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scrapbooking-with-photoshop-elements-the-creative-cropping-cookbook-pdf -mechanics-of-engineering-materials-solution-manual-free-download-pdf. Here are all direct download links for the new Photoshop/Premiere Elements , the PSE & PRE free trials without the Adobe Download. Audio Video Cable. Instruction Manual. Limited Warranty. Warranty Sticker. • No memory card is included with this camera. Please purchase this.
 
 

Adobe photoshop elements 12 manuale italiano free download

 
Cropping the Canvas There are a couple different ways to crop the canvas in Photoshop. On the other hand, when you print out an image at 96 or 72 ppi, it usually looks terrible. If the Resample Image option at the bottom of the dialog box is checked, uncheck it. Because the pixels are so small, the human eye blends them, and you see a continuous image instead of the individual pixels that make it up. Chapter 6: Doing More with Special Layers edit the shape, you must select it using the pixel-selection tools, and if you transform the selected region, you run the risk of losing image quality. Experimental Psychology 8th Edition Solso Maclin. The first helps with the colorization of black-and-white images.

 

Adobe photoshop elements 12 manuale italiano free download

 

You will be able to optimize the exposure, lighting, color, temperature balance and sharpness of the image.

As for the Guided category, it displays all the options for modifying a photo. Finally, the Expert section is a real graphics tool, at least in appearance. In addition, it is necessary to admit that the three interfaces available in Adobe Photoshop Elements are perfectly clean and easy to use. Rather, it is recommended that you use the Quick and Guided tab and then go through the Expert section to make the last few small changes.

Graphics software enthusiasts will find it very easy to find their way around. As a reminder, this software is a solution designed especially for individuals.

Adobe Photoshop Elements is not a substitute for professional solutions such as the genuine Adobe Photoshop. The Elements version has implemented many new features that make it easier to create photos, videos or movies. No matter what kind of editing or creation you want to do, the software has made sure you have the right tools. With Adobe Sensei Artificial Intelligence, Photoshop Elements offers many additional creative filters that work automatically.

These filters allow you to embed objects or paint over photos, as well as selective denaturation or background blur insertion. In theory, these smart features should identify subjects automatically to add the effect wisely.

Of course, if the rendering is not optimal or if the layout is not suitable for the photographer, the photographer can adjust it. In an effort to limit personal investment in mastering one technique or another, Adobe adds three additional filters. The first helps with the colorization of black-and-white images.

The second incorporates a quick crop function and the last one offers the possibility to reduce or even eliminate skin imperfections with less manipulation.

As the name suggests, these guide the user step-by-step through an often-requested feature. In fact, a guide for removing an unfortunate element from the photo has now appeared. Another one that is used to insert, via the brush tool, stars or hearts on the creation. Finally, a guide with new sharing and printing options.

The goal is to design albums or make prints easily and without any hassle. Of course, Adobe offers about possibilities such as ordinary prints or prints on mugs or for smartphone protection. Adobe Photoshop Elements includes more than 50 guided edits with 4 new ones to speed up the editing and creation process.

Download Photoshop Elements. Adobe Photoshop Elements offers a total of 3 ranges of Elements, with different prices as follows:. The features you have access to will depend on the range you choose. But in general, each package offers almost complete functionality for your creations.

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How Resolution Works Resolution is the pixel density of an image. It tells you how many pixels are packed into a given amount of space, which in turn tells you the size of each pixel. Highresolution or high-res images contain more pixels per inch than low-resolution or low-res images, so the pixels in a high-res image are smaller. Glance back at Figures 2. The pixels in Figure 2. The resulting image is so blocky and low-res that nobody would want to look at it. With a resolution this high, the individual pixels are invisible at normal magnification, so the image that they convey is continuous and smooth.

You measure the resolution of a raster graphic in pixels per inch ppi or dots per inch dpi. Pixels per inch is the more accurate measure for onscreen images, while dots per inch is better for images in print, but many designers use these terms interchangeably.

So Figure 2. Higher resolution also means finer detail and more nuances in color and shading. If you zoom in on the image of Saturn from Figure 2. In Figure 2. This is what graphics people mean when they say that high-res images contain more visual information or have better image quality than low-res ones. So high-res images give you more pixels per inch and therefore smaller pixels overall , and they contain more visual information.

