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Figure 4-5:
by dragging
a corner
pressing Ctrl
(left image)
or Shift

Shear (or skew) distortion: We created the shear effect shown in Fig-
ure 4-6 by dragging the right side of the selection down. To drag a side of
your selection, hold down either the Ctrl or Shift key and drag the center
handle on the side you want to move.

Shear is useful for perspective when you want the virtual horizon (the vanish-
ing point, in drafting terms) to be higher or lower than dead center. Apply
perspective distortion to shrink a left or right side first, and then use the
shear effect to drag one of those sides up or down. Dragging down, for exam-
ple, makes the image appear as it would if a viewer were looking up slightly
(it lowers the horizon).

Figure 4-6:
Dragging a
handle with
Ctrl or Shift

TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 4: Moving, Copying, and Reshaping Parts of Your Image

Deformation consternations
The Deform tool can occasionally wrinkle your there, all right, but you have applied the Deform
brow with certain weirdnesses. Here are a few tool to a layer or selection that covers the entire
typical problems and their solutions: image. Change layers or make a new selection.
The tool encompasses the wrong area: You prob- An annoying background appears in the area
ably have the wrong layer active. Here™s what the selection outline has vacated: Well, Paint
happens: If you™re on a layer that™s transparent in Shop Pro has to put something there, and it can™t
the selected area, the Deform tool chooses the invent a background image. (Refer to “Preparing
nontransparent area instead. Press the F8 key to for deformation,” earlier in this chapter, for more
open the Layer palette and click the layer that information about backgrounds.) If Paint Shop
contains the image you want. Pro could stretch the surrounding area to stay
continuous with your newly deformed selection,
You can™t find the deformation grid; you see only
that would be nice, but it isn™t so.
two squares and a connecting line: The grid is

Deforming by dialog box
Dragging handles is convenient and intuitive, but not particularly precise.
What if you know that you need to rotate something 31.5 degrees, for exam-
ple? Or scale it down to 85 percent of its original dimensions?

Press F4 to bring up the Tool Options palette, and you can type the settings
you want. It provides a column for X, or horizontal values, and Y, or vertical
values, and rows for each of the various changes that the Deform tool can
make. Here™s how to choose the values you need:

Position: To move the selection, enter the X and Y coordinates where
you want the upper-left corner of the deformation grid to go. (Remember
that X and Y both equal 0 in the upper-left corner of the image.)
Scale: Enter X and Y scale factors. Enter 80 in the X% scale box, for
example, to reduce the horizontal size of the selection to 80 percent of
the original. To keep the original proportions, put the same value in both
the X and Y columns.
Shear: To slide the top edge to the right, enter a positive value; enter a
negative value to move the edge the other way.
Perspective: To make the right edge appear to recede into the distance
by pulling the upper-right corner down and inward, enter a positive
number in the Perspective X box. To make the top edge appear to
recede, do likewise in the Y box. Use negative values to make those
same edges appear to approach the viewer instead.

TEAM LinG - Live, Informative, Non-cost and Genuine !
70 Part I: The Basics

Pivot: Normally, when you rotate a selection or layer, it rotates around
the center. If you want your image to revolve around a different point ”
around the upper-left corner of the selection, for example, or even around
a point that™s outside the selection entirely ” adjust the pivot values. The
numbers in the X and Y boxes vary, but unless you have changed the
pivot in the past, those numbers are the exact center of the image. Lower
X numbers move the pivot to the left, whereas higher Xs shift it right;
lower Y numbers move the pivot up, and higher numbers drop it down.
Angle: To rotate the selection clockwise, enter a positive number of
degrees (45, for example) into the text box. Use a negative value to
rotate the selection counterclockwise.

Other handy deformities
You should know about three other tools in the deformation tool group:

Mesh Warp: Using this tool covers your image with a grid of warp
points; you can click and drag each of these points to deform your image
in specific ways, as you can see in Figure 4-7.
In the left picture, the grid is untouched; in the right, however, we have
moved the warp points around and the image has stretched itself to fit
the new warp points. (You can control the number of warp points by
changing the Mesh Horizontal and Mesh Vertical controls on the Tool
Options palette; larger values mean more points. As usual, press F4 if
you don™t see the Tool Options palette.)

