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FIGURE 7.36 Use the Blend Clipped Layers as Group option to control how a clipping mask blends with the layers below. When it s selected for the base layer (a), the layers in the mask are blended together, and the result is blended with the layers below using the base layer s mode (Color Dodge in this case). When it s not selected (b), the layers in the mask blend as individual layers, so the Pattern layer blends with the layers below using the Screen mode.

Needing to darken an image and compress shadow detail is better than needing to lighten an image and spread out the shadow levels, revealing the image s noise Naturally, nailing your exposures right the first time is always best But if you re going to err on one side or the other of a perfect exposure, make sure that you err in the overexposed direction when shooting Raw..

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however, to use 2D sampling to antialias an undersampled 1D spectrum and make the effective focal plane pixel size smaller. Example transfer functions for this case are illustrated in Fig. 9.35. The plots assume that the mask feature size is 4 smaller than the pixel feature size and that the mask features are just at the optical resolution limit. As discussed in s 5 and 7, the pixel pitch in modern visible and shortwave infrared focal planes is usually much larger than the optical Nyquist limit of l f =#=2. Interpreting the pixel pitch as the resolution limiting feature in Fig. 9.35 using the signal inference strategies of Section 9.3, one predicts that the useful bandwidth limit is umax 0:125F=Llf =#. Spectral features beyond this limit would be aliased, meaning both that they would not be resolved and that they would add ambiguity to features within the nonaliased band. Pixel superresolution techniques using multiple nondegenerate samples of a sampled image to overcome the aliasing limit are well established for multiaperture and video imaging systems [195]. We considered a rough version digital superresolution in Section 8.4 and ask the reader to consider them again in Problem 9.14. We discuss these techniques for imaging in Section 10.14. Pixel superresolution in the current context consists of repeating rows of the coded aperture with a slight

ell, the time has come Everything Photoshop could ever do (virtually) to a static image can now be done to motion graphics That s right got a video clip of your hated Uncle Harry making a fool of himself at Thanksgiving Open it up in Photoshop and paint horns and Groucho glasses on him! Mom will get a kick out of it! Photoshop used to be limited to animated GIF s, courtesy of the old add-on application ImageReady If you wanted to make a little Web animation, that was where you went you fired up ImageReady from within Photoshop, and you could optimize images for online use and create rollovers, animated GIFs, anything graphical for the Web Over the next few releases, however, some of ImageReady s features moved over to Photoshop: The Save for Web dialog box is a major example.

(20.1)

CS2 users may recall that with CS2, ImageReady was still a separate application, but that more and more of ImageReady s capabilities had been integrated into Photoshop (an Animation palette was added, for example), and we all heard that ImageReady would be gone with the release of Photoshop CS3 Adobe kept that promise, and with CS3, the absorption of ImageReady is complete: There is no more ImageReady, and Photoshop can now do everything you used to do with it and then some In addition to being the home of all of ImageReady s Web-related image features, Photoshop can now manipulate video files and is no longer limited just to the Web animation that it pulled out of ImageReady.

where A and <p are determined as fo llow s:

Considering how Photoshop essentially sucked the life out of and eventually killed ImageReady, this begs the question, Will Photoshop now begin to suck the tools out of After Effects Premiere When will it end When finally there are no individual Adobe programs Just one Colossal Adobe Everything CS-megaplex ! !.

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