Does this mean that high-res is always better than low-res? Take a typical computer monitor. Most Windows monitors display at a resolution of 96 ppi, which is on the low side, all things considered. Mac monitors display at an even lower resolution of 72 ppi. So what happens if you open a highresolution, ppi image in Photoshop? The resolution of the image file is more than three times the resolution of the output device, so the computer does the only thing it can do in this situation: It displays the pixels at more than three times their actual size see Figures 2.

This is why high-res images from your digital camera or scanner look so big onscreen but print out at their proper dimensions. Figure 2.

On the other hand, when you print out an image at 96 or 72 ppi, it usually looks terrible. This happens because your printer works at a higher resolution than your computer monitor, and good old inexpensive paper soaks up the visual information much better than the most costly and sophisticated digital display. In other words, the lack of resolution becomes more noticeable in print, so you want to use higherresolution images. For onscreen images, the standard resolution is 72 ppi—72 instead of 96 to account for the Mac users among us.

For images that you intend to print, the standard resolution is ppi. Remember in Chapter 1 when you created a new canvas from scratch? I asked you to make a mental note of the Resolution field in the New dialog box, and now you know the reason why. When you create an image for onscreen use, set the resolution of the canvas to 72 ppi, but when you create an image that you intend to print out, you want a higher-res canvas of ppi.

You might start out by designing a logo for your website and then decide that it would look great on a coffee mug. To give yourself the most flexibility, work with high-res PSD files— ppi should do it. This way, you can print out the files at high resolution when the need arises, and if you need copies for posting on the web, you can easily create lower-res, dpi versions. If you open a lot of high-res images in Photoshop at the same time, your computer might begin to respond sluggishly.

And if you need to send the high-res files across the Internet, it takes you longer to upload them, and it takes your recipients longer to download them. Adjusting Resolution Adjusting the resolution of a Photoshop canvas—that is, changing the size of its pixels—is a breeze.

To try it out, all you need is a canvas, so load any image file from your computer. Your Test. This displays the image at its proper dimensions.

Chapter 2: All About Pixels 31 To adjust the resolution of the canvas, follow these steps: 1. The Image Size dialog box will appear see Figure 2. If the Resample Image option at the bottom of the dialog box is checked, uncheck it. This is very important! For now, you want to turn off this option. Type the desired resolution in the Resolution field. So if you have a ppi image that you want to change to 72 ppi, type 72 in the Resolution field. Notice that the values in the Width and Height fields will change see Figure 2.

Click OK. Photoshop will adjust the resolution of the image. If you decreased the resolution of the canvas in Step 3, say from ppi to 72 ppi, the actual dimensions of the image are now much larger than they were originally.

Likewise, if you increased the resolution of the canvas, say from 72 ppi to ppi, the dimensions of the image are now much smaller. This is an easy one if you think about it. When you change the resolution of the canvas, you change the size of its pixels. Going from a higher resolution to a lower one makes the pixels larger. Therefore, the pixels take up more physical space, and the dimensions of the canvas expand.

But when you go from a lower resolution to a higher one, the pixels get smaller. They take up less physical space, so the dimensions of the canvas shrink. Either way, print size changes when you adjust the resolution, which is why the Width and Height values do exactly that when you type in the Resolution field of the Image Size dialog box. All the pixels are still there in exactly the same order. What if you want to adjust the resolution of the canvas without affecting the print size?

All About Color At the beginning of this chapter, I said that pixels are very small colored rectangles. Photoshop keeps track of two colors at a time: the foreground color and the background color. These appear in the squares or swatches just below the Toolbox see Figure 2. The upper swatch shows the foreground color, while the lower one shows the background color. By default, the foreground color is black, and the background color is white.

Chapter 2: All About Pixels 33 To swap the current foreground and background colors, click the arrow icon near the swatches. To set both colors to their defaults foreground black and background white , click the miniature swatches icon. The foreground and background colors determine how certain tools work.

Remember in Chapter 1 when you painted squiggles with the Pencil? Your squiggles were black—the foreground color. If the foreground color had been orange instead, you would have gotten orange squiggles. To change the foreground or background color, click its swatch, and Photoshop will open the Color Picker dialog box see Figure 2. The Color Picker gives you a large pane on the left filled with tones, plus a slider immediately to its right. The slider determines the hue or the base tone of the color.

