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1. Choose File New. The Backstage view prompts you to select the location where you would like to store the notebook. 2. Click My Computer in the Store Notebook On list to specify that you want to store the notebook on your local computer. The Backstage view prompts you to name the notebook and specify a save location for it. 3. Type a name for the notebook into the Name textbox. Figure 38-2 shows the notebook creation in progress.
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1. Quoted by Steven Lonsdorf in a message to Congress. Data as of December 31, 1997. 2. Allison Bisbey Colter, Hedge Fund Investors Seek Detailed Data, Survey Finds, Wall Street Journal, April 1, 2003. 3. The estimated number of hedge funds in 1988 (1,373) grows to 8,100 at 12.6 percent annually in 15 years. 4. The estimated hedge fund assets under management in 1988 ($42 billion) grows to $820 billion at 21.9 percent annually in 15 years. 5. The size of the average hedge fund based on the data in Figure 1.1 and Figure 1.2 in 1988 ($30.59 million) grows to $101.23 million at 8.3 percent annually in 15 years. 6. The estimated hedge fund assets under direct investment in 1994 ($95 billion) grows to $550 billion at 21.5 percent annually in nine years. 7. The estimated hedge fund assets under fund of funds investment in 1994 ($25 billion) grows to $200 billion at 26.0 percent annually in nine years. 8. The estimated hedge fund assets under either direct investment or through funds of hedge funds in 1994 ($120 billion) grows to $750 billion at 22.6 percent annually in nine years.
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( In the Unsharp Mask dialog box, set the Amount to 500%, the Radius to100 pixels, and the Threshold to 0 levels.
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In this image, the dark and shadow pixels need the most work, so it s best to start there. Move the slider to the left to darken the shadow in the image. Click the shadow clipping warning in the main histogram to preview any shadows that are being clipped. (You won t find any in this photo, but it s a good habit to get into.) Stop when you are satisfied with the result.
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whether or not project stakeholders are likely to support or oppose the project the power and means available for project stakeholders to do so the predictability of project stakeholders behaviour and expected level of interest in the project
802.11a networks operate at 54 mbps. Because 802.11a uses a different set of radio frequencies in the 5 GHz radio band, it is not compatible with 802.11b or 802.11g products. 802.11a also has a much shorter range than 802.11b and g networks. Given their higher price, shorter range, and lack of compatibility with other WiFi devices, I don t recommend 802.11a products for use on a home network. 802.11g is just as fast as 802.11a but costs less and works with legacy 802.11b equipment; however, 802.11a has a few advantages that justify the higher cost. 802.11a s shorter range means that you need more access points to cover a given area. While this may seem like a disadvantage, there will be fewer wireless clients sharing each access point, resulting in higher overall performance for each client. Because it operates in a different radio band, 802.11a is immune from interference caused by 2.4 GHz cordless phones and microwave ovens, but this will change as new 5.8 GHz cordless telephones become more popular. The new generation 802.11g MIMO products offer better performance at a lower cost than 802.11a. Unless you re really concerned with interference from 2.4 GHz devices, MIMO is a better choice for home use.
cards to share the load of generating the displayed image by dividing the screen between the two cards.
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ere in this last chapter on filters, we ll cover three often-overlooked but important entries Custom, Displace, and Pattern Maker that enable you to create your own, custom-tailored special effects. Custom and Displace require some mathematical reasoning skills, and even then, you ll probably have occasional difficulty predicting the outcomes. It s not like other filters where you drag a slider and watch the Preview change, so you know when to stop or reverse your adjustments. With these first two filters, you re using numbers to make changes to the image, and you don t see the results until you ve entered the numbers. Pattern Maker isn t quite so math-dependent. Now, if math isn t your strong suit, or worse, if you simply hate dealing with any mathematical stuff, by all means don t put yourself through the torture; you can skip ahead to the Pattern Maker coverage at the end of this chapter. In defense of mathematical bravery, however, there are some cool results to be had by using these filters; but your life will remain rich and worth living, even if you choose to skip them. If you d like to read about some of the more math-free custom effects, skip all the mathematical background in this chapter and read the sections on applying custom values and using displacement maps, for some specific, visually exciting effects. As stated, you also find out about making your own patterns and textures with filters, something that should make you feel better if the whole math thing has you depressed.
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Selections, Masks, and Filters
Layer: Creates a new blank layer in the Layers panel. Background from layer: Turns the current layer into a locked background layer. Group: Creates a group in the Layers panel. Group from Layers: Creates a group in the Layers panel and adds all selected layers to that group. Layer via Copy: Creates a new layer containing the last item copied into the clipboard. Layer via Cut: Creates a new layer containing the last item cut.
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Because the Filter list is context sensitive, its size changes depending on the selected folder. Sometimes you have to scroll down to see all applicable criteria. You can quickly lter for any criteria by clicking it. For example, in Figure 2.7 I clicked Portrait, in the Orientation section. This causes only the 19 vertical shots to display in the Content panel. If I wanted to see only the horizontal shots, I d click the Landscape orientation instead. To turn a lter off, click the ltering criteria a second time to uncheck it. The Collections panel is used to create virtual collections. When a photo is placed in a collection, the le itself isn t moved. Only a visual reference of it more like an alias or shortcut is placed into the collection. Collections are used in a number of ways to gather similar photos that reside in different folders without moving the Figure 2.7 actual les. Say that I want to keep track of all my best photos. I right-click anywhere in the Collections panel and choose New Collection. When the dialog box opens, I name the collection Portfolio. Now whenever I see one of my best images, I can drag it into the Portfolio collection, placing a reference of it into the collection without moving the actual le. Now when I want to see all my best photos, I click the Portfolio collection.
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