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The biggest strength of the Hue/Saturation Adjustment tool is the ability to make hue, saturation, and lighting changes to specific color ranges. This allows you to fix certain colors in an image without affecting other colors. The following example demonstrates how to use the Hue/Saturation Adjustment tool to enhance the colors in an image:

n Color sliders: Although it may seem odd to have color controls within a black-and-white conversion utility, these are, in fact, very helpful. The sliders control the amount of each color that contributes to the luminosity of the final black-and-white image. This allows you to mimic the effects of using colored filters on a camera loaded with black-and-white film. Traditionally, for example, black-and-white photographers have used a red filter on their cameras to darken blue skies, which is great for landscapes. Alternatively, thinking of it from a nontraditional standpoint, you can emphasize the original colors within the context of a black-and-white image.

(3.19)

generate a plan for the entire problem. It is global because agents form non-local plans by exchanging local plans and cooperating to acheve a non-local view of problem solving. Partial global planning involves three iterated stages.

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and indeed {LIJu}:=l is a Cauchy sequence. Since V is a Banach space, this sequence converges to some element in V . Thus we can define the limit L of the sequence by

Essentially, a histogram is a graph that represents a statistical analysis of how many pixels of your photo are in each value level of the tonal range. In 5, we discussed the histograms that you can use to judge the exposure of your just-shot photos on your camera s LCD screen. The same tool (which is called Levels in Photoshop) can be used to manipulate your exposure in photo-editing programs (as well as in RAW utilities and better scanner drivers). Looking at the histogram of Figure 10-1, it becomes possible to analyze why a simple brightness/contrast adjustment wasn t the optimal fix for that photo. (See Figure 10-7.) The highlights and shadows (which are what is affected the most by the brightness/contrast sliders) were well exposed and fully represented in the histogram. It s the midtones that need to be adjusted. When you click and drag on the controller points for the black point, white point, and midtone (the small arrows under the graph in Figure 10-7), it tells the software to remap the graph to new values. For instance, pulling the black point controller toward the right by, say, 10 redefines all the pixels from 0 to 10 as black. While this may be useful or even necessary, it is important to understand that the original dark grey pixels in that range would now be completely blacked out. (See Figure 10-8.)

This construction simply amounts to dropping the expectation operator from the actual definitions, Rd, = Edu* and R, = Eu*u, and replacing the random variables { d ,u } by the observations { d ( i ) , u i }at iteration i. In this way, the gradient vector (10.5) is approximated by the instantaneous value

(1.75)

After completing the check, the Accessibility Report pane (new in Acrobat 8) opens and displays a more detailed report as shown in Figure 25.3. If you selected Create comments in document, comment notes may appear reporting problems in untagged documents.

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Let us time delay the waveform in Fig. 15.3 by a quarter period and compute the Fourier series. The waveform in Fig. 15.3 time delayed by To/ 4 is shown in Fig. 15.6. Since the time delay is To/ 4 , 211' To 11' IlW Ol rf = 11 = ,, - = ,, 90 To 4 2 Therefore, using Eq. (15.30) and the results of Example 15. 1, the Fourier coefficients for the time-shifted waveform are

When using the Transform command, do all transformations during one application of the command. This command does some serious pixel pushing. If you combine all moves into one application of the command, the pixels are pushed around only once. If you don t like the transformation, undo it and try again, rather than performing a second transformation on top of a previous transformation.

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