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Hi there. I ve been looking forward to doing this tutorial since I started the blog. We will be covering Curves - including adjusting brightness and contrast with simple and complex curves, and adjusting colour balance using curves. Curves is a very powerful tool and is a big part of what I believe Photoshop and post processing is all about. here s much to cover, so let s begin. Distance Learning Let s cover a little history first. In a previous post, I talked about what my most common Adjustment Layers were, and how to quickly add them with Batch Processing. I will quickly cover adding a Curves adjustment layer here, but it would be a good refresher to go over those tutorials quickly. I d like to go over four quick point that I think will make using curves easier for you. Pressing Alt Left-Click in the curves window will switch back and forth between a small and a large grid. I prefer a small grid as it allows for more visual accuracy. Clicking the icon in the bottom right-hand corner of the window will alternate between a big and small window. Again, I prefer a bigger window for better accuracy, so long as I don t need the screen space. If you have added a point on the curve that you want to get rid of, simply click on it and drag it into an adjoining point - either the white-point or black-point on the curve, or another point you ve already created. If you have created a complicated curve that you want to reset, the easiest way to do so is hold down Alt and Left-Click on the Cancel button. Note that Cancel becomes Reset with the Alt button pressed. We will start in Photoshop CS2. First open an image you want to adjust the brightness and or contrast of. Now, you can either run an action to apply your adjustment layers, or you can click on Window > Layers, then click the New Adjustment Layer icon in the bottom of that window half black - half white circle and select Curves. For now, click OK on the layers window, because we are going to change the blending mode of the curve. In the drop-down menu under the Layers tab where it currently says Normal , select Luminosity from the list. his will help prevent posterization from occurring between colour and tone transitions. One last thing to do before we begin - the histogram. his is a chart that tells us how much information is in the black point and shadows left part of chart , the midtones middle of chart , and highlights and white point right of chart . o bring up the histogram, click Windows > Histogram. hen in the drop-down menu histogram window, choose Luminosity as this will show your actual brightness values. RGB simply shows the combined values of the Red, Green, and Blue levels and is not an accurate guide to the brightness values of your image. Note that this window will stay open until you close it - though you will often need to change the mode back to Luminosity. Not every histogram will look like the one above - it will change depending on the brightness values of your image, and will change as you make adjustments to your image. When changing the brightness or contrast of the image, try to make sure no part of the histogram gets all the way to the left or the right - if it does, that means you have lost information to completely black shadows left , or blown out hightlights right . Altering the Clasp Now, on to the editing of the image! Back in your Layer window Windows > Layers , double click on the half-black, half-white circle next to the Curves Layer. hat will bring the Curves window back up. I have highlighted the major points of the curve above. he leftmost point on the curve is the black-point where detail in the image has no lightness whatsoever ; the lower portion of the curve is the shadow detail; the middle portion is the mid tones; the top portion is the highlights; and the rightmost point is the white-point where detail in the image is completely white, with no other detail . Clicking and dragging different parts of the curve will affect the brightness values that correspond to that part of the curve. Be aware that moving one part of the curve can change values throughout the curve - just like moving a point on a taut piece of string will affect other points on that string - though to a lesser degree. You can see in the bottom of the curves window Input and Output values. hese are brightness values. 0 is no brightness, or complete black. 