions of that tool, the Elliptical and Rectangular Marquees. Use the same technique to select the Lasso tool and its variations (use L), as well as all the other tools on the palette. Learn the keyboard shortcuts and use them. Some shortcuts use keys in combinations, and you’ll need to keep in mind that the PC and Mac have the Shift keys in common, but other keys have different names on the two platforms. In this book, I’ll separate the equivalent keys with a slash, so when you see Ctrl/Command or Alt/Option you’ll know to press the Ctrl and Alt keys on the PC and Command and Option keys on the Macintosh. The Mac also has a Control key (not to be confused with the PC’s Ctrl key), which serves the same function as a right-click with the mouse on the PC. So, right-click/Controlclick are the same command sequence on the two platforms. And, the Mac has a Return key rather than an Enter key.

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This is not, strictly speaking, a defect of a lens but, rather, a result of tilting the camera to take in more of a tall subject, throwing the alignment of the subject and camera focal plane out of whack. I discussed this effect in more detail earlier in the chapter. I’ve included it here because Photoshop’s Lens Correction filter can correct for this kind of distortion.

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Chapter Outline This section is a brief outline of the chapters in this book. If you want to know exactly where to find a topic that interests you, consult the table of contents or index. Chapter 1: Photoshop and Photography from 50,000 Feet This chapter provides an overview of Photoshop’s origins, secret identity, and evolution, along with an overview of the basic skills that photographers can expect to transfer directly to their Photoshop experience. These include knowledge of composition, use of lenses, selective focus, film choice, and other valuable skills that serve Photoshop users well. Chapter 2: Camera and Lens Effects in Photoshop Here, you’ll learn how to duplicate creative traditional effects like perspective control, zoom, lens flare, motion blur, and selective focus using Photoshop’s built-in tools. These techniques are great to have on hand when you just don’t happen to remember to take the exact lens or other accessory you really need on a photo shoot. Chapter 3: Darkroom Techniques with Photoshop CS2 Those who remember fondly the acid-tinged, humid air of the photo darkroom will love this chapter’s tips for reproducing solarization, reticulation, pushprocessing, cross-developing, and dodging/burning techniques with Photoshop. Best of all, you won’t need to ruin expensive film experimenting! Chapter 4: Secrets of Retouching This chapter reveals the most valuable secret of retouching: how to avoid the need for it in the first place. However, if you must remove the dust, you’ll also find information on how to enhance and repair photos using advanced retouching techniques.

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Press Q to activate Quick Mask mode, and then B to choose the Paintbrush tool. Use the hard-edged 19-inch brush and paint a mask around the edge of the boy’s hat, as you can see in Figure 4/17.

The final result is shown in Figure 2/55. It’s a little exaggerated so the blurring will show up on the printed page, but you get the idea. I love Photoshop CS’s Lens Blur effect. It’s much more flexible than the old way I showed you first, and can create some extraordinary looks. Figure 2/55 The finished effect looks like this.

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Click the Intersect with Selection icon in the Option bar, then create a selection that overlaps the original selection. Only the portion that overlaps the two will be selected. This useful technique can help you do things like create a particularly shaped selection. Figure 5/8 shows the results of adding, subtracting, and intersecting selections.

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Compositing Would you like to transplant the Great Pyramid of Egypt to downtown Paris? Or perhaps you're just interested in removing your ex-brother-in-law from a family photo. Photographic masters of the past spent hours figuring ways to combine images in the camera, or spent days sandwiching negatives or transparencies, cutting film or prints to pieces, or using other tedious tasks to build great images from multiple originals. Compositing still requires skill with Photoshop, but you can do things in a few hours that were virtually impossible to achieve only 20 years ago. The scene shown in Figure 1/5 doesn't exist in the real world, but it took me only five minutes to fake it using Photoshop, using the original photos shown in Figure 1/6.

Figure 5/29 If Photomerge can’t match up your images automatically, you’ll get this warning. Figure 5/30 Use the workspace to line up the images manually if you need to.

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Your Compositing Toolkit Ads for photographic-oriented products like image editors and printers are one venue in which creating outlandish image combinations is definitely okay. In fact, if you look closely at some of the ads for Epson printers in the past few years, you’d think that high-end image editing programs and photo-quality printers are used primarily to print images of trees made out of human bodies. However, compositing also has more mundane applications that involve nothing more than blending several photos with no overt intention to deceive. The goal here is to combine the best features of four or five flawed images to produce a postcard-quality photo that doesn’t scream fake until you look at it very closely. To make this chapter even more interesting, we’ll work with some out-take photos. Some of them were dark, blurry, or otherwise defective in ways that would ordinarily keep them out of the shoebox (or the digital equivalent, the archive CD).

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Choose View > Show > Grid (or press Ctrl/Command+’ (apostrophe)) to turn on display of Photoshop’s grid overlay on your image, as shown in Figure 2/4. Figure 2/4 The Grid helps line up your image as you change its perspective.

