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you have clicked the Preview button in your scanner software so that you
have a preview image to look at as you make your adjustments. You may
have to poke around to find a button or command (usually Advanced or More
Options) that reveals these adjustments, or even discover that your software
doesn™t offer them.

Many adjustments that scanning software offers are technical. We don™t have
room to fully do them justice here, but you probably don™t need them
anyway. We describe here a few of the important ones you may find:

Brightness: Brightness makes all areas darker or lighter to the same
degree.
Contrast: The Contrast adjustment makes dark areas darker and light
areas lighter.
Exposure: Increasing the Exposure setting makes dark pixels dispropor-
tionately darker and brings out detail in the light areas.
Shadow/Midtone/Highlight: The Shadow and Highlight values are also
called the black and white points, respectively. Sometimes they™re
unnamed and appear as sliding arrows under a histogram chart. These
three settings are something like Contrast and Exposure, but more pre-
cise, which make an image™s dark areas darker and its light areas lighter.
The settings also bring out detail in the middle ranges of darkness and
adjust a too-dark or too-light image to a more pleasing appearance. Each
setting ranges from 0 to 255 (the numeric values correspond to bright-
ness: 0 is black and 255 is white). The choices are shown in this list:
• Shadow: To make the darker areas as dark as possible, adjust the
Shadow value upward. All pixels below that value become as dark
as you can make them without radically changing any colors.
• Highlight: To make light areas as light as possible, adjust the
Highlight value downward. All pixels above that value become as
light as possible without radically changing their colors.
• Midtone: If the rest of the image is, overall, kind of dark, adjust the
Midtone value downward; if the image is light, set the value higher.




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88 Part II: Prettying Up Photographs

Descreen: Some software has special descreen capabilities, which
means that they can minimize the moir© patterns that arise when you
scan printed images. Generally, the software offers several settings that
depend on whether you™re scanning from a newspaper, magazine, or
higher-quality printed source, like a book. (You probably have to scan
to see the result of descreening ” it™s unlikely that you can see it in the
preview.)
Unsharp Mask: Try this feature (it often lurks in an area named Filter or
something similar) if your photo doesn™t look quite as sharp as it should.
Without making the image sharper, this feature gives the illusion of sharp-
ness. It raises the contrast around edges (where the pixel values change).
Unsharp masking usually has four settings:
• Strength: Adjusts the degree of contrast enhancement (sharpness).
• Radius: Determines how far from an edge the effect extends.
• Clipping: Sets a limit, below which an edge isn™t enhanced. A set-
ting that™s too low may make the image speckly.
• Luminance Only: Sometimes, unsharp masking may mix up the
colors and produce strange new hues that have no place in your
image. If that™s the case, set the Unsharp Mask to Luminance Only,
which means that it changes only the black-and-white bits and
leaves the colors alone. Although this option sounds horrible,
often it produces a much clearer picture.
(The numbers used in these settings have no intuitive meaning, so don™t
look for one. Just adjust them up or down.)

If you forget to use Unsharp Mask while scanning, you can use the Paint Shop
Pro Unsharp Mask effect after scanning. Choose Adjust➪Sharpness➪Unsharp
Mask and the Unsharp Mask dialog box appears. Make the same adjustments
listed in the last bullet in the preceding list. Figure 5-4 shows you the Unsharp
Mask effect, as shown on a picture of one of the authors as a young Gene
Simmons.

Many scanner programs offer check boxes to turn on automatic features
(typically auto contrast and auto color correction). These features attempt
to adjust various settings for you, based on the preview scan. Sometimes
they work well and sometimes they don™t. Try enabling and disabling their
check boxes to see the result in the Preview area.

You can find an excellent, detailed guide to using the features of scanning
software ” in fact, to using your scanner in general ” on the Web at www.
scantips.com.




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Chapter 5: Capturing Pictures from Paper, Camera, or Screen


Figure 5-4:
KISS and
makeup ”
unsharp
masking
refers to the
effect
illustrated
by this
before-and-
after pair of
images.

Before After




Forever plaid: Scanning printed images
When you scan a printed image from a newspaper, magazine, or book, your
image often acquires a blurry checkered plaid or barred pattern. This pat-
tern, called a moir© (“mwah-RAY”) pattern, is caused by conflict between the
dots used to print your image and the dots that happen during scanning.

The next time you put your window screens up or down, you can see this
same effect if you look through two screens at the same time. Or, if you have
a screen porch, stand outside and look through the two screens where they
meet at a corner.




