The Radial Blur filter, as one of the group of Blur filters, applies a directional blur to pictures to simulate either spinning or zooming the camera whilst the picture is being taken.

The dialog contains four controls. The Amount slider (1) determines the strength of the effect or the level of blur in the final result.

The Blur Method options (2) allow the user to select between Spin (5) or Zoom (6) type blurs.

The Quality options (3) determine the length of time taken to apply the effect and the level of quality in the final result. The Draft setting produces rough results quickly whereas the Best option creates a higher quality end product but takes more time.

The Blur Center preview (4) not only provides a wire frame preview of the settings, but allows the user to reposition the center of the blur

Photoshop has five different gradient types. All the options gradually change color and tone from one point in the picture to another.

The Radial Gradient (1) changes color from the center of a circle outwards

To create a gradient start by selecting the tool and the Radial Gradient type (2). Then adjust the controls in the Options palette.

Choose the colors from the Gradient Picker and then click and drag the mouse pointer on the canvas surface to stretch out a line that marks the start and end points of the gradient. Release the button to fill the layer with the selected gradient.

RAM is short for Random Access Memory which is the part of the computer that runs programs. Photoshop CS2 needs a minimum of 192 Mb to run, 256 Mb for anything more than basic manipulation and as much as you can install in your machine to do complex multi-layer picture editing of large files.

Most computers can be upgraded and RAM, while fragile, is comparatively easy to install. Installing more RAM is a surefire method for increasing the efficiency of your machine when it is running Photoshop.

Photoshop CS2 can now address up to 3.5 Gb of RAM on Windows machines and 4 Gb on Mac systems, both of which need to be running 64-bit hardware in conjunction with a 64-bit enabled operating system.

A Raster image is one that is created from a grid of pixels. Each pixel represents the color and tone of the area sampled from the original scene.

When viewed from a distance or when the photo is made up of many millions of pixels the grid-like nature of the picture is not noticeable. Instead the picture looks as if the tones flow smoothly from one to the other.

Rasterizing is the process by which vector-based graphics, such as shapes, text, solid color layers, patterns and gradients are converted to pixel-based pictures.

Converting a layer containing vector graphics to bitmap artwork is a necessary step if any of the filters are to be applied to the layer’s content or if you want to edit the layer using the painting tools. The vector contents in Illustrator (.AI,.EPS) or Acrobat (.PDF) files are also rasterized when opened in Photoshop.

However, vector art that is embedded as a Smart Object in CS2 or CS3 maintains its vector base and can be edited at any time with Adobe Illustrator.

The rating system is a Bridge feature that allows users to attribute a set number of stars (1-5) individually to photographs and then use this rating as a basis for searches and filtering which thumbnails are displayed in the workspace.

Ratings can be applied in Bridge (1) by selecting the thumbnail and then choosing a rating level from the Label menu or by using the associated shortcut keys. Ratings can also be attached to pictures in Camera Raw (2).

To form a search based on a rating level select the Edit > Find feature and choose Rating, equal to, greater than, less than and the star value as the criteria (4).

Filter the current view based on ratings values, click the Filtering button at the top right of the bridge window and select the Filter option to suit (3).

New for CS3 and Bridge 2.0 is the Reject rating or label option. The feature is used in place of deleting files that are deemed as unsuitable in the editing process. Instead the thumbnail is selected in Bridge and the Reject option is selected from the Label menu (1). When this occurs, a red Reject title is placed beneath the thumbnail in the content space (1).

Hitting the Delete key now also displays a dialog that gives you the option to reject rather than delete the file (4).

Selecting the View > Reject Files (3) option displays files labeled Reject in the content space. Leaving this option not-selected hides the files.

The Adobe Camera Raw feature supports a range of Raw file formats. The current version of the feature is compatible with models from the following manufacturers:

Adobe releases new versions of the feature on a regular basis to ensure that the utility stays up to date with the latest camera models. The update needs to be downloaded from www.adobe.com (1) website and installed into the Program FilesAdobePhotoshop CS3Plug-InsFile Formats folder. To install simply drag the ‘Camera Raw.8bi’ file into the folder.

The next time Photoshop is started, and a Raw file opened, the new version of ACR is used to display and convert the file.

Photoshop CS was the first version of the program to have a full featured Raw editor built into the program. Called Adobe Camera Raw the feature was designed specifically to allow you to take the unprocessed Raw data directly from your camera’s sensor and convert it into a usable image file format. Adobe Camera Raw also provides access to several image characteristics that would otherwise be locked into the file format.

