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I purchased Office Professional that the activation code product key doesn t can return the product fails, you have time System Requirements of Microsoft. You click on a tone and drag a little to brighten or darken it. As with many of CS3's features, Lightroom users will recognize the Back and White adjustment, as the same features are provided in the release version of Lightroom. One last change: You can add the Black and White adjustment as an Adjustment Layer, affording you the option of using Black and White nondestructively.

Selecting and Filtering The ability to make corrections is of less value if you can't isolate those corrections to specific parts of your images. Adobe has spent years building up Photoshop's selection tools, because different types of images pose very different selection challenges. The new Quick Selection tool is one of the most technically impressive selection tools that Adobe has come up with in a while. A combination of a magic wand and a brush, you simply brush the Quick Selection tool over an object in your image, and it automatically figures out the edges of that object and selects it Figure 5.

Depending on how well your object is set off from its background, you may only need one or two small strokes to select it. Figure 5. I was able to select this dog by simply brushing over it with the Quick Selection tool. For a larger version, click on the image. The Auto Enhance button gives you a finer, less blocky edge on your selection, though you may face a performance penalty for using it.

I found this slowdown to be negligible on most images. You can use the Quick Selection tool for the same types of selections that would normally call for the Magic Wand. The Quick Selection tool does a very good job with clearly defined shapes, but you won't find it of much use for fine, wispy detail. No matter what tools you use for selection, you'll often want to modify the edge of the selection to make it blend more seamlessly with the surrounding area.

While previous versions of Photoshop included a Feather Selection command that blurred the selection uniformly around its edge, CS3 provides a much more advanced option in the form of the Refine Edge dialog box Figure 6. Figure 6. The new Refine Edge dialog box holds important new options for improving the quality of selection edges. The main weakness with Feather Selection was that there was no way to see the effects of your feathering. You usually had to apply a feather, try an effect through it, then undo and re-apply with a different feather amount to get different results.

Refine Edge improves tremendously upon this by letting you preview your selection interactively as you adjust the setting in the Refine Edge dialog box. There are several preview backgrounds. You can view your selection composited against black or white backgrounds, displayed as an alpha channel, or displayed against a semi-opaque red background. The Refine Edge command analyzes color values of the pixels around the edge of your selection to determine the opacity values it will assign to the edge.

The Radius slider specifies how big an area you want analyzed. Because of this analysis, Refine Edge does a much better job of preserving the hue of colors along a selection's edge as it lowers their transparency. This creates a more subtle transition along the edge.

Where Feather Selection created feathering on both sides of the edge, Refine Edge creates a very subtle fall-off along the edge without the Feather Selection's blurred look.

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The other controls allow further refinement. Contrast lets you sharpen the edge to create a more contrasting boundary; and Smooth smears the pixels along the edge; Feather yields the same effect as the old Feather Selection command, but with the advantage that you can preview your effect.

Refine Edge is far superior to the old feather command. There is one downside to Refine Edge. It can't create non-uniform adjustments to a selection -- the settings you specify are applied evenly around the entire selection. If you want the right side feathered more than the left, you'll need to save your selection as an alpha channel and edit it manually. Smart Objects are particularly useful for Raw shooters, as I've discussed in previous articles. One of the biggest weaknesses of Smart Objects in CS2 was that no one knew about them because they were hidden away in the Place command. You probably didn't even realize that there is a Place command it's under the File menu.

Smart Object behavior is otherwise the same. Adobe has added one new feature to Smart Objects, which is the ability to alter the way that layers within a Smart Object are merged together. For example, if you set a stack of images to Median, Photoshop derives a set of average color values for each pixel by analyzing all of the images in the stack. With the Median filter you can, for example, shoot a crowded plaza full of people and end up with an image that shows an empty plaza.

The people are averaged out to reveal only the background Figure 7. Figure 7. I shot a series of images as people moved around in front of San Francisco's Ferry Building. Using Stack Mode, Photoshop automatically averaged the people away to leave a mostly empty plaza. There were a few people who just wouldn't move!

Stack Mode is a very deep feature, and I expect that the bulk of the "cool CS3 tips" that come out in the next few months will center on Stack Mode. But even if you don't have a use for Stack Mode, Smart Objects are now easier to bring into your normal Photoshop workflow. Smart Filters allow you to apply any type of Photoshop filter to a Smart Object nondestructively -- that is, you don't permanently destroy any pixel data.

As with Adjustment Layers, Smart Filters have a built-in layer mask that lets you easily constrain the effects of the Smart Filter to localized areas of the Smart Object. The advantage of Smart Objects is that they encapsulate your image data -- whether Raw or normal raster data -- in a form that permits a fair amount of nondestructive editing.


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However, Smart Objects don't allow any pixel-level editing, so you can't use any of Photoshop's brush or retouching tools. With Smart Filters, you can now perform filter-based pixel-level editing on Smart Objects, which greatly expands their usefulness.

For example, you can open a raw file as a Smart Object, adjust its raw parameters, and then apply a Smart Sharpen filter as a Smart Filter. Because Smart Filters are also parametric, you can alter and tweak the sharpen parameters later. In other words, you can perform non-destructive sharpening!

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Unfortunately, Smart Filters only affect the Smart Object that they're attached to. Unlike Adjustment Layers, they don't alter an entire composited stack of Smart Objects. So you can't, for example, throw a sharpening Smart Filter on top of a bunch of Smart Objects to sharpen the entire composite. While Smart Filters make Smart Objects more appealing and give Photoshop far more non-destructive editing power, they're still somewhat awkward to work with and have a bit of a learning curve.

But especially if you're a Raw shooter, it's worth your time to learn how to use them. When Smart Filters were announced, I'd hoped that Adobe had finally added the ability to add filters as Adjustment Layers. Unfortunately, that still isn't true.

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Obviously, their attention to this issue in the form of Smart Filters shows that they're not deaf to the idea, it's simply that Photoshop's architecture makes filter Adjustment Layers very difficult to pull off. Probably the most-used retouching tool in Photoshop's toolbox is the Clone Stamp tool, which lets you paint one area of an image into another. To use the Clone Stamp tool, you must first select the area you want to copy from. Figure 8. The new Clone Source palette includes options that greatly ease clone operations.

With the Clone Source palette you can now adjust the clone source point numerically, and you can even rotate and scale the cloned information as you paint with the Clone Stamp. If you're working with the animation palette, you can specify a frame offset, allowing you to clone from one frame into another. That makes wire removal, retouching, and other rotoscoping tasks simpler.

Adobe Photoshop CS3 Update for Mac (Mac) - Download

Finally, the new Show Overlay option superimposes a semi-opaque copy of your source image over the area where you're painting. This means that it's easier to see exactly what image data will be painted in as you brush. While the overlay view can sometimes obscure details as you paint, in other situations it makes cloning much simpler. Like Curves, the Clone Stamp tool has been around since the first version of Photoshop. That Adobe is paying attention to how these well-established tools work shows that the company really listened to how we use their software.

Auto-Align Layers automatically analyzes two layers in an image and repositions the upper one so that the images are aligned. This command has many compositing uses. For example, you can combine elements from different shots by Auto-Aligning your separate frames, then using the Eraser tool or a Layer Mask to paint in only the elements you want from each layer. A free Photoshop plug-in giving you 30 professional-grade edges, textures, etc. If you Both Adobe applications include Cut Pro, Photoshop, and Illustrator Using Pixela We provide a Photoshop file for.

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