The adobe photoshop cs6 book for digital photographers free download

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Start your free trial. Book description Scott Kelby, Editor and Publisher of Photoshop User magazine—and the best-selling photography book author in the world today—once again takes this book to a whole new level as he uncovers more of the latest, most important, and most useful Adobe Photoshop techniques for digital photographers.

To remove this, start by clicking on the Lens Corrections icon the sixth icon from the left at the top of the Panel area, then click on the Color tab in the center to make the Chromatic Aberration controls visible. In this case, it removed most of it, but left a little bit especially on the left. Click right between the two knobs and drag the slider way over to the right, and the residual color is now gone sometimes you might have to drag to the left—it just depends on the image.

So, try dragging it in both directions first to quickly see which direction is the right one. To remove this vignetting from the corners, start by clicking on the Lens Corrections icon the sixth icon from the left at the top of the Panel area. See page 66 for more on this. If the image still needs correcting, try the Vignetting slider under Correction Amount. In the Lens Vignetting section, click on the Amount slider and drag it to the right until the vignetting in the corners disappears.

Once you move the Amount slider, the Midpoint slider beneath it becomes available. It determines how wide the vignetting repair extends into your photo, so drag it to the left to expand the lightening farther toward the center of your photo. Drag the Midpoint slider quite a bit to the left, which increases the size of the vignetting and creates a soft, pleasing effect that is very popular in portraiture, or anywhere you want to draw attention to your subject.

Two for the price of one! So, start by applying a regular edge vignette as shown here. It kind of looked just like adding muddy dark gray to the edges. I would stay away from this one altogether. Step Eight: Below the Midpoint slider is the Roundness slider that gives you control over the roundness of the vignetting lower the Feather amount to 0, so you can get a better idea of what the Roundness slider does.

The farther to the right you drag, the rounder the shape gets, and when you drag to the left, it actually becomes more like a large, rounded-corner rectangle. The Feather slider determines how soft that oval you created with the Roundness slider becomes.

If, one day, one or more manufacturers abandon their proprietary format for something new like Kodak did with their Photo CD format , will we still be able to open our RAW photos?

Step Two: When the Save Options dialog appears, at the bottom of the dialog, from the Format pop-up menu, choose Digital Negative shown here. Once you choose Digital Negative, a new set of options appears at the bottom of the dialog seen in Step Three. If you do want to do it, turn on that checkbox, then choose from its pop-up menu which option is most important to you: saving the same physical dimensions pixel size or file size megapixels. If you turn on the Update Embedded JPEG Previews checkbox and choose your preferred preview size from the pop-up menu , then any changes you make to the DNG will be applied to the preview, as well.

Now, click on the Saturation tab as shown here to bring up the Saturation sliders which control the intensity of the colors. You can just drag the Blues slider to the right, and it will get bluer the color will get more intense , but most of the time, the color your eye sees blue, in this case is made up of more than just that color.

As you do this, it knows which sliders control that area, and it moves them for you in this case, it moved the Blues slider a lot, but it also moved the Purples slider a little, too.

So, take the TAT, click it on the side of it I clicked between the walkway and the horn , and drag straight upward to increase the color saturation intensity of those reds. It kind of helps make the harsh light not as harsh, in this case. However, if you want to actually change a color and not just tweak the existing color , then click on the Hue tab.

The controls are the same: click your TAT on the tower and drag upward to change the color as I did here in the inset. You start by clicking on the Spot Removal tool the seventh tool from the right in the toolbar or by pressing B to get it, and a set of options appears in the Spot Removal panel on the right seen here. In this case, Camera Raw did sample a nearby area, but unfortunately it also sampled a bit of the building, and it copied it to the sky area where we were retouching, making the retouch look very obvious with that piece of building hanging out there.

That way, any time you open a photo from that camera, it will automatically compensate for that color. Calibrating for Your Particular Camera Step One: To calibrate Camera Raw so it fixes a persistent color cast added by your camera, open a typical photo taken with that camera in Camera Raw, and then click on the Camera Calibration icon it looks like a camera and is the third icon from the right at the top of the Panel area.