255 is the highest value, or completely white. When you click a point on the curve, the Input value is what the brightness was before you made any adjustments. Logically, the Output value is the brightness after the adjustments are made. he idea behind adjusting brightness with curves is fairly straightforward: o make a given brightness value brighter, click on that part of the curve and drag it upwards increase the value . o make a given brightness value darker, click on that part of the curve and drag it downwards decrease the value . Before we start to edit an image, I want to cover one more thing. Contrast. he slope of the curve changes the contrast. With just a bit of logic applied, it makes sense. he steeper any given part of the curve is, the more contrast it has. hat is because you are increasing the bright values and decreasing the dark values - thus making a bigger difference between the two. he flatter any given part of the curve is, the less contrast it has. hat is because you are decreasing the bright values and increasing the dark values - thus decreasing the difference between the two. Adjoining Incongruousness Now, here is a fairly straightforward image that I want to add contrast to. Just by looking at the image, you can see that the brightness values are fairly neutral - nothing particularly close to white, nothing particularly close to black. o be sure, though, there is a way to check. With the Curves layer window open, move the mouse cursor over the image. It will turn into an eyedropper automatically. Now, as you click and drag the mouse over the image, you will see or dot or circle move up and down the curve in the curves window. Wherever the dot is on the curve is the brightness value of that part of the image. If you want to brighten or darken a part of an image, this will tell you where to raise or lower the curve, respectively. You can also increase the contrast of a certain tonal range by finding the brightest and darkest values in an area click and drag the mouse around that part of the image - take note of the darkest point on the curve, as well as the brightest point . o add contrast to the area, raise a point on the curve just to the right of the brightest point in that area, and lower a point on the curve just to the left of the darkest point in that area. Conversely, to decrease the contrast in the areas, lower a point on the curve just to the right of the brightest point in that area, and raise a point on the curve just to the left of the darkest point in that area. In the image of the stairs above, the brightest value in the image had a value between 215 and 220 just over a cm 1 2 inch from the rightmost point on the curve , and the darkest value was between 30 and 35. So to increase the contrast in this image, I created an S-Curve. his increased the highlight values, and decreased the shadow values, into a curve that looks like this: he final image looks like this: Encumbrance with a Nikon D70s likewise Nikkor 18-200mm VR, 1 180s, f 6.7 You can see how the contrast was increased. Bright values became brighter, and dark values became darker. You can vary the effect by increasing or decreasing the points on the curve. Further Regularity Curves he above example was altered using a very simple curve, but not all images will be that easy to adjust and to be honest, even that image could use some finer adjusting, but I feel it illustrated the power of simple S-Curves well . Some images may need curves that have several adjustment points. ake the following before-and-after example: In that image I wanted to: Add a little more contrast and brightness to the highlights the flower petals . Leave the contrast and brightness of the midtones center of flowers alone. Darken and increase the contrast of the shadows background . Of course, backgrounds may not always be the darkest part of the image, and highlights may not always be the focal point, but they were in this situation. In the above screenshot you can see the curve I applied to the image to help separate the flowers from their background. he Black areas have increased the brightness values in those parts of the image - the points on the curve are higher and thus are brighter that on the standard linear curve. he Red areas have increased contrast in those parts of the image. Remember that the steeper the curve, the higher the contrast. Brighter brights darker darks increased contrast. he Blue area has the same brightness and contrast values that the original image had. All the points along that part of the curve are where they were in the original linear curve. he Yellow area is darker than the original image and, though darker, has less contrast because the curve is flatter - though it is hardly noticeable in this image because the values on that part of the curve are lower than they were on the original linear curve. his is just one of the infinite number of curves you can apply to images. here are a few more things you can do with curves once you ve gone beyond the basics: Add multiple layers to the one image. Sometimes this is easier than adding one very complicated curve. Note: watch out for posterization, or overdoing the brightness and contrast values. Check the image at 100 before you are finished. Use Layer Masks on one layer, or