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n To move the selected object in any direction. Drag on the grip itself. This is no different from dragging without the Move gizmo. n To constrain the selected object along one axis. Pass the cursor over that axis until it turns yellow and you see a line extending to the edge of the screen on either side. Click that axis; now you can move the object only along that axis line. Drag the object in the positive or negative direction along the line. You can use direct distance entry to move the object a specific distance, or just click where you want the grip to be. n To constrain the selected object along one plane. Pass the cursor over the right-angle indicator at the intersection of any two axes, until it turns yellow. Click that right-angle indicator; now you can move the object only in that plane. Move the object in the desired direction. You can enter a relative coordinate or click where you want the grip to be.

The next problem also deals with electrostatics. A metallic sphere of the radius 200 mm carries an electric potential p,s= 100 kV. The distance of the sphere to the ground is 1000 mm. There is a metallic cone 100mm above the sphere with zero electric potential. The cone is 500 mm high and its bottom has the radius 100 mm. The axisymmetric computational domain C is depicted in Figure B. 14 (notice that the figure describes the boundary conditions used). We solve equation (7.25) in cylindrical coordinates and compare the performance of the piecewise-affine and hp-FEM. The approximate solution, its gradient, the finite element meshes, and an a-posteriori error estimate are shown in Figures B.15-B.19. The efficiency of the piecewise-affine FEM and the I p F E M is compared in Table B.3.

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At this point, everything should look good except for the man s tie and head. To repair these areas, pick up where you left off after Step 9 and follow these steps:

in Proceeding ofACTS Mobile Communication Summit 97,(Aalborg, Denmark), pp. 757-762, ACTS, 7-10 October 1997. B. Daneshrad, L. Cimini Jr., and M. Carloni, Clustered-OFDM transmitter implementation, in Proceedings of IEEE International Symposium on Personal, Indooc and Mobile Radio Communications (PIMRC 96), (Taipei, Taiwan), pp. 10641068, IEEE, 15-18 October 1996.

This means that no matter what you make a Raw file look like when you convert it, you can always back up to what the file looked like the day you created it. Any adjustments you make are simply written to a file that can be overwritten at any time. In fact, when I convert a Raw file and open it in Photoshop, it becomes something different than a Raw file. Here s what I mean. My Canon shoots with the Raw file format of .CR2. When I save an open file in Photoshop, the Save As dialog box doesn t include a format called CR2. Photoshop Raw is one of the choices, but it s something completely different. It s used for transferring images between different computer platforms and applications. I imagine that you re starting to see lots of advantages to shooting Raw. I d be remiss if I didn t take a moment to warn you about some of the disadvantages.

The Custom filter enables you to design your own convolution kernel, which is a variety of filter in which neighboring pixels get mixed together. The kernel can be a variation on sharpening, blurring, embossing, or a half-dozen other effects. You create your filter by entering numerical values into a matrix of options. When you choose Filter Other Custom, Photoshop displays the dialog box shown in Figure 12.1. It sports a 5 5 matrix of text boxes followed by two additional options, Scale and Offset. The matrix options can accept values from negative 999 to positive 999. The Scale value can range from 1 to 9,999, and the Offset value can range from negative 9,999 to positive 9,999. The dialog box includes Load and Save buttons so that you can load settings from disk and save the current settings for future use. Like most of Photoshop s filters, the Custom filter also includes a constantly updating preview box, which you ll have lots of time to appreciate if you decide to try your hand at designing your own effects. Select the Preview check box to view the effect of the kernel in the image window as well.

Key points:

Vibrance. This slider affects the image in a similar way to the Saturation slider in the Hue/Saturation dialog box, but there are some signi cant differences. One of the problems with using the Saturation slider in

[,I1 [,21 [1,1 1.0000000 0.8857338 [2,1 0.8857338 1.0000000 [3,1 0.6908841 0.8157080 [4,1 0.8321416 0.8667649

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