In the Camera Calibration panel, drag the Red Primary Saturation slider to the left, lowering the amount of red in the entire photo. Now, when you open a photo from that camera Camera Raw reads the EXIF data so it knows which camera each shot comes from , it will apply that calibration. Note: You can adjust your blues and greens in the same way. And did it stink? Yes, yes it did. But, does the current noise reduction rock? Oh yeah! What makes it so amazing is that it removes the noise without greatly reducing the sharpness, detail, and color saturation.

Plus, it applies the noise reduction to the RAW image itself unlike most noise plug-ins. I usually get rid of the color noise first, because that makes it easier to see the luminance noise which comes next.

Note: A bit of color noise reduction is automatically applied to RAW images— the Color slider is set to If you have to push the Color slider pretty far to the right, you might start to lose some detail, and in that case, you can drag the Color Detail slider to the right a bit, though honestly, I rarely have to do this for color noise.

There are two things that tend to happen when you have to push this slider really far to the right: you lose sharpness detail and contrast. These are workflow decisions, which is why you make them in the Workflow Options dialog. Click on that link to bring up the Workflow Options dialog which is seen in the next step.

By default, it shows the color space specified in your digital camera, but you can ignore that and choose the color space you want the photo processed with. Get it? One bit? Step Four: The next option down is Size. When printing to an inkjet printer at larger than 8×10\” size, I use ppi although some argue that the sweet spot for Epson printers is ppi, so you might try printing the same image at both resolutions and compare. For prints smaller than 8×10\” which are viewed at a very close distance , try ppi.

If your photos are only going to be viewed on the web, you can use 72 ppi. By the way, the proper resolution is debated daily in Photoshop discussion forums around the world, and everybody has their own reason why their number is right.

Start by opening your image in Camera Raw and doing your standard edits in this case, I tweaked the white balance a little by dragging the Temperature slider a little bit to the right to make it warmer.

Nothing drastic, but I did do a few little tweaks here. Go ahead and click it to open this image in Photoshop as a smart object. This makes a duplicate of your smart object layer, but it is no longer tied to the original layer, so we can edit these as two totally independent RAW images. This changes just this duplicate layer back to the old process version, so it has the controls from Photoshop CS5. Now, go to the Basic panel and, lo and behold, there is the old Fill Light slider.

Go ahead and crank that Fill Light slider up here, I dragged it over to However, you can see the weird look it gives the rest of the image, which is why Adobe thought this control needed some improvements. When it looks good to you, click OK.

Step Four: With the top layer active in the Layers panel, Option-click PC: Alt-click on the Add Layer Mask icon at the bottom of the panel to hide this newly processed layer behind a black mask.

Now, get the Brush tool B , make sure your Foreground color is set to white, then paint over the areas you want to have the old Fill Light look for example, here I painted over her hair and earrings, which is primarily what I wanted.

If you open up the shadows a lot using the Shadows slider, Blacks, or in some cases, even the Exposure slider , any noise that was already in the image is going to become magnified. There are two different places you can reduce noise in Photoshop: The Noise Reduction controls in Camera Raw rock, however the Reduce Noise filter in Photoshop under the Filter menu, under Noise does not. My advice— only use the Noise Reduction in the Detail panel of Camera Raw, and avoid the other altogether.

Rotating Your Images Finally, a shortcut that makes perfect sense: To rotate your image to the left, press L; to rotate to the right, press R. Luckily, now when your canvas rotates, your brushes stay intact. Get Automatic Auto Corrections The Auto correction one-click fix feature got dramatically better in previous versions of Photoshop.

Not great, not amazing, but decent. You do this by clicking on the blue link beneath the Preview area in Camera Raw. This brings up the Workflow Options dialog, where you choose which color profile gets embedded into your image you choose it from the Space pop-up menu.

Click it, and any images that have either a star rating or a label will be instantly selected for you, letting you get to your best images fast. Very handy! Click on it, and it marks your selected image s for deletion. Finding Your Best Images Fast I mentioned in the last chapter that if you have multiple images open in Camera Raw, you can assign star ratings and labels to photos just as if you were in Mini Bridge you even use the same shortcuts.

It just sounded like a bunch of noise. But this by hip hop artists Trick Trick and Jazze Pha. In iTunes, this time it was me. I was sad. I jumped up out of my chair, but then I grabbed understand a word they were saying. However, I recommend that you do all the regular edits to your photo in the Basic panel first exposure, contrast, etc.

