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Message restrictions, or permissions, let you restrict who can view your e-mail messages and what they can do with them (e.g., Can the message be forwarded ). This feature, which is applicable to all Of ce documents as well as e-mail messages, is part of Information Rights Management (IRM). IRM is based on the concept of credentials. To create rights-restricted content, such as an e-mail message, you must possess appropriate credentials to associate with the message. The recipient must also possess the appropriate credentials to view or take other actions with the content. IRM requires that both the creator and the recipient of restricted content be subscribed to an IRM server. Many people use the Windows Right Management (WRM) service, which at present is free (but with no guarantee that Microsoft will continue the service inde nitely). WRM uses a Windows Live ID as a means of verifying identities and validating credentials. Some companies use their own IRM server or one provided by a third party. The steps described in this section assume that you have a rights management client installed on your computer and have set up the necessary credentials. By default, e-mail messages are created with no restrictions. You can add a Do Not Forward restriction by clicking the down arrow on the Permissions button in the Permission group on the Options tab of the Ribbon and selecting Do Not Forward from the menu. This restriction permits recipients to view the message if they have the required credentials, but not to forward, print, or copy the message. You may be asked which credentials to use for this message (an individual can possess multiple credentials). When a message you are composing is restricted, it displays a banner below the Ribbon describing the restrictions, as shown in Figure 27-33.

The gradient, although beneath the spirals and the strawberries, is obscuring the navigation icons. You can adjust the position in the Layers palette.

FIGURE 23-52

image editing techniques to modify photographs, through analog or digital means. Clearly, the term has been redefined. The line between film retouching and print retouching has vanished, as has the line between retouching and darkroom work. That s because images can be improved in countless ways during the post-production process using Photoshop and other digital tools. Now it s all part of the same process that takes place with a digital file, before any prints are made, if they re even needed.

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1. Open a video file. 2. Click the New Fill or Adjustment Layer button at the bottom of the Layers palette to open the Fill or Adjustment menu. 3. Choose Invert. This option does not have a dialog box; it simply inverts the colors of your video file. 4. Using the Blending Options drop-down menu in the Layers palette, choose Hue.

Quite often, images that are being restored started out as black-and-white prints. In many cases, they ve faded to a yellowish color over the years. Sometimes, this yellowish color is called sepia, but as we ll see shortly, it isn t always a true sepia. The point I m trying to make is that even though an old photo may have a yellowish color cast now, a true restoration should be black and white because the photos started out as a black and white.

An example clarifies these soft thresholds. In the top image in Figure 7.41, you see two photos in separate layers. The top layer, a landscape photo of a range of mountains, is set to an Overlay blending mode, which then interacts with the plant life and reflections in the layer below. To bring through more of that bottom layer in the sky of the landscape, you click and drag the white This Layer slider to the left to hide the lightest parts of the top layer. This results in the lower layer showing through in the skies, but in a very hard-edged, jagged way. To get around this, you can split the white This Layer slider to create a more subtle effect. In the bottom image, you can see that, with the two halves of the slider separated, the mountains of the top layer merge with the colors of the bottom layer much more smoothly.

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