http://extremevirtualwrest.forumi.bg/index.php
Призовавам за форумна атака над тва нещастно форумче.

Все още нямат 10 000
Иначе що.. де да знам.. регистрират се ей така за кефа :> И btw - редовни са към 70-80 човека

Ъм... щото някои имат поне капка социален живот?

Няма смисъл.. по-добре да атакуваме някой чалга форум (на Планета примерно)

http://www.planeta.tv/forums/index.php
айде добра организация и ше го сринем до основи!

Аз съм навитак, само кажете веднага ли почваме че имам планове за вечерта (да поспя за разнообразие)

Май няма да стане щото тоя форум е толкова ебан че дори не можеш да се регнеш като хората

Правим една тема с име ДОКО ДОКО и почва големата импровизация

Кви атаки ве

Майко, чалга форум!

АТАКА???????????????????????????????
Напред народе възрождени, да им го турим на чалгиите

П.П. с цел да почне масова банизация, айде да се съберем няколко човека и почне
И после да има голямо и красиво:


П.П. Студено ми е, това влияе лошо

Аз вече съм горд собственик на акаунт там, чакам заповеди

Айде бе, в кой раздел е атаката?

Дал съм линк.

********************** бе повикан в пълна боЛна готовност... чакам инструкции,
въоръжение: ятаган,
ранк: башибозук
Настроени: готовност за правене на кайма...

Бахти няма никаква съпротива и бързо омръзва Някой да има ръководството на фотошопа да постне

