[PDF DOWNLOAD] Adobe Photoshop CC for Photographers . Adobe photoshop cc for photographers pdf download free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Read more Read less. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from Canada. There was a problem filtering reviews right now. Please try again later. Verified Purchase.

What more need I say? This is a fine educational tool for mastering intricacies of LR and PS. Buy it. You will use it repeatedly and never regret it. I like the pairing of LR and CC – it is well presented and easy to follow. Delivered in time and a very good book.

As expected. See all reviews. Top reviews from other countries. I ordered this because I was having trouble getting to grips with Adobe Lightroom. Halfway through this book and I have learnt so much, Lightroom is now much easier to use. Great book easy to understand and follow. Report abuse.

Very good resource to have sitting beside you when editing! Has helped to improve my workflow between Lightroom and photoshop. Reminds you about basics when you’ve forgotten something and explains lots of other features. This system of book and computer lesson, is really helping me, it certainly clears up gaps in your knowledge and explains areas you may not use often in a thorough way. Also if like me your memory is not a good as it used to be, you know you can revisit sections at any time.

Excellent book with great online downloads to support the lessons. Report an issue. Does this item contain inappropriate content? Do you believe that this item violates a copyright? Does this item contain quality or formatting issues? Your recently viewed items and featured recommendations. Back to top. Get to Know Us. Make Money with Us. Amazon Payment Products.

Let Us Help You. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Business Everything for your business. This website is like an extra Photoshop book in itself, containing the equivalent of over pages of content. On this website you will find a guide to all the tools and panels in Photoshop and movie tutorials, which complement some of the step-by-step examples shown in the book.

You can also use this site to download demo images, as well as supplementary PDF chapters on topics such as digital capture, sharpening scanned images, color management and Photoshop shortcuts. The Photoshop CC for Photographers book is curently in it’s sixth editio.

The contents of this site have also been updated to keep in step with the most current version of the program. Tools and panels The tools and panels section contains detailed descriptions of all the Photoshop tools and panels that should be of importance to photographers.

For example, if you want to find out more about a particular tool or panel, you can click on the tool or panel in question or click on the name of the tool or panel and this takes you directly to the page that describes it in detail.

The intention here is to make it easier for readers to find out basic information about the Photoshop interface, without having to refer to the book. Layer Styles There is also a section on Layer Styles. This covers all the different layer style effects that you can apply to image or vector layers in Photoshop, such as drop shadows or bevel and emboss effects.

This has been thoroughly uypdated to include information about all the changes introduced to Photoshop CC. Accessing the images that appear in the book If you go to the Images section you will be able to access many of the images that appear in the book. The images that are provided here via the website are for you to experiment and play with, but please note that these are still copyrighted material and may not be used for any other purpose without express permission from myself.

The Images section also contains most of the images used in the website tutorial movies. This means that you can watch a movie first and then try out the technique described afterwards, using the same demo images. Movies The Movies section provides you with access to movie tutorials about the new features in the Photoshop CC program, as well as older movies from the previous CS6 and CS5 editions of the book. You can print these PDFs at high quality, but please note they may not be modified or copied or distributed.

However, educators may freely distribute these and other PDFs on the website to their students. Remote profiling for RGB printers You have just been reading one of the best digital imaging books in the marketplace.

Lots of print testing to achieve expected colour really does use up the ink and paper, but, more importantly it uses up the creative spirit. Just download the profiling kit from: www. The kit contains a detailed manual and colour charts.

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Adobe photoshop cc for photographers pdf download free download.Adobe Photoshop CC for Photographers

 

Next 3 for you in this series See full series. Sold by: Amazon. Next 5 for you in this series See full series. Books In This Series Books. Page 1 of 1 Start Over Page 1 of 1. Adobe Creative Team. Sandee Adobe Creative Team. Kindle Edition. About the author Follow authors to get new release updates, plus improved recommendations. Lesa Snider. Brief content visible, double tap to read full content.

Full content visible, double tap to read brief content. Read more Read less. Customer reviews. How are ratings calculated?

Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from Canada. There was a problem filtering reviews right now.

Please try again later. The images that are provided here via the website are for you to experiment and play with, but please note that these are still copyrighted material and may not be used for any other purpose without express permission from myself.

The Images section also contains most of the images used in the website tutorial movies. This means that you can watch a movie first and then try out the technique described afterwards, using the same demo images.

Movies The Movies section provides you with access to movie tutorials about the new features in the Photoshop CC program, as well as older movies from the previous CS6 and CS5 editions of the book. You can print these PDFs at high quality, but please note they may not be modified or copied or distributed. However, educators may freely distribute these and other PDFs on the website to their students.

Remote profiling for RGB printers You have just been reading one of the best digital imaging books in the marketplace. Lots of print testing to achieve expected colour really does use up the ink and paper, but, more importantly it uses up the creative spirit. Just download the profiling kit from: www. The kit contains a detailed manual and colour charts. We ask you to print the charts twice, so we can compare the sets to check printer continuity.

Keep repeating these steps to colorize the entire photo. Hand-tinting by Jack Davis, wowcreativearts. Saving metadata to files Once you finish editing some photos, you may want to save those edits in the files themselves.