Figure 4-7:
Amy and
Alex; the left
image is
what you
see when
you first
open the
Mesh Warp
tool, and the
right is what
after some
of the points
have been

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Chapter 4: Moving, Copying, and Reshaping Parts of Your Image

You can accomplish some mighty strange effects with this feature, given
time and lots of patience; the most common use is to warp an existing
image to fit on another image™s contour.
Straighten: Did you ever spend an afternoon hanging paintings and
taking painstaking care to ensure that the bottom edges of the frames
were all perfectly parallel with the floor? This tool is an automatic
picture adjuster. Most images are at least a little tilted when they™re
scanned, so we discuss this tool in Chapter 5, in the section about
scanning into Paint Shop Pro.
Perspective Correction: This tool does the reverse of the Deform tool: If
you have an image that™s already a little skewed or sheared, you can use
this tool to attempt to remove the skew or shear. Dragging the Perspective
tool around an image creates a box; you can then drag the points on the
edge of the box, just as you would with the Deform tool ” but in this
case you™re trying to re-create the shear or skew that™s already present.
Align the box sides with vertical and horizontal edges in your image.
When you™re done, double-click the image and Paint Shop Pro attempts
to remove the shear. See color plate C-8 in the center of this book for an

TEAM LinG - Live, Informative, Non-cost and Genuine !
72 Part I: The Basics

TEAM LinG - Live, Informative, Non-cost and Genuine !
Part II
Prettying Up

TEAM LinG - Live, Informative, Non-cost and Genuine !
In this part . . .
E ver since Kodak sold its first Brownie camera, folks
have been snapping pictures like mad ” and often,
not liking them much. They™re too dim, too bright,
scratchy, speckly, or simply contain far too much Aunt
Martha. But, even Aunt Martha can get an extreme
makeover in Paint Shop Pro, even without (much to the
disappointment of certain relatives) ever going under the
knife. And, if the makeover doesn™t work, this section tells
you how to remove her altogether and get rid of that terri-
ble wallpaper behind her, too.

The problem goes beyond family snapshots. There™s noth-
ing uglier than a bad screen capture of some image or an
amateurish scan of a printed image (except perhaps for
Uncle Dave). And, of course, you need to be able to get
your digital picture into Paint Shop Pro in order to use it.
No matter if your problem is unsightly blemishes or look-
ing a bit green, you can hack your way to beauty in Part II.

TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 5
Capturing Pictures from Paper,
Camera, or Screen
In This Chapter
Downloading pictures from digital cameras and scanners
Using TWAIN software
Making e-mail-ready photos
Scanning images from paper
Getting better scans
Scanning printed images
Capturing images from the screen

W here do your pictures come from? From your new digital camera?
From a piece of paper? Or, from your PC screen?

Ironically, most people don™t paint pictures in Paint Shop Pro. They get an
image from somewhere and then mess around with it. This chapter tells you
how to use Paint Shop Pro to get that image onto your hard drive. After the
image is on your computer, then you can start making your pictures prettier.

Connecting to Your Scanner or Camera
Paint Shop Pro has lots of built-in ways to transfer images from a scanner or
camera to your hard drive ” but the most common methods involve a soft-
ware program called TWAIN. Much like a career bureaucrat, TWAIN doesn™t
do anything by itself; instead, it acts as an interpreter, translating your scan-
ner or camera™s language into native Windows-speak. If your camera or scan-
ner came with an installation disc, chances are good that the software it

TEAM LinG - Live, Informative, Non-cost and Genuine !
76 Part II: Prettying Up Photographs

installed is TWAIN-compliant, which means that Paint Shop Pro (a Windows
program) can use TWAIN to get images from your scanner or camera.

Another method of getting computers and cameras to talk to each other is
the Microsoft Windows Image Acquisition (WIA) method, which serves the
same function as TWAIN but isn™t quite as popular. If your scanner or camera
supports WIA, follow the instructions that came with the device for installing
and using WIA.

In this chapter, our instructions usually assume that you™re using the long-
time standard, the TWAIN software interface. However, the instructions also
give general scanning tips for everyone, regardless of what form of connec-
tion you use.

Getting Images from a Digital Camera
Digital cameras were made for family get-togethers. You can preview your
photo seconds after you have taken it and share the fun with your friends.
You can take 200 snapshots over the course of an afternoon without changing
film. And, if an unflattering photo highlights your bald spot, you can quietly
delete the evidence before anyone else sees!

The good news is that Paint Shop Pro can be a great tool for enhancing your
digital photos. First, however, you have to get the pictures off the camera and
onto your PC, which means that you need to get your PC and camera talking
to each other. They have to connect (or interface, in geekspeak) both physi-
cally and with their software.