Вие сте истински бойци за справедливост:Ь

Workflow improvements
Adobe Bridge Simplify file handling in Photoshop and within Adobe Creative Suite with Adobe Bridge, the next-generation file browser. Efficiently browse, tag, search, and process your images. (See About Adobe Bridge.)
Color management improvements Maintain common color settings throughout the Adobe Creative Suite components. Print with the simplified printing interface for color management. (See To synchronize color settings across Adobe applications.)
Version Cue® 2.0 Manage files and versions as a single user or in a small workgroup. Integrate with Adobe Bridge to manage files for your Photoshop and Adobe Creative Suite projects. (See Version Cue managed projects.)
Enhanced photo capabilities
Multi-image Camera Raw Process an entire photo shoot in a fraction of the time. With support for a comprehensive range of digital cameras, you can automatically adjust settings, convert to universal Digital Negative (DNG) format, and apply nondestructive edits to batches of images. (See The Camera Raw plug-in.)
High Dynamic Range (HDR) Work with images in 32-bits-per-channel, extended dynamic range. Photographers can capture the full dynamic range of a scene with multiple exposures and merge the files into a single image. (See About High Dynamic Range images.)
Optical lens correction Correct for lens aberrations such as barrel and pincushion distortion, chromatic aberration, and lens vignetting. Easily correct image perspective using the filter’s grid. (See The Lens Correction filter.)
Noise reduction Reduce digital image noise, JPEG artifacts, and scanned film grain. (See Reducing image noise.)
Smart Sharpen filter Sharpen images with new algorithms for better edge detection and reduced sharpening halos. Control the amount of sharpening in the highlights and shadows. (See To use the Smart Sharpen filter.)
Spot Healing tool Quickly heal spots and blemishes without selecting source content. (See To use the Spot Healing Brush tool.)
One-click red-eye correction Fix red eyes with one click. Set options to adjust pupil size and darkening amount. (See To remove red eye.)
Blur filters Apply blur effects using new blur filters: Box Blur, Shape Blur, and Surface Blur. (See Blur filters.)
Productivity boosters
Customizable menus Set up and save custom menus and workspaces, highlight new or commonly used menu items, and reduce on-screen clutter for easier access to the tools you need. (See To define a set of menus.)
Image Processor Process a batch of files to multiple file formats. (See About the Image Processor.)
All new PDF engine Comprehensive, customizable presets and PDF 1.6/Acrobat 7.0 compatibility. (See Saving files in Photoshop PDF format.)
Script and action event manager Set JavaScripts and Photoshop actions to run automatically when a specified Photoshop event occurs. (See To set scripts and actions to run automatically.)
UI font size customization Customize the size of text in the options bar, palettes, and the Layer Style dialog box. (See To change the font size in the work area.)
Update Manager Automatically search for Photoshop updates.
Variables Create data-driven graphics in Photoshop as you now do in ImageReady. (See About data-driven graphics.)
Video preview Display your document on a video monitor using a Firewire (IEEE1394) link. (See To preview your document on a video monitor.)
WYSIWYG Font menu Preview font families and font styles directly in the Font menu. (See To choose a font family and style.)
Designer enhancements
Vanishing Point Paste, clone, and paint image elements that automatically match the perspective planes in an image. (See About Vanishing Point.)
Smart Objects Perform nondestructive transforms of embedded vector and of pixel data. Create multiple instances of embedded data and easily update all instances at once. (See Smart Objects.)
Multiple layer control Work with layers as objects. Select multiple layers and move, group, align, and transform them. (See Selecting layers and To group and ungroup layers.)
Image Warp Easily create packaging mock-ups or other dimensional effects by wrapping an image around any shape or stretching, curling, and bending an image using Image Warp. (See The Warp command.)
Animation Create animated GIF files in Photoshop much as you create animation in ImageReady. (See Creating an animation.)
Japanese type features Format text with new character alignment (Mojisoroe) and more Kinsoku Shori types. (See About Asian type.)
Smart Guides Align the content of layers as you move them using guidelines that appear only when you need them. (See About guides and the grid.)
Integrated Adobe Online Services Access and download professional Adobe Stock Photos and share and print online with Adobe Photoshop Services. (See About Adobe Stock Photos.)
Vector shapes are lines and curves that you draw using the shape or pen tools. Vector shapes are resolution-independent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application.
Paths are outlines that you can turn into selections, or fill and stroke with color. The outline of a shape is a path. You can easily change the shape of a path by editing its anchor points. You can draw shapes in ImageReady, but you can’t work directly with paths.
When you work with the shape tools in Photoshop, you can draw in three different modes. You choose a mode by selecting an icon in the options bar when you have a shape or pen tool selected.
Shape Layers Creates a shape on a separate layer. You can use either the shape tools or the pen tools to create shape layers. Because they are easily moved, resized, aligned, and distributed, shape layers are ideal for making graphics for web pages. In Photoshop, you can choose to draw multiple shapes on a layer. A shape layer consists of a fill layer that defines the shape color and a linked vector mask that defines the shape outline. The outline of a shape is a path, which appears in the Paths palette.
Paths Draws a work path on the current layer that you can then use to make a selection, create a vector mask, or fill and stroke with color to create raster graphics (much as you would using a painting tool). A work path is temporary unless you save it. Paths appear in the Paths palette.
Fill Pixels Paints directly on a layer—much as a painting tool does. When you work in this mode, you are not creating vector graphics. You work with the shapes you paint just as you do with any raster image. The Pen tools don't work in this mode.
Consult with your production partners (if you have any) to ensure that all aspects of your color management workflow integrate seamlessly with theirs.
Discuss how the color workflow will be integrated with your workgroups and service providers, how will software and hardware be configured for integration into the color management system, and at what level will color management be implemented. (See Do you need color management?.)
For more information on common color management workflows, see the Color Workflow Guide on your application CD.
Calibrate and profile your monitor.
A monitor profile is the first profile you should create. Seeing accurate color is essential if you are making creative decisions involving the color you specify in your document. (See To calibrate and profile your monitor.)
Add color profiles to your system for any input and output devices you plan to use, such as scanners and printers.