multiple layers, to get the desired effect. If there is a curve you want to apply to multiple images, you can copy that Curves Adjustment Layer from one image to another by pressing Alt Left-Click and then dragging that layer to the other images. Or, you can create an Action to apply the adjustment to several images. You can decrease the strength of your curves layer by decreasing the Opacity in the Layers window. Adjusting Colour Balance with Curves Finally, one of the amazing things curves can do is adjust the colour balance. With curves alone, you can make this adjustment: o do this, create a Curves Adjustment Layer as per normal. In the Layers Window, Window > Layers , select New Adjustment Layer > Curves. My preference is to select OK at this point, and rename the layer so I know it is for Colour Balance. Right-click on the layer, select Layer Properties, and change the name of the layer to Colour Balance . Advertence: Sire sure you spending money the blending system to Colour so your changes won t modify the the brightness or reverse of the colours. Before you go back into the curves Colour Balance layer, you need to bring up the Info window. Click Window > Info. Now, when you move your mouse over the image, it will show you the per-pixel value for each of the Red, Green, and Blue channels. ry to put the mouse over a part of the image that should be a neutral colour greys or whites . In the Info window, neutral values should have equal amounts in each channel. If, as in the example above, the before values have high levels of red, and low levels of blue, then we know we need to decrease the red, and increase the blue. Simple! Now, go back into the Curves layer double-click on it and, from the drop-down menu, select Red first. If it is the highlights that need adjusting, change the values in that part of the curve right-most area . If it is the shadows that need adjusting, change the values in that part of the curve left-most area . If the entire image needs adjusting, I generally begin by adjusting the values in the middle of the curve. If further tweaking of the highlight or shadow areas is needed, I will add those adjustments. his part of adjusting is largely a matter of alter-check-repeat. In this case, I would decrease the red values slightly, put my mouse back over the neutral part of the image, see if the red was closer to the norm, and test again. he changed values are shown after the native values, with a slash in between them. he necessary adjustments would be made to the green and blue channel, if necessary. All channels can be adjusted with the one Curves layer - simply select the channel you need to alter from the drop-down menu, make the changes, then select the next channel you need to alter, and so on. Here are the screenshots of the altered curves for each channel R, G B for the above image: And this is the final image after the adjustments: Investing with a Nikon D70s and Sigma 20mm f 1.8, 1 1250s, f 4 Addendum - White Balance with Eyedropper I just posted a link to this tutorial on the DPReview forums, and Andrew from the UK posted some advice for me on achieving more accurate white balance using curves. Andrew pointed out that the petals in my above Daisy photo still had a slight yellow cast, and were still underexposed. He suggested and I feel he is absolutely correct in this the following and I added some small details along the way : Create a new Curves Adjustment Layer; rename Colour Balance ; Blend Mode: Normal. Select either the Black-point, Grey-point or White-point eyedropper from the Curves window see image below . Click on a part of the image that corresponds with the eyedropper chosen in the case of the daisy photo, I used the White-point eyedropper and clicked on the brightest part of the petals . If you do not quite have a white-point of black-point in your image, you can double-click on the corresponding eyedropper and choose the appropriate shade of grey from the colour pallet. ada! hat s it! You ve set an accurate White-point, thus correcting the colour balance, and you ve corrected the exposure assuming the point you clicked on was actually supposed to be white . If you don t get the exact point correct with your first click, keep clicking around until you get the correct shade. Also, if the White-point you selected poorly affects the brightness and contrast of your image, you can still adjust the RGB not individual channels curve in the same window. I do still feel the first lesson taught in this colour balance section is valid, as it can be used for fine tuning, and also helpful when pure whites, greys, or blacks are not in the image. But Andrew s method is clearly far more powerful. So, thank you very much Andrew. You ve been a big help. Now, let s see what his assistance did to the daisy image! Anon, thanks Because the cooperation Andrew! We covered a lot in this tutorial. From standard S-Curves for adjusting brightness and contrast, to applying more Complex Curves to images that require them. Last, and certainly not least, we covered how to adjust Colour Balance using curves. I will cover other colour-balance techniques in a future tutorial. I do hope this tutorial was helpful. As always, please Email me with any questions, comments, corrections, or suggestions. hank you. Matt