Drag the slider to change the tone, and you change the range of tones in the large pane see Figure 2. Now click anywhere inside the pane to choose a color see Figure 2. Click OK, and the selected color will go into the foreground or background color swatch, depending on which one you initially clicked. The chances are extremely good that when you pick a color from the pane, Photoshop will display a cube icon toward the right side of the dialog box.

A web-safe color is one that looks the same on just about all computer equipment. These colors are called web-safe because they are of particular importance to web designers, whose color choices need to look consistent across a wide variety of browsers and devices. Of the nearly 17 million colors your computer is capable of producing, only of them are web-safe. If you want to avoid non-web-safe colors altogether, you can check the Only Web Colors option at the bottom of the Color Picker.

How Color Models Work Bring back the Color Picker for a moment, and have a look at the fields to the right of the slider. A color model is a method of reproducing color. It takes you right back to mixing different shades of colored water in kindergarten or daycare. You measure it in degrees 0 to after its position on a color wheel. For reference, 0 degrees or degrees is red, 30 degrees is in the oranges, 60 degrees is yellow, degrees is green, degrees is cyan, degrees is blue, degrees is in the purples, and degrees is magenta.

You measure it in percent 0 to A low percentage mixes more gray into the color and desaturates or washes it out, while a higher percentage gives you less gray and therefore a more pure, vivid tone. Low brightness makes the color darker, while high brightness makes it lighter. To create a color with this color model, type values into the H, S, and B fields on the Color Picker. In this color model, you create a color by mixing varying levels of red, green, and blue.

Each of these component colors has a value between 0 none of that component and the maximum amount of that component. Click one of the radio buttons to the left of the fields, and the slider will take control of that particular property. The default field is H, which is why the slider determines the hue by default. When you do this, Photoshop will change the configuration of the range of tones in the pane. For example, the bluest blue that your computer can produce has a red value of 0, a green value of 0, and a blue value of For convenience, graphics people use this shorthand: R0, G0, B Change the color to an intense magenta by mixing in the highest level of red: R, G0, B For a bluer magenta, make the blue component higher than the red one: R, G0, B For a redder magenta, make the red component higher than the blue one: R, G0, B Adding a healthy amount of green to the mix pushes the tone into the mellow oranges: R, G, B see Figure 2.

The RGB color model is an additive one, which means that the final color is the combination of its three components. In a subtractive color model, the final color is the difference of the combination of its components. CMYK, which stands for cyan, magenta, yellow, and black, is one such subtractive color model. Your desktop printer uses it or something like it when you print out color images.

Printing presses definitely use it. All the art in this book appears courtesy of the CMYK color model. Interestingly enough, in color theory, the opposite of red is cyan, the opposite of green is magenta, and the opposite of blue is yellow.

This section looks at some of the other methods. Using the Eyedropper The Eyedropper tool samples the color of any pixel on the canvas and sets the foreground or background color to match it. To use the Eyedropper, follow these steps: 1.

Grab the Eyedropper from the Toolbox. Move the mouse pointer anywhere on the canvas. The mouse pointer will become an eyedropper icon. To set the foreground color, click the mouse button; to set the background color, hold down Alt Windows or Option Mac and click the mouse button. The Eyedropper will sample the color of the pixel underneath its tip.

Photoshop will use this color for the foreground or background see Figure 2. Photoshop CS3 offers many more sets of swatches than Photoshop Elements does. Move the mouse pointer onto a color swatch. To set the foreground color, click the mouse button; to set the background color, hold down Ctrl Windows or Command Mac and click the mouse button. Photoshop will sample the color of the swatch and set the foreground or background color accordingly.

If you switch to Quick Fix mode, though, a Color palette appears along the right side of the screen. About Color Modes Every Photoshop document has a color mode, which determines how Photoshop handles the colors of its pixels.

When you created a blank canvas in Chapter 1, you might recall the Color Mode drop-down menu in the New dialog box. That time has now come, and I always make good on my promises. At least I try to. The Color Mode drop-down menu is right below the Resolution field. Pop open this menu for a moment and take a look at the choices. In this color mode, Photoshop uses the RGB color model to display the colors of the canvas see Figure 2. This is a good default color mode for general-purpose photoshopping.