Saving metadata to a file also acts as an insurance policy—it protects you from losing your changes if a photo and its metadata are inadvertently removed from the Lightroom catalog or if the catalog itself becomes corrupted or lost.

Because Lightroom saves the metadata to your file every single time you touch a slider. If so, with what tools? Review answers 1 The Graduated Filter tool. To do that, select the appropriate adjustment pin and then drag it to another position in your photo. To do it, set the Sharpness slider to — You can use the Post-Crop Vignetting sliders in the Effects panel to pro- duce rounded edges by dragging the Roundness slider all the way left, and then you can add a white background by dragging the Amount slider all the way right.

If you drag the Amount slider all the way left instead, you get a black background. In fact, this may be one of the most important lessons in this book because it covers the mechanics of a typical roundtrip workflow between Lightroom and Photoshop.

Happily, you have to adjust these settings only once. You can control file format, bit depth, color space— all of which are explained in this section—as well as file naming conventions and how the Photoshop files are displayed back in Lightroom.

Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor. Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it.

This is the RGB workspace that Photoshop uses unless you pick another one. The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press. The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye.

ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch. DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch. The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom.

Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses. Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web.

In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut. As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop.

Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size. You can specify pixel dimensions in Preset menu to save each one as a preset.

Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create. Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module.

In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo.

Doing so creates a collapsible group, known as a stack, of thumbnails. When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too. The process is roughly the same, but there are a few things to keep in mind.

First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor.

To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder. Library module, press T on your keyboard.

For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space. This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen.

Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version. This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen. A screen opens that shows your version of Lightroom.

Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens.

Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop. You can then upgrade your software before trying again. A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving.

In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too. Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.

CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens. However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too.

You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out.

Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop. Of course, your adjustments the resulting menu.

You should now see marching ants around the photo itself. The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off. Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK.

Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom. You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size.

As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left. As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo. The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop.

As mentioned earlier, your Lightroom edits are permanent in the PSD file. For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact.

And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop. If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel.

Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop.

From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning. Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper.

When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object. In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively.

When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask.

In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo. In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges.

Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait. Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section.

Lightroom asks what options you want to open the image with: file format, color space, and so on. The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section.

If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in. Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room.

Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want. You can also control the way color behaves between layers to produce interesting blending effects.

The next section teaches you how to use one photo to add texture to another photo. Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo. You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on.

How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse. Release your mouse button when a light gray line appears above the other layer. To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well.

Click the tiny triangles at the upper right of the Properties panel to close it. You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions. This is the color you get after mixing the base and blend colors using a layer blend mode. To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken. Another way to understand this concept is to put on a pair of sunglasses and then look around.

The second, third, and fourth categories are the most useful for blending photos. The second category begins with Darken, as those modes darken or burn images. When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with.

White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with. Black, and other dark colors, may disappear.

The fourth category begins with Overlay. You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image. A layer mask is like digital masking tape in your own images along with stock photos. You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content.

Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail. Since the mask you added is white, all the content of that particular layer is visible. However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it.

Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask. If you want the next thing you do to happen to the layer content instead, click its thumbnail and the brackets appear around it instead. Then set the Size slider to around pixels.

To do it, press D on your keyboard to set the color chips to their default values of black and white, and then press X on your keyboard to flip-flop them so that black is on top.

In order to hide part of the cat close-up photo, you need to paint with black inside the mask. Since the foreground color chip at the bottom of the Tools panel determines the color that the Brush tool uses, you have to set it to black.

As you brush, you begin to see the photo on the layer underneath and your strokes appear as black inside the layer mask. If you mess up and hide too much of the photo, press X on your keyboard to flip-flop your color chips so that white is on top, and then paint across that area with white to reveal it. Press V to activate it, and then Shift- with the Move tool drag the cat close-up layer rightward.

Now activate the other cat photo and constrains the move to Shift-drag it leftward. When the By default, Photoshop locks the layer content and the mask together so that Move tool is active, you can also use the arrow when you move one, the other tags along for the ride. If you want to move them keys on your keyboard independently say, to reposition the photo inside the mask , click the tiny chain to scoot photos around. Next, click the thumbnail of the thing you want to move—the photo or the mask—and then use the Move tool.

To lock them together again, click between the thumbnails and the chain icon reappears. A natural gradi- The steps for fading two photos using a gradient are basically the same as the ent occurs in the sky each day during sunrise soft-brush method in the previous technique. Turn off the layer visibility icon of the original layer.

In the resulting dialog, choose White from the Contents menu shown here at right and click OK. Once the mask is filled with white you can see the entire cat close-up photo. Remember that in the realm of layer masks, black conceals and white reveals! In the options bar, click the down-pointing triangle to the right of the gradient preview to open the Gradient picker.

Make sure that the Mode menu is set to Normal and that Opacity is percent. Click to open the Gradient picker shown here. As soon as you release your mouse button, Photoshop plops the gradient into the layer mask, which fades the photos together.