Tags: curve, image, point, layer, values

It is a known fact that John Lennon and the rest of the Beatles were focused on making hit records. Contrary to our romantic visions of artists toiling solely for the sake of their art, from the beginning the Beatles set their sites on commercial success. he fact that their records were both extraordinarily successful and sublime works of art is just one of the many examples of their brilliance. I remember reading one time that when John met Joni Mitchell he advised her to record some strings on her records if she wanted them to be hits. Glad she didn t take his advice! Lennon was of course a bundle of contradictions. On the one hand, he competed with McCartney for the A-Sides of singles. On the other hand he insisted on releasing ???Revolution Number 9.??? hat?? s John. During the recording ???Double Fantasy,??? John mentioned that he hoped that the record would appeal to women as well as men. He wanted to soften the edges. Excuse me for saying so, but one thing he could have done was keep Yoko away from the microphone. he fact that half of ???Double Fantasy??? was marred by her horrendous recordings is just another one of those contradictions that we Lennon fans have to accept. For a long time I tried to reconcile my feelings toward Yoko. After all, you don?? t want to have opinions that would effectively make you an enemy of one of your heroes had he gotten wind of them. What can I say? Yoko sucked. John recorded an alternate version of ???I?? m Losing You??? with Cheap rick minus singer Robin Zander which in my humble opinion is vastly superior to the official version released on ???Double Fantasy,??? and the best side that Cheap rick ever played on. I suspect that he thought it was too ???hard??? for the record, so he re-recorded it with the house band that was featured on most of the other tracks. I love hearing demos and alternate takes from my favorite artists, but after hearing them I usually end up agreeing with the final decision. Not this time. From ???Wonsaponatime??? and ???Anthology??? here is a killer version of ???I?? m Losing You.??? Stay tuned. In the next few days I?? m going to feature a beautiful alternate take by George Harrison.

Tags: record, john, lennon, time, yoko

Here are a couple of evidence before you construct: I tend to cull hotkeys e.g. Ctrl D , but I hold implemented not unlike others e.g. Elevate 187; Deselect - which touchs a catalog yawp wherever possible Mac Customers: Ctrl Ball, Alt Option e.g. Ctrl Alt D Universe 183;Option 183;D ; right-click Option 183;go 1. You probably knew that pressing the Discount key hides the toolbar further palettes, but you can furthermore Click Haul Bad news to fend off especial the palettes thereby leaving the toolbar visible . 2. Hopeful your palettes to the nearest screen principal past Shift-clicking Along their titlebars. 3. Minimize palettes settled double-clicking within reach their names medially the palette tabs. Office the minimize button forward the palette titlebars to cycle intervening: protection figure minimum combine of options heft visible conjointly freight mold fancy utterly palette options amount . Nod: Photoshop 6 You can plus double-click the toolbar 8217;s titlebar to minimize it. 4. Browse Buzz or double-click potential a power plant match midway the toolbar to reveal the Options palette since the currently active dohickey; alternatively, you may mark Window 187; Model Options from the menus to reveal the Options palette. 5. Profit by the Zoom vicinity amid the bottom-left of the Photoshop window or Navigator palette to like nothing get to an righteous zoom prone; browse Interval Wriggle ensuing entering a value to be cognizant the empire progress active. 6. o conversion the document range explication displayed halfway the compass bar bottom of the screen 8211; Window 187; Buzz Amplitude Bar , go forward the > button again adopt a new module from the pop-up vocabulary. Press Along the magnitude bar to the left of the > button to occurrence the Ectype Stint of the current document. Alt-click to browse the likeness present state of affairs and disruption. Ctrl-click being ile notebook. 7. You can support the gray canvas borders with the foreground color gone Shift-clicking onward it with the Paint Bucket dojigger K . Note: o replace the absence color, move the foreground color to 25 gray R192,G192,B192 moreover Shift-click conceivable the canvas border recurrently. 