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Color Infrared Film If you have some genuine digital infrared photos to work with, Photoshop can turn them into stunning false-color images. The technique known as channel swapping can give a basic infrared picture an interesting other-worldly look. First you need a digital infrared image to work with. This is an image editing book and not a photography techniques tome, so I’ll provide only the basics. You can find more complete discussions of how to take infrared photos in my books Mastering Digital Photography and Mastering Digital SLR Photography.

This chapter concentrates on the tools and techniques you need to create composites. Sometimes, your goal will be to create realistic images; other times, you’ll simply want to combine several pictures in interesting ways, even if the end result is obviously a fantasy. If you want to learn more about compositing, check out my book Digital Retouching and Compositing: Photographers’ Guide, from Course Technology. You’ll find the topics covered in this chapter in much more detail in that guidebook.

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This slider adjusts the overall brightness and darkness of the image. Watch the histogram display at the top of the column change as you make this adjustment, as well as those for the four sliders that follow.

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You’ll get a variety of effects, one of which is shown in Figure 3/11. These steps operate on your image’s red, green, and blue color layers at the same time. You can also select one color layer from the drop-down Channel list, and manipulate that color individually. Feel free to play around with the colors to get the exact solarization effect you like best.

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The Channel Mixer dialog box should pop up, as shown in Figure 3/36. Figure 3/36 Use the Channel Mixer to apply an infrared look to the greens of the image.

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About the Author David D. Busch has been demystifying arcane computer and imaging technology since the early 1980s. However, he had a successful career as a professional photographer for a decade before he sat down at the keyboard of his first personal computer. Busch has worked as a newspaper photographer, done commercial studio and portrait work, shot weddings, and roved the United States and Europe as a photojournalist. His articles on photography and image editing have appeared in magazines as diverse as Popular Photography and Imaging, Petersen’s PhotoGraphic, The Rangefinder, and The Professional Photographer, as well as computer magazines such as Macworld and Computer Shopper. He’s currently reviewing digital cameras for CNet. Busch has written more than 80 books since 1983, including the mega bestsellers Digital Photography All-In-One Desk Reference for Dummies and The HewlettPackard Scanner Handbook. Other recent books include Mastering Digital SLR Photography, Mastering Digital Photography, and Mastering Digital Scanning with Slides, Film, and Transparencies, all from Thomson Course Technology PTR. He earned top category honors in the Computer Press Awards the first two years they were given (for Sorry About The Explosion, Prentice-Hall; and Secrets of MacWrite, MacPaint and MacDraw, Little, Brown), and later served as Master of Ceremonies for the awards.

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High-contrast images can be created in color or black and white, and can consist of just two or three tones (for example, black and white, or white and a color or two) or may encompass more tones to create a poster-like effect. The important thing to remember when choosing a subject for a high-contrast image is to make sure that the most important part of the subject matter has one of the lightest tones in an image. As the contrast is boosted, the dark tones and most midtone areas will become black, while the very lightest tones will remain white.

Photoshop added a new Lens Blur filter which debuted in the first CS version, with lots of amazing options. First, I’ll explain how to apply selective focus the old-fashioned way, useful for versions prior to Photoshop CS. Figure 2/47 is a digital camera picture of a kitten, taken at close range. The background is already fairly blurry, but it’s still distracting and we can do better. For this image, I used the Quick Mask mode we’ve already deployed several times in this chapter, and painted a selection that included only the cat, taking special care around the edges of the feline. Then, I applied Photoshop’s Unsharp Mask filter to sharpen the cat even more, and followed that with an application of Photoshop’s Blur tool to the non-cat portions of the image to increase the out-of-focus appearance of the background. As a final touch, I put the Dodge tool to work to lighten the cat’s eyes. You can see the final image in Figure 2/48. The Photoshop CS Lens Blur feature can do much the same thing, except producing a more realistic effect. Lens blur uses something called a depth map to decide which pixels in a “flat” image belong “in front” and which belong “in back,” so blur can be applied only to the portion we want. This depth map can be a stored selection (which Photoshop calls an alpha channel) or a layer mask, which is a type of selection/alpha channel that’s associated only with a particular layer, and which applies only to that layer.

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Beginners sometimes forget this, and then wonder why their glow effect looks weird. If you want a glowing white effect, make sure the background color is white. Anything else will tint your image. You can use this feature to good advantage, by selecting background colors with a very slight tint of yellow, gold, or red to add a sunny or warm glow to your image. In the examples, the portrait in the upper right has the Graininess control set to 5, the Glow Amount control set to 10, and the Clear amount set to 20. At lower Figure 3/34 The original photo (top left) with three variations on the Diffuse Glow filter.

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The Curve and Calibrate tabs, shown in Figures 3/4 and 3/5, let you make calibrations in the way the Camera RAW plug-in adjusts hues, saturation, or shadow tints. If you consistently find your images need some tonal adjustment, end up too red, blue, or green, or have a color cast in the shadows, you can make an adjustment here. You’ll learn more about working with curves and adjusting colors later in this book, and the knowledge you pick up can be applied to these tabs.

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