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Some tips for making effective use of the Warp tool: n When you select the Horizontal radio button, the warp occurs as the shape in the Style pop-up menu suggests. If you choose Vertical, the warp is applied as if you turned the shape on its side. n Use the Bend value to change the direction of the curve. A positive Bend value curves the text upward, and a negative value curves the text downward. n You can use the Horizontal and Vertical Distortion options to create perspective effects. Horizontal Distortion puts the origin point of the perspective to the left if you type a positive value and to the right if you type a negative value. n Vertical Distortion places the origin point above the text if you type a positive value and below the text if you type a negative value. n If you edit warped text, Photoshop reapplies the warp to the layer after you finish editing the text.

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In order to change the name, state, color, linetype, or lock value of the layer, it must be identified or selected. Move the cursor to the layer name and pick it. The layer's line should be highlighted.

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which pixels are affected as you use them to bend and stretch the curve. Change these points closer to the histogram so more tones are affected by each, as shown in Figure 8.19. Note that as soon as you do this, the Curve drop-down menu changes to Custom.

One of the big things to understand about raw is that digital capture is linear in nature. Without getting too technical, this means that it devotes more bits to capturing highlights than it does to capturing shadows. This is the opposite of the way humans see things. We re really good at distinguishing detail in the shadows and not very good at seeing detail in the highlights. A typical raw le captures 4,098 distinct tonal levels within a six-stop range, stretching from pure black to pure white. This range is graphically represented by a histogram. Because raw is a linear capture, a full 50 percent (2,048 levels) of the le s tonal information is devoted to the

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