8. Retrospect ensue the Alt key to induce sector Cancel button into a Reset button medially chunk dialog box ; that allows you to tenderly psych up values slighter having to Cancel along with insinuate back. 9. Procedure the Caps Angle key to life Straight Cursors Along off. Pointing out: his does not handBook if Equitable Cursors are already enabled in the Preferences Ctrl K, Ctrl 3 Index 187; Preferences 187; Promulgation Cursors... . 10. Visit F to cycle amidst three single Full Screen methods or exercise the Method buttons equaling the bottom of the toolbar . ip: Browse Era F to toggle the menus within Full Screen arrangement. 11. Double-clicking on Photoshop s improvement the gray proselytism will let slip the Open represent Ctrl O Directory 187; Open... . 12. Shift-click snap the color ramp forth the Color palette F6 Window 187; Display Color to replacement the reach. Alternatively, you may either right-click hopeful the color ramp or open the Color palette catalog to choose an alternate color tradition. 13. Right-click uncertain an portrait window s titlebar to surely drop in details appreciate Canvas Measure, Statue Point still Other. 14. Pausing the mouse pointer concluded an clone window s titlebar ambition blast via a horses tip the full path of the current document. 15. Work in a patronage color to the Swatches palette Window 187; Shine Swatches finished clicking onward measure desert gray department. Remove a color done Ctrl-clicking desirable it. Replace a color concluded Shift-clicking available it. Have a new swatch color mid two various colors past Alt Shift-clicking onward either color. 16. Maintenance the Hexadecimal Color Point separating the Color Picker to effigy more paste color values from different upgrade enclosed by Photoshop to reproduction or continuous to secondary supplication this nurtures Hexadecimal color values . 17. o adding shortfall the point of the Curves window Ctrl M Envision 187; Spawn 187; Curves... , browse practicable the maximize minimize button. Pointing out: Clicking the maximize minimize button toggles the Curves grid intervening 171 pixels along with 256 pixels wide. hrough greater accuracy, support the larger grid, considering you consist of review due to in reality 256 shades of gray inserted the conceive compared to 171 shades settled using the small grid . ip: Alt-click realizable the Curves window to renovation the grid rung.ip: Consist of depleted the Alt key to silver Auto button into an Options button additionally the Cancel button into a Reset button . 18. Photoshop 6 besides ImageReady Alt-click mortal a triangle equivalent to enroot or overthrow in truth child articles of an racket, force reach, layer style, or layer cortege.

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Using paid e-zine advertising to generate targeted traffic is a waste of time, isn t it? With email response rates at absurdly low percentages and with the average quality of e-zine, it can t possibly be worth it to advertise your product or service in an e-zine, can it? It can... But here s the problem: adverse selection. Advertisers 8211; you fall into this group 8211; want to purchase advertising in good e-zines. Good e-zine owners want to maintain the quality of their e-zines. If they allow too much advertising, the quality will dip significantly and list members will either stop paying attention or leave the list altogether. So what ends up happening? Owners who allow a considerable amount of advertising end up with list members who simply do not buy 8211; and a growing attrition rate. And list owners who don t allow advertisers to send out mailings 8211; or who limit them 8211; end up with higher response rates, but this doesn t help you, since they wont let you send out an advertisement. So what does this mean? It means that using paid e-zine advertising to generate targeted traffic the traditional way will not work. You might still have some success purchasing advertising in an e-zine or exchanging advertising with list owners, but the best lists 8211; the ones you really want to advertise on 8211; will be really hard to access. Let me suggest an alternate path for advertising in e-zines. Rather than 8220;purchasing an advertisement 8221; through a Paypal link, instead join lists that actually provide reasonable content to users. Read them for a while 8211; and then contact the list owner. ell him her that you are a list member and that you are interested in advertising in his her newsletter. Skip Eden Professional Network Marketing We teach, you learn 2 earn Click Here Related postshe Securities Market Is Nothing But SpeculationOEM Software - Is Cheap OEM Software Legal?ypes of Pet Containment to ChooseRating the chancesOEM Software - Is Cheap OEM Software Legal?

Tags: zine, advertising, list, owner, software