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Somewhere along the capture chain, images lose their acutance or, put another way, the edges lose their contrast and so the image appears soft and mushy. When you use one of Photoshop s sharpening filters, the acutance is exaggerated, giving the illusion of increased sharpness. The technique used by Photoshop to sharpen images is similar to a technique used in wetdarkroom printing in which a duplicate, lower-contrast positive is made of the negative, the two films are sandwiched slightly out of phase to mask out the unsharp tonal transitions, and a print is made. Hence the name of the most commonly used filter to sharpen images, Unsharp Mask (USM), which confuses many people. Photoshop creates the unsharp negative in the background and uses it to find the edges and then fattens the edge by creating light and dark pixels on either side of it. Photoshop includes no fewer than five sharpening filters: Sharpen, Sharpen More, Sharpen Edges, Smart Sharpen, and Unsharp Mask. The first three work automatically and have limited application. The next two sections look at the other two in detail.

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Blend Modes As with the Spot Healing Brush tool, if the healing isn t to your satisfaction, you can try another blending mode; for example, try switching between Normal and Replace blend modes (or one of the other modes) Replace tries to preserve noise, film grain, and texture at the edge of the healing strokes Source There are two sources to choose from: Sampled or Pattern Sampled uses the texture, lighting, transparency, and shading from the sample point to heal the target healing area Pattern uses a pattern, which you can select from the pop-up Pattern Picker by clicking the icon next to the option, to blend into the target healing area Aligned Selecting this option sets the sampled source point so that it constantly realigns with the current position of the brush tip each time you click.

Most programming languages have control structures that offer code fragments and overall provide a more dynamic path for an application. The following is some of the more common control structures, including the ones used in the majority of this book.

Location(Where, Name)

FIGURE 27-2: When you remove the plastic top, be very careful to pry it straight up. Note the small hold switch.

When this option is not selected, the sampling is taken from the same source point each time you click Sample All Layers This option, as the name implies, samples data from not just the current layer but also all layers, including the layers above the active layer Using Stylus Pressure If you are using a stylus and tablet, you can vary the size of the stroke by applying pressure to the stylus To enable the option, click the Brush icon in the options bar and from the pop-up palette choose Pen Pressure from the Size pop-up menu You can also choose Stylus Wheel to base the deviation on the position of the pen thumbwheel Furthermore, you can call up the pop-up palette at any time by right-clicking (Windows), -clicking (Mac OS) in document window These stylus options are available for both the Spot Healing Brush and the Healing Brush tool..

Caution If you are removing a newly inserted editable region that contains only the region name which happens when an empty editable region is added the content is not removed and must be deleted by hand on the template. Otherwise, it appears as part of the document created from a template and won t be accessible.

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3. Type a name for your composition at the top of the window (15.27). 4. You may select a preset canvas size for your composition using the Preset drop-down list, or you can type in the exact dimensions using the Width and Height fields provided. Select the check box "Lock Aspect Ratio to 3:2" if you want your dimensions to always be compatible with the standard ratio for television images. If you select a preset from the drop-down list (15.28), all the settings (with the exception of the quality and durations) are selected for you. 5. For the Pixel Aspect Ratio drop-down list (15.29), select the setting appropriate to your output format. Doing this ensures that all square and non-square pixel elements are compensated for, prior to output to your destination format. For example, if you are creating an animation that is intended for D1/DV NTSC, select that option. If you choose square pixels, it is assumed that the animations you create are intended solely for a computer monitor. Otherwise, you are going to see visible distortion when viewed on a television, because of the difference between pixel ratios (discussed in 3, "Working with Television Display").