The color management system uses profiles to know how a device produces color and what the actual colors in a document are. Device profiles are often installed when a device is added to your system. You can also use third-party software and hardware to create more accurate profiles for specific devices and conditions. If your document will be commercially printed, contact your service provider to determine the profile for the printing device or press condition. (See About color profiles and To install a color profile.)
Set up color management in Adobe applications.
The default color settings are sufficient for most users. However, you can change the color settings by doing one of the following:
If you use multiple Adobe applications, use Bridge to choose a standard color management configuration and synchronize color settings across applications before working with documents. (See To synchronize color settings across Adobe applications.)
If you use only one Adobe application, or if you want to customize advanced color management options, you can change color settings for a specific application. (See To set up color management for Illustrator, InDesign, and Photoshop or To set up color management for GoLive.)
(Optional) Preview colors using a soft proof.
After you create a document, you can use a soft proof to preview how colors will look when printed or viewed on a specific device. (See Soft-proofing colors.)
Note: A soft proof alone doesn’t let you preview how overprinting will look when printed on an offset press. If you work with Illustrator or InDesign documents that contain overprinting, turn on Overprint Preview to accurately preview overprints in a soft proof.
Use color management when printing and saving files.
Keeping the appearance of colors consistent across all of the devices in your workflow is the goal of color management. Leave color management options enabled when printing documents, saving files, and preparing files for online viewing. (See Printing with color management and Color-managing documents for online viewing.)
When color management is on, any color you apply or create within an Adobe application automatically uses a color profile that corresponds to the document. If you switch color modes, the color management system uses the appropriate profiles to translate the color to the new color model you choose.
Keep in mind the following guidelines for working with process and spot colors:
Choose a CMYK working space that matches your CMYK output conditions to ensure that you can accurately define and view process colors.
Select colors from a color library. Adobe applications come with several standard color libraries, which you can load using the Swatches palette menu.
(Illustrator and InDesign) Turn on Overprint Preview to get an accurate and consistent preview of spot colors.
(Illustrator and InDesign) Use Lab values (the default) to display predefined spot colors (such as colors from the TOYO, PANTONE, DIC, and HKS libraries) and convert these colors to process colors. Using Lab values provides the greatest accuracy and guarantees the consistent display of colors across Creative Suite applications. If you want the display and output of these colors to match earlier versions of Illustrator or InDesign, use CMYK equivalent values instead. For instructions on switching between Lab values and CMYK values for spot colors, search Illustrator or InDesign Help
Note: Color-managing spot colors provides a close approximation of a spot color on your proofing device and monitor. However, it is difficult to exactly reproduce a spot color on a monitor or proofing device because many spot color inks exist outside the gamuts of many of those devices.
© 2005 Adobe Systems Incorporated. All rights reserved.
Adobe® Photoshop® CS2 User Guide for Windows® and Macintosh
If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part of this guide may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end user license agreement.
The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the informational content contained in this guide.
Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law. The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure to obtain any permission required from the copyright owner.
Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual organization.
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PANTONE® Colors displayed in the software application or in the user documentation may not match PANTONE-identified standards. Consult current PANTONE Color Publications for accurate color. PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. © Pantone, Inc., 2001. Pantone, Inc. is the copyright owner of color data and/or software which are licensed to Adobe Systems Incorporated to distribute for use only in combination with Adobe Photoshop. PANTONE Color Data and/or Software shall not be copied onto another disk or into memory unless as part of the execution of Adobe Photoshop.
Notice to U.S. Government End Users: The Software and Documentation are “Commercial Items,” as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation,” as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated.
A hard proof (sometimes called a proof print or match print) is a printed simulation of what your final output on a printing press will look like. A hard proof is produced on an output device that’s less expensive than a printing press. Some inkjet printers have the resolution necessary to produce inexpensive prints that can be used as hard proofs.
Choose View > Proof Setup, and select the output conditions you want to simulate. You can do this using a preset or by creating a custom proof setup. (See To soft-proof colors.)
The view changes automatically according to the proof you chose, unless you chose Custom. In this case, the Customize Proof Condition dialog box appears. You must save custom proof settings for them to appear in the Proof Setup Preset menu of the Print With Preview dialog box. Follow the instructions to customize a proof.
After you select a proof, choose File > Print With Preview.
Make sure that More Options is selected (if it is, the Fewer Options button is displayed) and that Color Management is selected in the pop‑up menu.
In the Print area, select Proof. The profile that appears in parentheses, should match the proof setup you selected earlier.
In the Options area, for Color Handling, choose Let Photoshop Determine Colors.
For Printer Profile, select the profile for your output device.
(Optional) Set any of the following options. In most cases, it is best to use the default settings.
Rendering Intent Specifies how Photoshop converts colors to the destination color space. When printing a hard proof, you should choose either Absolute Colorimetric or Relative Colorimetric. (See About rendering intents.)
Proof Setup Preset This option is available if you select Proof from the Print area. From the pop‑up menu, choose any customized proofs that exist locally on your hard drive.
Simulate Paper Color Simulates what colors look like on the paper of the simulated device. Using this option produces the most accurate proof, but it is not available for all profiles.
Simulate Black Ink Simulates the brightness of dark colors of the simulated device. Using this option results in more accurate proofs of dark colors, but it is not available for all profiles.