So, start by clicking on the — minus sign button to the left of the Exposure slider, which resets all the sliders to 0 and lowers the Exposure the midtones control to —0. Notice how the sky gets darker as you paint? Try lowering the Exposure to —1. More on this coming up. That way, you can paint right up against them, filling in all those areas, without accidentally painting over the blades and wings. Now that you know where you painted, you can go back and paint over any areas you missed.

If you want to keep the mask turned on while you paint, just press the letter Y on your keyboard. The ability to paint over one area, and stack up a number of adjustments on just that area, is what gives this tool so much power. First, click the New radio button at the top of the panel, so we can paint over a new area otherwise, the plane would get the same settings we used on the sky.

Now, with Auto Mask turned on, paint over the underside of the plane and the propeller blades as shown here , which lightens those areas because you increased the Exposure amount by quite a bit. Now, just paint the area where you spilled over and it erases the spillover as shown here. You can also switch to Erase mode by clicking on the Erase radio button at the top of the Adjustment Brush panel. Note: I felt I needed to make one more change to this image.

If you look back at Step 10, the yellow nose cone looks too bright, so I used the Erase brush to erase over it entirely. Now, move your cursor over the blemish and just click. So, click on the green sample circle and drag it to a nearby area and it redoes the retouch as shown here. Now, remove the rest of the blemishes with just a single click each, adjusting the position of their green sample circles, if necessary.

Now, drag the Exposure slider a little to the right, decrease the size of your brush, then paint over the whites of her eyes as shown here. Once that looks good, click the New radio button again and zero out the sliders, so we can work on adding contrast and brightness to her irises. However, with the way Adobe implemented this feature, you can use it for much more than just neutral density gradient effects although that probably will still be its number one use.

When you click on it, its options panel appears shown here with a set of effects you can apply that are similar to the ones you can apply using the Adjustment Brush. Start by dragging the Exposure slider to the left, or just click on the — minus sign button two times to get to —1. Generally, you want to stop dragging the gradient before it reaches the horizon line, or it will start to darken your properly exposed foreground.

You can see the darkening effect it has on the sky and the photo already looks more balanced. Note: Just let go of the Shift key to drag the gradient in any direction. You can also have more than one gradient click on the New radio button at the top of the panel and to delete a gradient, just click on it and press the Delete PC: Backspace key. Start by pressing the Delete PC: Backspace key to get rid of this adjustment pin and start over from scratch with the original color image.

Get the Adjustment Brush and click the — minus sign button beside Exposure to zero everything out. Then drag the Exposure slider almost all the way over to the left. Step Six: Turn off the Auto Mask checkbox and, using a large brush, paint over the entire image as shown here to greatly darken it.

That way, it builds up more gradually as you click the brush. If I try to warm up the white balance, she is going to turn really yellow. Luckily, now we can adjust the white balance in just one area.

I also decreased the Highlights a bit to finish it up. This technique lets you paint noise reduction just where you need it, so the rest of the image stays sharp. It definitely looks better now well, to me anyway , but if you look at the inset, you now see lots of noise that was once hidden in those shadows.

This noise reduction only affects that wall area where you painted, and the rest of the image keeps its original sharpness. Next, fully paint over just the two circular headlamps. Really handy when working on hard edges, like the edge of a building where it meets the sky. The trick is to click on the Color swatch in the middle of the Adjustment Brush options panel to reopen the Color Picker, then drag the Saturation slider down to 0. Want to bring them all back? Then you can jump back to how the image looked when you took that snapshot by clicking on it in the Snapshots panel.

Click that little bucket on any one of the swatches, and it changes the swatch to your currently selected color. Anyway, I also a great title for a movie about evil corn is almost ideal found a band named Cash Crop, which would make a great for this chapter, except for the fact that this chapter also title, too, but when I looked at their album, every song was includes resizing. So, I thought, what the heck, and searched marked with the Explicit warning.

The Designers, and motion picture soundtrack for the movie Sorority Row , and it literally is an long background music track with two I immediately knew what kind of the music they did. Naughty, European-sounding women whispering the names of menu naughty music. Anyway, while I was listening, and wincing commands from Adobe products. I am not making I realized that someone at the iTunes Store must have the this up I listened to the free second preview.

