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formed by agriculture and domestication, to co-exist and cross, although from the very fact of their development and the general conditions it requires the existence of the latter threatens the former with extinction. But, whether one deplores or rejoices in the fact, there are still zones in which savage thought, like savage species, is relatively protected. This is the case of art, to which our civilization accords the status of a national park, with all the advantages and inconveniences attending so arti cial a formula; and it is particularly the case of so many as yet uncleared sectors of social life, where, through indifference or inability, and most often without our knowing why, primitive thought continues to ourish. . . .

When you convert a color image into a black and white photo, you are really combining three channels (red, green, and blue) of data into only one grayscale channel This can be done in any number of ways However, there are three main concepts One way to convert a color image to grayscale is to use only one of the three channels, for example, only the red channel The problem is that this gives you only the red data in the image, leaving much of the detail out This works well for some effects, but you likely want more detail in your image Another way is to use a combination of the three channels.

YTD (%)

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For example, you could create grayscale data by taking 40 percent of the red value, 40 percent of the green value, and 20 percent of the blue value and adding them together to get the value for each grayscale pixel By using the best combination of the three channels, you can get the most detail out of the image This works very well, as you learned in the Channel Mixer section of 11 In fact, this is the default method that Photoshop uses to convert color images to grayscale and is the recommended method of conversion A little bit more complex way to generate the grayscale data from the color channels is to focus on percentages of each color tone This allows you to maximize the amount of detail, best contrast, and overall appearance of the resulting black and white photo.

The drawback to this method is that it requires some guesswork and a bit of trial and error to get the best effect The Black and White Adjustment tool, shown in Figure 1317, allows you to use combinations of reds, greens, and blues, as wells as cyans, magentas, and yellows to generate the grayscale data in the black and white image By specifying percentages of these color tones, you can customize the resulting levels that go into the grayscale channel of the black and white photo..

4: Creating Text with Type Layers ..................................................................................109 5: Working with Shape Layers ......................................................................................169 6: Exploring Adjustment and Fill Layers........................................................................203

As you have seen in the previous sections, Bridge is a powerful tool that allows you to organize and manage image files. In addition to organizing image files, Bridge utilizes an interface with Photoshop to help you process the images directly while you are organizing them. The following sections discuss some of the main image-processing operations that you can do from within Bridge.

Adjustment layers (shown in Figure 1.11) are fairly unique in that they work by affecting the layers below them, rather than holding image information themselves. (If you add an adjustment layer to a document containing no other layers, you won t see anything happen in the document.) The wonderful thing about adjustment layers is that you can happily adjust aspects of your image such as levels, color balance, brightness, and contrast without permanently affecting the actual pixels of the image. This is often called nondestructive editing. For example, if you really turn up the brightness of your photo by choosing Image Adjustments Brightness/Contrast, then try lowering the brightness later, you ll see that your image has lost a lot of contrast the Brightness/Contrast adjustment has permanently altered the pixels and some of the image information has been lost. However, if you create a new Brightness/Contrast adjustment layer, you can happily change the brightness as much as you want at any time without affecting the underlying image. This makes adjustment layers great for trying out adjustments that you might want to tweak later on.

7. Save your JPG file and look at the changes made to the lamp. The stained glass looks flat and unrealistic. 8. Choose Filter Filter Gallery.

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