Variables such as color depth, White Balance mode, image sharpness and tonal compensation (contrast and brightness) can all be accessed, edited and enhanced as a part of the conversion process (3). Performing this type of editing on the full high-bit, Raw data provides a better and higher quality result than attempting these changes after the file has been processed and saved in a non-Raw format such as TIFF or JPEG.

When you open a Raw camera file in Photoshop you are presented with the Camera Raw editing dialog containing a full color, interpolated preview (1) of the data captured by the sensor. Using a variety of menu options, dialogs and image tools you will be able to interactively adjust image data factors such as tonal distribution and color saturation. Many of these changes can be made with familiar slider-controlled editing tools normally found in features like Levels and the Shadows/Highlights control (3). The results of your editing can be reviewed immediately via the live preview image and associated histogram graphs (2). After these general image-editing steps have taken place you can apply some enhancement changes such as filtering for sharpness, removing color noise and applying smoothing (4).

The final phase of the process involves selecting the color depth, image size and image orientation. Clicking the Open Image button sets the program into action, applying your changes to the Raw file, whilst at the same time interpolating the picture (Bayer) data to create a full color image and then opening the processed file into the full Photoshop workspace.

Both TIFF and JPEG files can be opened into, and enhanced with, Adobe Camera Raw 4.0 (which ships with CS3).

Since the version of Adobe Camera Raw that shipped with CS2 it has been possible to process multiple Raw files at the same time or even whilst continuing editing work in Photoshop.

Multiple thumbnails can be selected from the Bridge workspace and then the Open with Camera Raw option selected from the File menu. The feature will then display the pictures in Film Strip mode with the selected photos listed down the left side of the dialog (1). Conversion settings can be applied to each file in turn choosing to Save, Apply (Done) or Open the pictures. Alternatively, with all the photos selected you can apply the changes to one picture and then Synchronize them to all files

(2)

More and more medium- to high-end cameras are being released with the added feature of being able to capture and save your pictures in Raw format.

Selecting the Raw format stops the camera from processing the color separated (primary) data from the sensor and reducing the image’s bit depth, and saves the picture in this unprocessed file type.

This means that the full description of what the camera ‘saw’ is saved in the picture file and is available to you for use in the production of quality pictures.

Many photographers call this type of file a digital negative as it has a broader dynamic range, extra colors and the ability to correct slightly inaccurate exposures.

So What Is in a Raw File

To help consolidate these ideas in your mind try thinking of a Raw file as having three distinct parts:

Camera Data , usually called the EXIF data. Including things such as camera model, shutter speed and aperture details, most of which cannot be changed.

Image Data which, though recorded by the camera, can be changed in a Raw editor and the settings chosen here directly affect how the picture will be processed. Changeable options include color mode, white balance, saturation, distribution of image tones and application of sharpness.

The Image itself. This is the data drawn directly from the sensor sites in your camera in a non-interpolated form (Bayer pattern form). For most Raw cameras, this image data is supplied with a 16-bit color depth (12-bit for some cameras) providing substantially more colors and tones to play with when editing and enhancing than found in a standard 8-bit JPEG or TIFF camera file.

Advantages of Shooting Raw

• • You get to use the full tonal and color range that was captured by the camera.
• • It is possible to make substantial ehancement and editing changes to photos and apply these nondestructively. That is, these changes can be edited or removed at any time.
• • You can remove many of the file processing decisions from the camera to the desktop where more time and care can be taken in their execution. This includes:
  • - White balance changes
  • - Tonal adjustments
  • - Applying sharpness
  • - Manipulating saturation
  • - Color mode switches
• • You create and save the most comprehensive digital picture file - digital negative - currently available.
• • You can make image data changes such as switching white balance settings without image loss. This is not possible with non-Raw formats as the white balance results are fixed in the processed file.
• • You can ‘upscale’ using primary image data (straight from the sensor) rather than pre-processed information, which arguably leads to better results.
• • When Raw files are stored in an opensources file format, like Adobe’s DNG format, there is the possibility of ensuring ongoing access to the raw image data.

Disadvantages

• • Bigger file sizes to store on you camera’s memory card
• • Having to process the images before use in Photoshop proper

To check to see if a picture you are editing is watermarked, select Filter > Digimarc Read Watermark (1).