I imagine, at this point, that person has commands set to music. Now, just grab one of the corner or side handles and start dragging inward to start cropping as seen here and it crops in toward the center of the image the area to be cropped away will appear dimmed. If you want to keep the image proportions the same in your crop I usually do , just press-and-hold the Shift key while you drag any of the cropping handles. Also, you can reposition your image within the border by clickingand-dragging on it.

When you do this, the cursor will change into a double-headed arrow. Just click, hold, and drag up or down and the cropping border will rotate in the direction you choose. Want to take it up a notch? The other options here only kick in if you do have that dimmed cropped away area visible called the Crop Shield , and you can make it lighter or darker by changing the Opacity amount, or you can turn it off altogether by turning off the Enable Crop Shield checkbox.

Of course, now you can tweak the handles just like before. One quick thing to check first: if you want a white background for your canvas area and my guess is, most times you will , then before you even click on the Crop tool, press the letter D on your keyboard to set your Background color to white. Then, once you click on the Crop tool, make sure Unconstrained is selected in the popup menu at the left end of the Options Bar, otherwise the cropping border will be constrained to the aspect ratio of your image in this case, we want the bottom section to be deeper than the sides and top.

Now, grab a cropping handle and drag the border outward to add canvas area. Step Here, I dragged the right side out and then dragged the bottom-center handle down quite a bit to add a fine art poster mat look around my image.

How cool is that? You get to decide if the part of your image that gets cropped away from view is: a gone forever, or b just hidden from view and, if necessary, can be brought back.

With it turned on, when you crop, the stuff outside the border is cropped away and you get a smaller file size. Step Once you have the cropping border right where you want it, press the Return PC: Enter key to crop your image. The final cropped image is shown here, where we cropped off some of the crowd on the right side, and the lens peeking into the frame from above my shooting position down on one knee , and some of the excess grass on the tee box.

More times than I care to admit. Type in the custom size you want in this case, 20×16\” at a resolution of ppi, which is pretty ideal for most color inkjet printing. Now press the Return PC: Enter key and it crops your image to that size. When the New dialog appears, enter 20 inches by 16 inches, and enter for Resolution, then click OK to create a new blank document in the exact size and resolution you need as seen here.

All you have to do is crop the other image, and it will share the exact same specs as your ideal-size photo. Step Four: Now, get the Move tool V , click on the image you want cropped to that size, and drag it onto that new blank document. The one you like best. In fact, once you set them up, they will save you time and money. Then, when we want to crop to 5×7\”, all we have to do is grab the 5×7\” Crop tool preset. In the Width field, enter 2 in, then press the Tab key to jump to the Height field, enter 2.

This brings up the New Tool Preset dialog, in which you can name your new preset. Name it, click OK, and the new tool is added to the Tool Presets panel. If you need to change the name of a preset, just double-click directly on its name in the panel, and then type in a new name. In the resulting dialog, choose Tools from the Preset Type pop-up menu, and scroll down until you see the Crop tools you created. Now just click-and-drag them to wherever you want them to appear in the list, and then click Done.

A tool preset picker will appear. Click on a preset, and your cropping border will be fixed to the exact dimensions you chose for that tool. When the New dialog appears, click on the Preset pop-up menu to reveal the list of preset types, and choose Photo. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Metropolitan Museum Cleveland Museum of Art. Internet Arcade Console Living Room.

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Adobe Photoshop CS6 Book for Digital Photographers, The | Peachpit


Renowned Photographer and Photoshop hall-of-famer, Martin Evening returns with his comprehensive guide to Photoshop. This acclaimed work covers everything from the core aspects of working in Photoshop to advanced techniques for refined workflows and professional results.

Using concise advice, clear instruction and real world examples, this essential guide will give you the skills, regardless of your experience, to create professional quality results. A robust accompanying website features sample images, tutorial videos, bonus chapters and a plethora of extra resources. Quite simply, this is the essential reference for photographers of all levels using Photoshop.

Enter your mobile number or email address below and we\’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required. To get the free app, enter your mobile phone number. You\’ll find that Martin knows both sides of the equation and never lets the techniques distract from the vision.

I think you\’ll find his perspective and experience invaluable. Wonderfully illustrated and incredibly detailed to help you master all aspects of the program. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Frequently bought together. Total price:. To see our price, add these items to your cart.