In this color mode, Photoshop uses two colors only: black and white see Figure 2. Any gray on a Bitmap canvas is the result of an optical illusion called dithering, where black and white dots in close proximity blend together in the eye to produce the appearance of gray. When you convert an existing color canvas to Bitmap mode, Photoshop enables you to choose whether to use automatic dithering.

Chapter 2: All About Pixels 41 Figure 2. In this color mode, Photoshop uses black, white, and in-between shades of gray see Figure 2. Grayscale is a more accurate term for what most people call black and white. It retains the continuous tone of an image, unlike Bitmap mode.

You already know about the CMYK model. The Lab color model stands for luminance, a-axis, and b-axis. The aaxis gives the position of the color on a step green-to-red scale, with green at one end and red on the other. The b-axis gives the position of the color on a step blueto-yellow scale, with blue on one end and yellow at the other. Photo by Dave Long The color mode that you choose here determines the color mode of the canvas. In this chapter, you learned about pixels.

You saw how they go together in a grid to create a bitmap or raster graphic. First you looked at resolution, which determines the size of the pixels in an image, and you used Photoshop to change the resolution, which also changed the size of the pixels and therefore changed the physical dimensions of the canvas. Next you looked at color. I talked about color models and color modes, and you saw a bunch of different ways to choose colors in Photoshop.

What Are Layers? Layers are like cellophane overlays that stack on top of your canvas. You can paint in them, paste pixels from other images in them, rearrange them, and move them around. The layers themselves are perfectly transparent, so you see through the blank spaces in them to the layers below.

At first glance, Figure 3. But open up this image in Photoshop and have a look at the Layers palette, and you see that this image is made up of three separate components: Moon Rover, Astronaut, and Background see Figure 3.

If you temporarily hide the contents of the Moon Rover and Astronaut layers, you discover that this photo was doctored, probably by someone at NASA to throw off the people in the red states see Figure 3. The pixels on the Astronaut layer see Figure 3. The gray and white checkerboard pattern represents transparency in Photoshop, so you see where the Background layer shows through.

And by creating a couple copies of the Astronaut layer, you give the lonely guy some friends see Figure 3. You want to spice up your text with a cool visual, so you turn to Photoshop. The Photo Bin displays thumbnails of all the currently opened canvases. Switch to any canvas by clicking its thumbnail.

The Window menu also lists all the open canvases, and you can switch to any of them by choosing the name of the file. Figure 3. Chapter 3: All About Layers 51 Now that you have the components or elements for your illustration, you need a canvas to put them on. Click the background color swatch under the Toolbox and choose black from the Color Picker. The rest is a simple matter of opening the New dialog box and filling out the fields see Figure 3.

Click OK to create the canvas. Switch to your Solar System canvas and look at the Layers palette. Right now, the canvas has a single layer called Background.

This is the default layer for all Photoshop canvases. There are eight planets in the solar system, and you have eight planet images, so it makes good sense to add eight layers to your Solar System canvas, one for each of the planets. There are a couple different ways to do this. This button has the icon of a dog-eared page.

Click it eight times for eight layers. Photoshop will automatically name them Layer 1 through Layer 8, but you can change the names to something more specific once you add the planet images. Another way to add the layers, which makes more sense for this particular project, is to copy the pixels of each planet image and then paste them as a new layer into the Solar System canvas.

Switch to an open image file. Click its thumbnail in the Photo Bin or choose its file name from the Window menu. Photoshop will select all the pixels in the image. Photoshop will copy the selected pixels to the clipboard. Switch to the canvas in which you want to paste the pixels. Once again, use the Photo Bin or the Window menu. Photoshop will paste the copied pixels into the canvas as a new layer see Figure 3.

To delete a layer, select it in the Layers palette and click the trashcan icon or press the Delete key. Grab the Move tool from the Toolbox.

This is the one at the very top of the Toolbox, right above the Zoom tool. Pull up the image that you want to move—the target—as well as the canvas that you want to move it to—the destination.