Getting RAW power from your camera
On certain high-end cameras, you can elect to they feel that the autocorrected images are too
save your pictures in RAW format, which is a spe- synthetic and artificial. If you too rage against the
cial file type that sidesteps the automatic correc- machine, rejoice! Paint Shop Pro 9 can now read
tions that most digital cameras make to fix photos RAW files. (You have to read your camera™s
taken by everyday doofuses like you and us. Most manual to find out how to get your digicam to
digital cameras automatically perform rudimen- produce them, however.)
tary sharpening and color correction before
For most people, however, regular ol™ JPEGs or
saving a file. When a camera saves an image in
TIF files ” the two formats that cameras usually
RAW format, however, it does no processing to
save in ” are just fine. If all you want is photos of
the image. What you saw is what you get.
your latest cookout, RAW is probably irrelevant.
Professional photographers refer to RAW files as
“true digital negatives” and prefer them because

TEAM LinG - Live, Informative, Non-cost and Genuine !
Chapter 5: Capturing Pictures from Paper, Camera, or Screen

Connecting hardware-wise
We wish that we could give you exact instructions on how to hook your
camera into your PC, but digital cameras ” particularly, older ones ” con-
nect in all sorts of mysterious ways. Your physical connection may be a serial
port (a connector on the back of most PCs, if a modem or something else
isn™t already using it), a parallel (printer) port, a USB port, a FireWire port, a
memory card that plugs into your computer, a floppy disk, an infrared beam,
X-rays, semaphore flags, or magical auras ” who knows what the camera
people will come up with next? You have to consult your camera manual for
precise details.

However, the way most cameras connect to your computer these days is via
a USB port ” a small, rectangular socket about the size of a Chiclet held side-
ways. You simply plug one end of a USB cable into your camera™s input port
and plug the other end into the USB port, and you™re ready to go.

Some cameras save their pictures on a small chip called a flash card (or, some-
times, memory stick). If that™s the case, you need to remove the stick from your
camera and insert it into a small device called a flash card reader. You then plug
the reader into your computer.

Many cameras also require you to flip a switch or open the camera lens to
put the camera in “upload pictures” mode. Again, check your friendly manual
if simply plugging it in isn™t enough.

Connecting software-wise
You can use one of four methods to move pictures from your camera to your
PC. All but one of them (the easiest way) involves installing the camera™s inter-
face software, which comes on a disc with the camera. Most cameras use
either a TWAIN-compliant interface or a Windows Image Acquisition (WIA)
interface; Paint Shop Pro knows how to use both to transfer your pretty
images from your camera™s memory to your hard drive.

If the installation program lets you, avoid installing any freebie image soft-
ware (basically, a cheaper Paint Shop Pro) that comes with the camera. If
you do, the installation process may assign certain image file types to that
program rather than to Paint Shop Pro. If that happens, refer to the Chapter 1
sidebar that talks about the secrets of opening a file by double-clicking, for
making Paint Shop Pro open the right file types when you double-click.

Copying pictures from mounted drives
If your camera is plug-and-play enabled (a fancy way of saying that it™s smart
enough to work with Windows automatically), Windows thinks of your camera
as nothing more than a separate hard drive. When you plug in your camera
TEAM LinG - Live, Informative, Non-cost and Genuine !
78 Part II: Prettying Up Photographs

and turn it on, a new drive ” helpfully named something like E: or F: ”
appears in My Computer, as shown in Figure 5-1.

You can copy, delete, or move files on and off your digital camera just like it
were any other drive. Simply copy the files to a folder on your computer and
open them in Paint Shop Pro ” or, if you like, you can even open and edit
files while they™re still on your camera!

It™s not a good idea to edit files while they™re still on your camera ” not that
it does any harm. But, if you™re anything like us, you may forget that the
image you™re altering is still on your camera, and you won™t save a copy of
your carefully tweaked photograph to your hard drive. Later, when you
absent-mindedly clear your camera™s memory in order to take more pictures,
you lose everything.

Using TWAIN to transfer photos
TWAIN, which is the industry standard software that acts as a go-between to
Windows and your digicam, is used widely to translate native camera dialects
into fluent Windows-speak. If your camera isn™t plug-and-play, chances are
excellent that TWAIN can get the photos off your memory stick and onto your
hard drive.

If you want to import photos directly from Paint Shop Pro, you can some-
times use TWAIN even if your camera supports plug-and-play.

Figure 5-1:
When you
have a
digicam is
just another
hard drive
as far as
Windows is
That thing
Disk E is
one of our

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