Marked pictures will then display a popup dialog (2) with author’s details and a linked website where further details of use can be obtained.

Whilst working inside the Liquify filter dialog it is possible to selectively reverse any changes made to the photo by applying the Reconstruct tool.

When applied to the surface of the image the distorted picture parts are gradually altered back to their original state.

Like the other tool options in the filter, the size of the area affected by the tool is based on the Brush Size setting and the strength of the change is determined by the Brush Pressure value.

One of the vector-based shapes that you draw on the page.

The shape fills with the foreground color and can be resized to suit the job you’re doing.

It appears on a new layer and has an Adjustment icon where you can change its color. These can also be used to mask individual image layers.

Other shape tools include Rounded Rectangle, Ellipse, Polygon, Line and Custom Shape.

In the example a layer effect has been applied which then affects any shape that’s added to the canvas.

By clicking and dragging the Rectangular Marquee tool on the picture surface, it is possible to draw rectangle or box selections (1).

Holding down the Shift key whilst using this tool restricts the selection to square shapes (2), whereas using the Alt (Windows) or Options (Mac) keys will draw the selections from their centers.

First introduced in Photoshop CS2, the Red Eye tool is designed to quickly and easily rectify the problem of red eye by switching the red hue with a more natural black color.

The feature is very easy to use. Simply select the tool and adjust the Pupil Size and Darken Amount settings in the tool’s option bar and then click in the center of the pupil. Photoshop automatically locates the red hue and changes for black.

Adobe Camera Raw 4.0, the version that ships with Photoshop CS3, contains a new Red Eye Removal tool. The feature works in a similar way to the Red Eye tool in Photoshop proper. After selecting the tool, click-drag a marquee around the red eye to replace the color with a more realistic dark gray. The Pupil Size and Darken sliders can be used to fine-tune the results if the initial correction is not successful.

It is important to note that the changes made with the Red Eye Removal and the Retouch tools in ACR are non-destructive and can be removed at any time by selecting the Clear All button in the options bar.

The Redo command performs the action that was last reversed by the Undo command.

Located under the Edit menu, the actual Redo entry changes depending on the nature of the last action that was undone.

If the Undo command hasn’t been used then the Redo option is unavailable (grayed out).

To help combat the noisy (spotty) photos produced when using the high ISO setting on many cameras, the Adobe engineers included a new Noise Reduction filter in Photoshop CS2.

The feature includes a preview window and in Basic mode a Strength slider (1), a Preserve Details control (2), a Reduce Color Noise slider (3) and a Sharpen Details slider (4). As is the case with the Dust & Scratches filter, you need to be careful when using this filter to ensure that you balance removing noise whilst also retaining detail.

The best way to guarantee this is to set your Strength setting first, ensuring that you check the results in highlights, midtone and shadow areas. Next gradually increase the Preserve Details value until you reach the point where the level of noise that is being reintroduced into the picture is noticeable and then back off the control slightly (make the setting a lower number). For photographs with a high level of color noise (random speckles of color in an area that should be a smooth flat tone) you will need to adjust this slider at the same time as you are playing with the Strength control.

In the Advanced mode (5) Strength and Preserved Details controls can be applied per Red, Green and Blue channel with the dialog displaying grayscale previews of the grain in each channel.

The feature also contains a JPEG artifact removal setting (6) that smooths out the box-like patterning that can occur when photos are highly compressed.

CS3 also contains a new way to modify the edges of the selections you create. Called the Refine Edge feature it is accessed either via the button now present in all the Selection tool’s options bars, or via Select > Refine Edge. The feature brings together five different controls for adjusting the edges of the selection (three of which existed previously as separate entries in the Select > Modify menu) with five selection edge preview options. The feature’s dialog contains five sliders designed to customize your selection edges:

Radius - Use this slider to increase the quality of the edge in areas of soft transition with background pixels or where the subject’s edge is finely detailed.

Contrast - Increase the Contrast settings to sharpen soft selection edges.

Smooth - This options removes stepped or jagged selection edges. If the results are too smooth then use the Radius slider to retain detail.

Feather - Softens the edge of the selection by a given pixel value.

Contract/Expand - Increase or decrease the edge of the selection by the percentage value selected.