Dots not nice!
Why do scans of printed images get moir© pat- spacing (your chosen resolution in dots per
terns? Unlike photographic prints and painted inch). The samples don™t align exactly on the
or drawn artwork, printed images are made up printed dots, except every 10 or 20 pixels, for
of ink dots of varying sizes at a certain spacing. example; the rest of the time, they align partly
This effect wouldn™t be a problem, except that on the dots and partly on the white background.
your scanner also uses dots ” and they™re of a The usual result is a checkered or barred pat-
different size and spacing. terning on the image. Something similar can
happen when Paint Shop Pro displays the
Your scanner reads the image by sampling it
image on your PC screen, which also uses dots.
(looking at tiny spots on the image) at some




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The moir© pattern may exist only on your PC screen in Paint Shop Pro and
not in your image file, as Figure 5-5 illustrates. In this figure, the zoom of 1:3
(noted on the title bar) is responsible. Try viewing the image at full scale
(press Ctrl+Alt+N) or larger. If the pattern disappears, the pattern is just the
effect of using a zoom of less than 1:1. Don™t worry about it. When the image
is printed at a high printer resolution or used on the Web at full size, that pat-
tern probably doesn™t appear. If the pattern is still visible at a 1:1 zoom, it™s
permanent and you need to do something about it.




Figure 5-5:
A moir©
pattern
appears on
this roof, but
isn™t an
image flaw.



Permanent moir© pattern problems? Try these solutions:

Higher resolution: The pattern may fade if you set the resolution of
your scanner™s software (the dots-per-inch value) higher.
Descreening: If your scanner software provides descreening, use this
option. See the section “Setting contrast and other adjustments,” earlier
in this chapter, for more information.
Special filter: Choose Adjust➪Add/Remove Noise➪Moir© Pattern
Removal (see Chapter 6).

Printed images pose more problems than just moir© patterns. Although the
images appear to have a wide variety of tones, printed images are composed
of alternating dots of primary colors (black-and-white photos have only two
colors, for example). When these images are scanned (particularly at high
resolution), they retain that spotty, dotty character. Zoom in to see them.

As a result, Paint Shop Pro features that use color selection and replacement
don™t work as your eye would lead you to expect. An area that looks uni-
formly green, for example, may be made up of blue and yellow dots. You can™t
select that green area of your scanned-in logo, for example, because it™s not
really green! This problem gets worse at higher resolutions.



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Chapter 5: Capturing Pictures from Paper, Camera, or Screen

To partially solve this problem, you can apply the Paint Shop Pro blur adjust-
ment (see Chapter 8) to make the dots blur together. If you have problems
selecting a colored area with the Magic Wand tool (refer to Chapter 3), try
increasing the Tolerance setting in the Tool Options dialog box.



Straightening crooked scans
Lining up your photos neatly across the bottom of most scanners is a pain ”
and even then you normally don™t get it quite right, which leads to a tilted pic-
ture of your sweet snookielumps. Fortunately, Paint Shop Pro has a useful
tool that straightens your pictures for you.

Here™s how to get your pictures to straighten up and fly right:

1. Select the Straighten tool from the deformation tool group, as shown
in Figure 5-6.




Figure 5-6:
The
Straighten
tool, hidden
among the
deformation
tool group.



2. Find a horizontal line in your crooked picture that should be level,
but isn™t.
In Figure 5-7, which we show you momentarily, that line is the top edge
of the photo. In other images that don™t have easily accessible photo
edges to work with, try looking for flat horizons (oceans disappearing
against the sky are usually a good bet), pictures, benches, kitchen coun-
ters, or windows.




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Figure 5-7:
The
Straighten
line, and a
truly twisted
image.



This tilted straight line is your way of telling the Straighten tool, “If you
rotate the image until this line is perfectly level, the image will be fixed.”
So choose it carefully!
If your image has no horizontal lines that you can use but it does have
vertical ones, you can use the Straighten tool on a vertical line as well.
Paint Shop Pro notices that your baseline is vertical, not horizontal, and
instead rotates your image so that the baseline is perfectly north-to-
south.
3. Position the Straighten line so that it™s next to your baseline.
A straightening line, complete with a handle on each end, appears
in your picture. Move your mouse over it until the cursor becomes
a four-headed arrow with a line over it, as shown in Figure 5-7.
Click and drag the Straighten line to the tilted line you have chosen to
use as a baseline.
4. Click and drag the handles on each end of the Straighten Line until
both of them are on the tilted line you have chosen.
When you™re finished, the Straighten tool should be lying along the edge
of your baseline.
If you want to have your image automatically cropped to snip out the
blank spaces around the edge of the picture after it has been straight-
ened, check the Crop Image box on the Tool Options palette (press F4 if
you don™t see the palette).