Access the color management options for the printer driver from the second print dialog box, which automatically appears after you click Print. In Windows, click the Properties button to access the printer driver options. In Mac OS, use the pop‑up menu from the second Print dialog box to access the printer driver options.
For inkjet printer drivers, color management options are usually labeled ColorSync (Mac OS) or ICM (Windows).
Turn off color management for the printer so that the printer profile settings don’t override your profile settings.
Every printer driver has different color management options. If it’s not clear how to turn off color management, consult your printer documentation.
Click Print.
Note: If you get a warning that your image is larger than the paper’s printable area, click Cancel, choose File > Print With Preview, and select the Scale To Fit Media box. Click Page Setup to make any changes to your paper size and layout, and attempt to print the file again.
If you have a custom color profile for a specific printer, ink, and paper combination, letting Photoshop manage colors may produce better results than letting the printer manage colors. See Letting the application determine colors when printing.
Choose File > Print With Preview.
Make sure that More Options is selected (if it is, the Fewer Options button is displayed) and that Color Management is selected in the pop‑up menu.
In the Options area, for Color Handling, choose Let Photoshop Determine Colors.
For Printer Profile, select the profile for your output device.
The more accurately the profile describes the behavior of the output device and printing conditions (such as paper type), the more accurately the color management system can translate the numeric values of the actual colors in a document. (See Obtaining custom profiles for desktop printers.)
(Optional) Set any of the following options. In most cases, it is best to use the default settings.
Rendering Intent Specifies how Photoshop converts colors to the destination color space. (See About rendering intents.)
Black Point Compensation Preserves the shadow detail in the image by simulating the full dynamic range of the output device.
Access the color management options for the printer driver from the second print dialog box, which automatically appears after you click Print. In Windows, click the Properties button to access the printer driver options. In Mac OS, use the pop‑up menu from the second Print dialog box to access the printer driver options.
For inkjet printer drivers, color management options are usually labeled ColorSync (Mac OS) or ICM (Windows).
Turn off color management for the printer so that the printer profile settings don’t override your profile settings.
Every printer driver has different color management options. If it’s not clear how to turn off color management, consult your printer documentation.
Click Print.
Note: If you get a warning that your image is larger than the paper’s printable area, click Cancel, choose File > Print With Preview, and select the Scale To Fit Media box. Click Page Setup to make any changes to your paper size and layout, and attempt to print the file again.
See also
Printing with color management
Choose File > Print With Preview.
Select More Options (it is already selected if Fewer Options is displayed), choose Output from the pop‑up menu, and click Screen.
In the Halftone Screens dialog box, choose whether to generate your own screen settings:
Deselect Use Printer’s Default Screens to choose your own screen settings.
Select Use Printer’s Default Screens to use the default halftone screen built into the printer. Photoshop then ignores the specifications in the Halftone Screens dialog box when it generates the halftone screens.
For a grayscale halftone, enter a screen frequency from 1 to 999.999, and choose a unit of measurement. Enter a screen angle from –180 to +180 degrees.
For a color separation, choose from the following options:
To have Photoshop determine and enter the best frequencies and angles for each screen, click Auto. In the Auto Screens dialog box, enter the resolution of the output device and the screen frequency you intend to use, and click OK. Photoshop enters the values in the Halftone Screens dialog box. Changing these values may result in moiré patterns.
If you are using a PostScript Level 2 (or higher) printer or an imagesetter equipped with an Emerald controller, make sure that the Use Accurate Screens option is selected in the Auto Screens dialog box (or in the Halftone Screens dialog box, if you’re entering the values manually). The Use Accurate Screens option lets the program access the correct angles and halftone screen frequencies for high-resolution output. If your output device is not a PostScript Level 2 (or higher) printer or is not equipped with an Emerald controller, this option has no effect.
For Shape, choose the dot shape you want. If you want all four screens to use the same dot shape, select Use Same Shape For All Inks.
Choosing Custom from the Shape menu displays the Custom Spot Function dialog box. You can define your own dot shapes by entering PostScript commands—useful for printing with nonstandard halftone algorithms. For information about using PostScript language commands, see the PostScript Language Reference published by Addison-Wesley, or consult the imagesetter’s manufacturer.
For optimal output on a PostScript printer, the image resolution should be 1.5 to 2 times the halftone screen frequency. If the resolution is more than 2.5 times the screen frequency, an alert message appears. If you are printing line art or printing to a non-PostScript printer, see your printer documentation for the appropriate image resolutions to use.
Click OK.
You can create monotones, duotones, tritones, and quadtones in Photoshop. Monotones are grayscale images printed with a single, nonblack ink. Duotones, tritones, and quadtones are grayscale images printed with two, three, and four inks. In these images, colored inks, rather than different shades of gray, are used to reproduce tinted grays. For the purposes of this discussion, duotone refers to monotones, tritones, and quadtones as well as duotones.
Duotones increase the tonal range of a grayscale image. Although a grayscale reproduction can display up to 256 levels of gray, a printing press can reproduce only about 50 levels of gray per ink. For this reason, a grayscale image printed with only black ink can look significantly coarser than the same image printed with two, three, or four inks, each individual ink reproducing up to 50 levels of gray.
Sometimes duotones are printed using a black ink and a gray ink—the black for shadows and the gray for midtones and highlights. More frequently, duotones are printed using a colored ink for the highlight color. This technique produces an image with a slight tint and significantly increases the dynamic range of the image. Duotones are ideal for two-color print jobs with a spot color (such as a PANTONE Color) used for accent.
Because duotones use different color inks to reproduce different gray levels, they are treated in Photoshop as single-channel, 8‑bit, grayscale images. In Duotone mode, you do not have direct access to the individual image channels (as in RGB, CMYK, and Lab modes). Instead, you manipulate the channels through the curves in the Duotone Options dialog box.
Някой искаше ръководството на Шопа.. ето някои точки

Утре като ни баннат (или още днес) няма да е интересно, трябваше през деня да почнем..

Many thanks!!!