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Now you re ready to transform your Photoshop layers into a digital movie. 1. First, save the file in Photoshop. Then choose File Jump to Adobe ImageReady. This opens ImageReady, and automatically loads the Photoshop file into ImageReady.

. . . . . . . . . . . . . . . . . .

I ve mentioned filters a couple of times in this book. In fact we used one, Gaussian Blur, earlier in this chapter. But I never stopped to define exactly what a filter is. Let s take care of that right now. Filters get their name from their counterpart in the film world. Film photographers have always used glass and other materials in front of their lenses to change the way images are captured by film. For example, photographers used to do things like smear petroleum jelly around the edges of a clear filter to blur the background around someone. With digital capture, most filtering takes place after the image is photographed or scanned. Thank goodness petroleum jelly never has to come near our cameras again! Photoshop has a large array of filters available under the Filters menu. Some of them are fun and can be used to create cool, creative effects. Those aren t the kind of filters we re concerned with here. We re mostly interested in the more utilitarian filters such as Blur and Sharpen, though these techniques can be used with most other filters. Earlier, in the exercise with my husky Ruby in the snow, I used a filter to blur a selected area of the image. I blurred the snow around her so she d stand out from it. This is a common technique, especially in the digital age because digital SLRs tend to have a greater depth of field than their film counterparts. When everything s in focus, the viewer may not know what to look at. By selectively adjusting areas of sharpness (or blurriness), we can guide the viewer through the image.

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These expressions again suggest that we can interpret { (i), K& (i)} as the solution of the problems that project (in a regularized manner) the vectors {j&,i, 6b,i} the veconto tors {bh,i fh,i}, namely, they solve

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ronment; resources come in different types, and only agents of certain types are able to obtain certain resources. Agents have a number of 'energy stores', and for each of these a 'hunger level'. If the energy store associated with a particular hunger level falls below the value of the hunger level, then the agent will attempt to replenish it by consuming appropriate resources. Agents travel about the EOS world in order to obtain resources, which are scattered about the world. Recall that the Mellars model suggested that the availability of resources at predictable locations and times was a key factor in the growth of the social complexity in the Palacolithic period. To reflect this, resources (intuitively corresponding to things like a Reindeer herd or a fruit tree) were clustered, and the rules governing the emergence and disappearance of resources reflects this. The basic form of social structure that emerges in EOS does so because certain resources have associated with them a skill profile. This profile defines, for every type of slull or capability that agents may possess, how many agents with this skill are required to obtain the resource. For example, a 'fish' resource might require two 'boat' capabilities; and a 'deer' resource might require a single 'spear' capability. In each experiment, a user may specify a number of parameters: the number of resource locations of each type and their distribution; the number of resource instances that each resource location comprises; the type of energy that each resource location can supply;

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