The Preview modes buttons at the bottom of the dialog provide a range of different ways to view the selection on your picture. 1) Provides a standard selection edge superimposed on the photo. 2) Previews the selection as a quick mask. 3) Previews the selection on a black background. 4) Previews the selection on a white background. 5) Previews the selection as a mask. Press the P key to turn off the preview of the current Refine Edge settings and the X key to temporarily display the Full Image view.

As well as being available in the Select menu, the new Refine Edge feature appears as a button on the options bar of all selection tools.

Photoshop has five different gradient types. All the options gradually change color and tone from one point in the picture to another.

The Reflected Gradient (1) changes color along a drawn line from the start to finish point and then reflects the same linear gradient on the opposite side of the starting point.

To create a gradient start by selecting the tool and the Reflected Gradient type (2). Then adjust the controls in the options palette. Choose the colors from the Gradient Picker and then click and drag the mouse pointer on the canvas surface to stretch out a line that marks the start and end points of the gradient. Release the button to fill the layer with the selected gradient.

The Reflection tool paints mirrored pixels as it is dragged across the surface of the photo. The direction in which the tool is applied determines which pixels are mirrored.

When the brush head is moved downwards the pixels on the left are mirrored into the painted area. Moving the brush upwards mirrors the pixels on the right. Painting from right to left mirrors the top pixels and from left to right the bottom ones.

Like the other Liquify tools, the size of the area affected by the tool is based on the Brush Size setting and the strength of the change is determined by the Brush Pressure value.

At various points in the digital photography process it is necessary to change or alter the spread of colors in a picture so that they fit the characteristics of an output device, such as a screen or printer, more fully. Relative Colorimetric is one of the four different approaches that Photoshop can use in this conversion process. The other choices are Perceptual, Saturation and Absolute Colorimetric.

Each approach produces different results and is based on a specific conversion or ‘rendering intent’. The Relative Colorimetric setting squashes or stretches the range of colors in the original so that they fit the range of possible colors that the new device can display or print.

The Saturation option tries to maintain the strength of colors during the conversion process (even if color accuracy is the cost). The Perceptual setting puts conversion emphasis on ensuring that the adjusted picture, when viewed on the new output device, appears to the human eye to be very similar to the original photo. The Absolute Colorimetric option translates colors exactly from the original photo to the range of colors for the new device. Those colors that can’t be displayed are clipped.

Specific Intents can be selected as part of the printing process via the color management controls in the Show More Options section of the Print Preview dialog (1).

The Desaturate feature erases all traces of color from the picture, just leaving the detail and tone.

The final result is a grayscale image which is still stored in an RGB color mode. This is handy as it allows you to hand-color or tone the picture, whereas color pictures that are converted to the Grayscale mode need reconverting back to RGB color before this type of enhancement can occur.

The feature produces the same result as dragging the Saturation slider in the Hue/Saturation control all the way to the left (1).

The title, or name, of a layer can be changed from the default assigned by the Photoshop program by double-clicking the layer’s name in the Layers palette (1). The new layer name is typed directly into the Layers palette (2).

As your Photoshop compositions become more and more complex, careful naming of layers when they are created will make for easier navigation and editing of the many picture parts.

Background layers cannot be renamed unless they are converted to a standard image layer first.

New blank layers created via the Layer > New > Layer route can be named in the New Layer dialog as part of the creation process (3).

The Batch Rename feature located in Bridge allows the user to rename a selected group of files in a single action.

The files to be renamed need to be multiselected first before choosing Batch Rename from the Tools menu (1). Next the Batch Rename dialog is displayed where the destination folder (2), file naming (3) and format compatibility options (4) are set. Then to start the renaming process press the OK button.

The Replace Color feature is designed to carefully select a specific color in a photo and replace it with another hue. To select the color to be replaced choose the standard eyedropper (1) from the feature’s dialog. Refine the selection by adding extra colors to the selection range with the ‘plus eyedropper’ or removing colors with the ‘minus eyedropper’. The precision of the color selection is based on the Fuzziness control (2). Higher values encompass a more varied range of hues. You can review the areas that are being included in the selection using the preview window (with the Selection option active). The preview image (3) works in a similar way to the layer mask with the light areas fully selected, the gray areas partially selected and the dark areas not chosen at all. The Replacement section (4) of the dialog is used for choosing the color that will be used as the selected color. With all the options now selected, proceed to replace the selected color by pressing the OK button.

When the Resample Image option (1), located in the Image Size feature, is selected Photoshop interpolates the original picture information to create either more or less pixels.