Move the mouse pointer onto the target image. Click once and release to switch to this canvas. Hold down the mouse button and drag the target image to the destination canvas. Look for the mouse pointer to change into a gray rectangle with a plus sign see Figure 3.

Release the mouse button to drop the target into the destination canvas. Photoshop will place the target image as a new layer on the destination canvas see Figure 3. Have you ever transferred pixels from one canvas to another, only for the pixels to appear much larger or much smaller than you were expecting?

This is a common photoshopping snag, and resolution is the likely culprit. Remember that the resolution determines the size of the pixels in an image. Two different images with two different resolutions have two different pixel sizes.

So whenever you combine images, you want to make sure that all your elements have the same resolution, and the pixel-size problem is solved. You know how to adjust the resolution of a canvas from Chapter 2. Chapter 3: All About Layers Figure 3. If you had created the eight layers by clicking the Add New Layer button eight times, you would need to fill the layers with the planet images separately. Then switch to the Solar System canvas and click one of the blank layers in the Layers palette to select it.

To rename the layers, go to the Layers palette and double-click each one of their thumbnails in turn. Double-clicking the thumbnail will call up the Layer Properties dialog box for that layer see Figure 3. Chapter 3: All About Layers 57 Figure 3. Another way to rename a layer is to double-click its current name in the Layers palette and type a new name in the text field that appears. To create a duplicate of a layer, drag it from the Layers palette to the Create New Layer icon.

Now is a good time to do a little cleanup on the elements. Go to the Layers palette and click the eye icon to the left of the Background layer—this hides the contents of the background. Notice the black field of space around the individual planet images see Figure 3. Probably the easiest way to remove a solid field like this is to use the Magic Wand, which selects regions of an image based on color.

Grab the Magic Wand from the Toolbox. Select a layer in the Layers palette. Assume that you want to start with Jupiter, so go to the Layers palette and click its layer. Move the mouse pointer over the field of color that you want to remove. To get rid of the black field around Jupiter, move the mouse pointer into that region. Click the mouse button to select the field of color. The Magic Wand will detect the contiguous region of black pixels and select them all see Figure 3.

When this happens, you can easily modify the selection. See Chapter 4 for details. Photoshop will delete the selected pixels see Figure 3. Pressing the Delete key does the same thing. Repeat this process for each of the planets, and then unhide the Background layer by clicking the empty box where the eye icon was.

Notice that the Background layer shows through the areas that you just removed. You have Jupiter at the bottom of the stack where Mercury ought to be. Switching the order of the layers is simplicity itself.

All you have to do is go to the Layers palette and drag the layers up or down in the stack see Figure 3. Just double-click it to call up the New Layer dialog box. Rename it if you like, or go with the name that Photoshop automatically gives it. Now you can move it around the Layers palette just like the rest. Chapter 3: All About Layers 61 Photoshop composes the image from the top down; that is, a layer farther up in the stack superimposes all the layers beneath it.

When you have the layers in proper order—from bottom to top: Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, and Neptune—you can adjust their physical positions on the canvas using the Move tool. Drag and drop the planets into a rough line see Figure 3. Now take a minute to assess the canvas. You decide that you could use a couple background elements to spice it up, maybe the sun and a field of stars.

So you grab some more images, open them in Photoshop, and drag them into new layers in the Solar System canvas see Figure 3. But because the background elements are at the top of the stack in the Layers palette, they superimpose the planets. You can fix that in a hurry. Just drag the Sun and Stars layers to the bottom of the stack see Figure 3. Because you got rid of the black fields around the planet images, the stars and the sun show through the layers as they should. Unlock them first, and then you can delete them.

Go back to the Layers palette and select a layer. This is the square icon with the checkerboard pattern. Click it, and Photoshop will prevent you from editing any of the empty areas on the layer, although you can edit the filled portions of the layer normally. This is the black padlock. Click it, and Photoshop will prevent you from editing anything on the layer.

Photoshop CS3 has two additional lock icons: Lock Image Pixels the paintbrush icon , which locks the filled regions of the layer but not the empty regions; and Lock Position the crossing-arrows icon , which prevents you from moving the layer contents but permits you to make all other edits. Lock All makes the most sense for this particular project.

So click the Lock All icon to lock the layers down see Figure 3.