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Chapter 5: Capturing Pictures from Paper, Camera, or Screen

Double-click your image to straighten it (and crop it, if you have
chosen to).
5. Make sure that it™s straight!
For the picture shown in Figure 5-7, we chose to use the top edge of the
photo as a baseline for straightening . . . and we were wrong. As you can
see in Figure 5-8, we have adjusted the image so that the photo is level,
but the photo itself was taken at an angle (as though it weren™t embar-
rassing enough)! On the right side of the figure, William is on the level ”
a feat he would not manage to duplicate until years later.
Press Ctrl+Z to undo any changes. Note that when we went back and
straightened the image again using the top line of the television set as
a baseline, it came out much better.




Figure 5-8:
The image
on the left
has been
adjusted so
that the
photo is
straight, but
the photo
itself is
crooked.




Capturing Images from Your PC Screen
There it is, onscreen: the exact image you need. But it™s in some other pro-
gram, not Paint Shop Pro. You figure that there must be some way to get it
into Paint Shop Pro ” after all, it™s already in your computer.

You™re right. Paint Shop Pro has several different ways to capture that image.

When an image appears in a window on your PC, it comes with all kinds of
other stuff that is part of the program displaying the image: toolbars, status
bars, a title bar, and a sushi bar, for example. Maybe you want that stuff, and
maybe you don™t. Paint Shop Pro helps you capture only the part of the




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94 Part II: Prettying Up Photographs

window you really want: It™s most likely an image, but if (like us) you™re illus-
trating software, you may want to see just a toolbar from the program
window or where a mouse cursor is pointing. For all these captures, use the
Paint Shop Pro capture features, on the Capture menu.



Preparing to capture
To set your snare, follow these steps:

1. Choose File➪Import➪Screen Capture➪Setup from the menu bar.
The Capture Setup dialog box, as shown in Figure 5-9, comes to your aid.




Figure 5-9:
Setting your
snare for
elusive
Windows
wildlife.



From left to right in the figure, you can see that you have three kinds of
choices: what you want to capture, how you want to trigger (activate)
the snare, and a couple of options (Include Cursor or Multiple Captures).
2. Choose what to capture.
Paint Shop Pro can capture five different species of Windows wildebeest.
In the Capture Setup dialog box, choose one of the possibilities listed in
Column 1 of Table 5-1.


Table 5-1 Using Different Types of Capture
Type of Capture What It Does
Area Captures a rectangular area that you define anywhere
onscreen.
Full screen Captures the whole nine yards, the entire enchilada, the
full Monty ” everything onscreen.




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Chapter 5: Capturing Pictures from Paper, Camera, or Screen


Type of Capture What It Does
Client area Captures everything in a window except the title bar.
Window Captures the application window you specify (don™t use
for a document window; use Object for that).
Object Captures an application window, a document window, or
any individual feature in a window, like a toolbar ” a
useful catchall category that works for toolbars, menu
bars, scroll bars, palettes, and sometimes portions of
those objects.


3. Choose your trigger.
You must choose a trigger, which is an action (such as pressing a particu-
lar key) that you take, after setup finishes, to tell Paint Shop Pro to start
capturing images. Without a trigger, the capture would start immedi-
ately. All you would ever capture is Paint Shop Pro itself! In the Capture
Setup dialog box (refer to Figure 5-9), you can see that you have three
choices for triggering the capture. Select one of these options:
• Right mouse click: A right mouse click begins the capture.
• Hot key: From the Hot Key selection box, choose a key to serve as
a trigger. You can choose any of the function keys, F1 through F12,
alone or in combination with Shift, Alt, or Ctrl. F10 is initially
chosen for you.
• Delay timer: Select this option and then enter a delay time (in sec-
onds) in the Delay Timer box.
4. Choose options.
Paint Shop Pro gives you two options:
• Capture multiple images: If you plan to capture a series of
onscreen images, select the Multiple Captures check box in the
Capture Setup dialog box (refer to Figure 5-9). You then can simply
snap a series of images without returning to Paint Shop Pro each
time. If you™re creating a tutorial for using some software, for exam-
ple, you can set up Paint Shop Pro and then easily capture a screen
for each step.

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