This means that the program adds extra pixels to make the photo larger or combines pixels to make the image smaller. Photoshop uses one of five different interpolation algorithms to create the new picture (2). Select the method you wish to use from the drop-down list.

Deselecting the Resample Image option stops the program from altering the number of pixels in the picture. In this event, picture sizes are altered by changes in resolution (the spread of pixels over a printed inch).

The Reselect command re-establishes the latest selection made on the image.

The Reset All Tools feature returns all tools to their default settings. The option is located by clicking on the Tool’s icon in the tool’s option bar and then displaying the pop-up menu via the side-arrow at the top of the presets dialog.

After using a selection for making an editing change, most users will remove the selection by choosing Select > Deselect. If at a later time in the editing session you need to reselect the same areas simply choose Select > Reselect.

Keep in mind when using this feature that:

• - it only restores the last selection created,
• - changes to image or canvas size lose the selection, and
• - once a file has been closed and reopened the feature will not restore the original selection.

To permanently store a selection use the Select > Save Selection option.

The Reset Tool feature returns only the selected tool to its default settings. The option is located by clicking on the Tool’s icon in the tool’s option bar and then displaying the pop-up menu via the side-arrow at the top of the presets dialog.

The Reset All Warning Dialogs button located in the Preferences > General section of the Bridge and Photoshop workspaces restores all pop-up warning dialogs to their original shipped state. This action overrides the previous selection of the Don’t Show Again option in message dialogs throughout the program.

The option is positioned at the bottom of both the Bridge (1) and Photoshop (3) General Preference dialogs. After pressing the Reset All Warning Dialogs button a confirmation dialog will be displayed (2).

The Reset Tool feature returns only the selected tool to its default settings. The option is located by clicking on the Tool’s icon in the tool’s option bar and then displaying the pop-up menu via the sidearrow at the top of the presets dialog.

The resolution of a digital image is the measure of the number of pixels that are used to represent an inch of the picture. The units used to express this measure are pixels per inch or PPI.

Generally speaking, high PPI values mean that fine details in the photo are represented more clearly and the image appears to have continuous tone. When using low PPI settings the overall quality of the picture is less and, in extreme cases, individual pixels may be seen as colored blocks.

Different resolution settings are used for different outcomes and suggestions for these are tabled above. Changing the PPI means that a single image (with a fixed set of pixel dimensions) can be printed or displayed at a variety of different sizes.

The PPI value for a picture is altered via the Resolution setting in the Image Size dialog.

By altering the resolution of a file, an image with the same pixel dimensions can have several different document sizes based on the change of the spread of the pixels when the picture is printed (or displayed on screen).

In this way, you can adjust a high resolution file to print the size of a postage stamp, postcard or a poster by only changing the PPI or resolution. This type of resizing has no detrimental quality effects on your pictures as the original pixel dimensions remain unchanged - no extra pixels have been added or taken away from the photo in the process.

To change resolution, open the Image Size dialog, select the Constrain Proportions item and uncheck the Resample Image option (1). Next, change either the Resolution, Width or Height settings to suit your output. Changing any of these amounts will automatically adjust the other values to suit.

The default resolution used when creating new documents can be altered in the Units & Rulers Preferences dialog (2).

If Photoshop starts to exhibit unusual behavior the cause may be a damaged preferences file. The file stores all the preference settings allocated either by default or as a result of changes made by the user to the settings via the Edit > Preferences menu.

Use the following keystroke combination immediately after Photoshop begins launching to restore the program’s preferences to their default settings:

Windows: Alt Ctrl Shft

Macintosh: Opt Cmd Shft

Click Yes (1) when asked, to delete the current settings.

The Reticulation filter, as one of the group of Sketch filters, simulates the look of film that has been reticulated. This traditional effect is created by immersing film in hot and then cold baths during processing. As a result of the massive change in temperature the surface of the film breaks into the small textured clumps that are recreated digitally with this filter.

The dialog contains three controls. The Density slider (1) determines the overall darkness of the effect. The Foreground Level control (2) is used to adjust how the texture is applied to shadow areas and the Background Level slider (3) performs the same task but for the lighter tones in the picture.

As the filter uses the current foreground and background colors in the creation of the effect, altering these hues can change the end results radically (4).

Often when combining or resizing several different picture layers in the one document it is not possible to see the full extent of the layer contents.

Rather than having to adjust the canvas size manually to provide a view of the content of all layers you can simply select the Reveal All command (1). This feature automatically resizes the canvas so that it fits the content of all layers.