The pro- gram includes all manner of shapes that are handy for masking, including Rectan- gle, Rounded Rectangle, Ellipse, and Polygon tools, as well as a Custom Shape tool that you can use to access a plethora of built-in shapes leaves, flowers, animals, and so on. Transform command. That way, you can experiment with image size multiple times without losing quality that is, try not to enlarge the photo vastly beyond its original size.

Indeed, if you use Free Transform on a regular image layer more than twice, you can end up with pixel pudding. The shape tools live near the bottom of the Tools panel. Click it and hold down your mouse button until a menu appears, and then choose the Ellipse tool.

Putting the tool in Path mode instructs Photoshop to create a shape outline, instead of creating a shape layer or filling the shape with pixels. E Tip: To draw a perfect shape—say, a circle or a square—Shift-drag with that particular shape tool.

You see a thin line, named a path, as you drag. When you let go of the mouse button, Photoshop opens the Properties panel, which you can close click the double-arrow icon at its upper right, which is circled here. To move the path after you draw it, press A to grab the Path Selection tool its Tools panel icon is a black arrow , click the path to activate it, and then drag to move it wherever you want. Because the path you drew with the shape tool is vector- in the options bar. You can resize a vector mask at any time without losing quality.

In this case, you could activate the vector mask and then resize it using P Note: Vectors Free Transform. Click within the Free Transform bounding box to reposi- tion the photo atop the other one. Now click to activate the layer thumbnail not the mask , and then increase its size slightly using Free Transform as described earlier. Drag within the bounding box to reposition the photo inside the mask. If the sliders are grayed out, single- click the mask thumbnail in the Layers panel to activate it.

Close the Properties panel. If you decide to adjust the feather amount later on, reopen the PSD from within Lightroom and then repeat this step to access the Feather slider. In the resulting dialog, choose Transparent Pixels and turn on all four checkboxes in the Trim Away section. In the panel that opens, choose Kodak Kodak from the first menu also circled. Photoshop adds a Color Lookup adjustment layer to your Layers panel, and the colors in the image shift accordingly.

P Note: Several interesting color treatments are available in a Color Lookup adjustment layer, so feel free to experiment with them to see which one you like best. As you can see, combining photos in this kind of way is striking. Be sure to experi- ment with this technique using other shape tools too! You can perform this same technique using the Elliptical or Rectangular Mar- quee tool, which creates a selection instead of a path.

If you go that route, click the circle-within-a-square button at the bottom of the Layers panel to add a layer mask. The next section teaches you how to combine two photos in order to create the perfect group shot.

It seems inevitable that someone is smiling in one photo and not in another, or that someone has their eyes closed in the photo where everyone is smiling. In the resulting dialog, choose Auto and then click OK. Photoshop adds a white mask thumbnail to the right of the layer thumbnail. Set the Size slider to around pixels. The trick is to take two photos of the subject: one with their glasses on and another with their glasses off. Now you can combine, align, and mask swap the eyes as described in this sec- tion to hide the glare.

You learned how to use these controls in exposure value. For example, its bracketing feature. That said, if you have one exposure to work with, you can use Photoshop to produce some HDR-style looks too. The following sections teach you how to do all that and more. Select these five thumbnails. In the resulting dialog, click Check None and then turn on Lens Corrections. Click Synchronize.

Library module. Lightroom aligns and merges the exposures into a single image that you see in the preview area. This may take a minute to complete. Deghosting reduces any blurring resulting from movement in the scene between individual shots. For example, trees may blow in the wind, clouds may move in the sky, and so on.

Try a setting of Low, but if you still see blurry spots, try Medium or High. The realistic shots. It also includes HDR in its filename clever!

The superrealistic look emphasizes local contrast and detail and is either very saturated or undersaturated for a grungy style. In this example, you may decrease exposure, increase contrast, darken the whites, or increase clarity, vibrance, and saturation.

Remember that Vibrance is cautious with yellows, so to enhance them you need to use the Saturation slider. Tone down the Orange by dragging that slider leftward to around — E Tip: Rather than adjusting individual sliders, you can use the Targeted Adjustment tool at the top left of the HSL panel to drag upward on any part of the image to increase saturation of those colors.

This is why HDR photography is so addictive. The tonal detail and exag- gerated contrast make for a striking image. The following exercise teaches you how to do that. In the resulting dialog, make sure the Preview checkbox is turned on, and then from the Preset menu, choose Photorealistic High Contrast. Click to save settings as a preset. Be sure to experiment with all the presets in the menu. When you find one you like, you can fiddle with the settings in the other sections of the dialog to produce the look you want.

If you create a look that you love, you can save it as a preset by clicking the gear icon labeled here. Here are before left and after right versions of the wave using the Photorealistic High Contrast preset.

The next section teaches you yet another way to give the appearance of an extended dynamic range. Exaggerating edge contrast in Photoshop Another way to simulate the look of an extended dynamic range is to exagger- ate edge contrast in Photoshop using the High Pass filter. Just a quick reminder: These downloadable photos, from myself, my friends, and iStockphoto, made available to you here, are licensed for your personal use only in practicing the techniques shown in the book.

They are not licensed for use in any other manner, including commercial projects, websites, or any other use. Thanks for honoring our copyrights. Bonus Chapter 1 — Bridge Essentials.

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