In the process the extra space created in each layer is made transparent, except in the case of the background layer, where it is filled with the current background color.

Reveal in Explorer is one of the options that can be found in the right-click popup menu (1) of the Bridge workspace. Selecting this option automatically opens Windows Explorer and displays the folder (and all its contents) where the original photo is located (2).

Using this feature is a quick and easy way to locate the precise storage location of images that displayed in the Bridge workspace.

The feature is also included in the Photoshop File Browser of earlier versions of the program.

As well as the Bring To and Send To options for moving selected layers within the stack, the Arrange menu provides another organizational selection - Reverse.

This command moves all selected layers and relocates them so that they are in the reverse order to their original position in the stack.

The Revert feature restores the photo to the way that it looked the last time it was saved.

In the example, the photo was colored using the Hue/Saturation control and then filtered with the Posterize filter to produce the Before result. Next the File > Revert to Saved option was selected and the picture was restored to the way it was before the changes - the After image.

The opening snapshot in the History palette does not always represent the last saved version.

For example, let’s look at the following editing sequence:

Step 1 - Open image

Step 2 - Apply edits

Step 3 - Save

Step 4 - Apply more edits

Step 5 - Revert to Saved

In this example, the image will look like step 3 after Reverting, but the snapshot in the History palette looks like step 1.

In all digital photos several primary colors are mixed to form the many millions of distinct colors we see on screen or in print. These primary colors are often referred to as color channels.

Most images that are created by digital cameras are made up of Red, Green and Blue colors or channels and so are said to be RGB pictures.

In a standard 24-bit picture (8 bits per color channel) each of the colors can have a brightness value between 1 and 256. So to represent a specific color you will have three values that describe the mix of red, green and blue used to create the hue.

You can see these values for any pixel in your pictures by displaying the Info palette (Window > Info) and then moving the cursor over your photo. The RGB values at any point are reflected in the Info palette (1).

In contrast, those pictures that are destined for printing are created with Cyan, Magenta, Yellow and Black channels (CMYK) to match the printing inks.

Sometimes the channels in an image are also referred to as the picture’s color mode.

The Image > Rotate Canvas menu contains a list of options that can be used to rotate your pictures (1). These orientation options work with whole images irrespective of the number of layers they contain.

To rotate just the selected layer use the Edit > Transform > Rotate options instead.

The Edit > Transform menu contains a list of options (1) that can be used to manipulate the content of individual layers. Amongst these are several choices for rotating a layer. Select the layer first in the Layers palette before choosing the Rotate option from the Transform menu.

The Rough Pastels filter, as one of the group of Artistic filters, recreates the photo so that it looks like it has been drawn with colored pastels on a roughly textured paper.

The filter dialog contains several controls that adjust the look and feel of the effect.

The settings used for the Stroke sliders (1) determine how strong the pastel stroke effect will be. High values create a coarse result where the pastel stroke is dominant. Low settings retain more of the original detail. The controls in the Texture section (2) vary the strength and type of texture that is added to the picture. Increasing the values used for both Scaling and Relief sliders will create a more textured result.

The Light option (3) controls the direction of the light that is used to create the highlight and shadow areas in the texture.

The Rounded Rectangle tool (1) is one of the vector shape drawing tools available in Photoshop.

The feature draws rectangles with rounded corners (1) and is particularly good for creating buttons for websites and other interactive media. The example shows a simple button created with the tool and a preset layer style (2).

The size of the radius used for the rounded corners can be set in the tool’s options bar (3).

The Roundness option is one of the Brush tool controls that is located in the Brushes palette > Brush Tip dialog.

When set at 100% the brush tip is in the shape of a circle; as the value is decreased the shape becomes an oval that becomes more and more squashed. In the example the brush tip is shown at values of 100% (1), 50% (2), 25% (3) and 5% (4).

A preview of the altered brush tip shape is displayed in the thumbnail when adjusting the Roundness value in the Brushes palette (5).

The Rulers option displays both horizontal and vertical rulers around the edge of the image window.

Clicking and dragging from the top left-hand corner (where the rulers intersect) allows you to reposition the ‘0’ points of each ruler. This is helpful when using the feature to measure various picture parts. Double-clicking anywhere on a ruler displays the Units & Rulers Preferences dialog, where a new unit of measure can be selected from the choices in the dropdown menu (1).