These items are shipped from and sold by different sellers. Show details Hide details. Choose items to buy together. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Previous page. Adobe Photoshop for Photographers: Edition. Martin Evening. Next page. Customers also viewed these products. Lesa Snider. Rafael Concepcion.

Scott Kelby. Adobe Photoshop Classroom in a Book release. Conrad Chavez. Special offers and product promotions Amazon Business: Make the most of your Amazon Business account with exclusive tools and savings. Login now. Review \”When it\’s all said and done, tools-whether hardware or software-are just tools, and it\’s your ideas and images that matter. About the Author Martin Evening is a professional photographer and digital imaging consultant, an experienced Photoshop user and key demo artist for Adobe.

Read more. 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.

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Verified Purchase. This book is not for people new to Photoshop and newbies will likely get lost and frustrated if this is their first jaunt into figuring out the many amazing facets of PS, and I would hardly call this an essential reference the crappy index ruins that.

Having said that, if you have experience in PS, it offers some great tips and is definitely worth the read. His book on CS6 is just as good. He approaches PS from a photographer\’s point of view – a good thing as there are many features in this monster program that have little to no relevance to us.

He covers theory and practice. My only suggestion is that I would have liked a more thorough treatment of layer blending than is found in the book. I guess I\’ll just have to experiment more with that feature.

There are many tips that he passes along from his vast experience as a fashion photographer, as well as hands-on examples, that make life easier for the work we do. The book is logically organized by program tasks and is easy to read. There are the inevitable quirky differences between the author\’s British English and our American implementation, but they are never confusing.

Study this book and you will know how to make Photoshop sing. There are chapters left out of this version that were in previous editions, but they are downloadable from his website for free. There are also downloadable image files from the examples in the book if you\’re inclined to practice his techniques. There is no DVD of tutorials either, but the videos are available online for free as well.

All in all, a very thorough treatment of one of the most complex applications around. One person found this helpful. I have used Classroom in a Book and similar tutorial and reference books for Photoshop and think of myself as being very proficient in using the basic tools Photoshop has to offer but this is by FAR the BEST reference book for Photoshop as applied to working with photographs and feel that reading it has taken my skills to the next level.

Evening explains the \”whys\” and in many cases the history behind the vast tools and technologies available in Photoshop. He explains the nuances of various approaches available in accomplishing a desired end-result, later allowing me to make much better decisions as to my choice of tools and general approach for my given situation.

Very powerful! The book is well-organized so that it\’s easy to find information on the fly. The screen shots are well-done and very useful.

I recommend this comprehensive reference for anyone who takes photo editing in Photoshop seriously. The knowledge will probably save you a lot of time in the long run. It has for me! In my opinion, if you need only one paper-based Photoshop reference for photography purposes , it\’s not the Kelby books you should be buying or the Bibles or other books.

It\’s this book. With color-coded pages, a very detailed TOC and Index, and a ton of good information from one of the best and most experienced Photoshop authors, you\’d be hard-pressed to find something better.

That\’s not to say you shouldn\’t buy other books. Only that this one is the single best reference book that I have found over the years, and it keeps getting better. Lots of important details and hidden tips.

The one downside is that if you like to carry your reference books around with you this thing is by necessity because it only gets longer with each version, as new features are added is pretty huge. Weighs in around pages so it\’s bulky and heavy but hey, it\’s worth it. See all reviews. Top reviews from other countries.

Martin Evening\’s guide to Photoshop CS6 is a huge tome at more than pages. It\’s packed full of detail and is a superb reference resource, although perhaps a little unwieldy as a practical training guide. If you are the type of person who wants to know why things work rather than just how to do them, then this is the best option for you.

It\’s perhaps less helpful to the first time user, as the pages of detail on differences between old versions of Photoshop and CS6 indicate. It\’s best suited to those who are upgrading from older versions and who already are au fait with many of the ins and outs of Adobe Photoshop. The Dummies book is best for those completely new to Adobe Photoshop and indeed to image processing software.

Unlike the other two, it is more general and so includes more on the creative art or design elements of the software. It\’s well organized, logical and clear.

While none of the three books come with a CD of photos, the Dummies is the only one not to provide web-based images that you can work on along with the book. In fact, it\’s less of an instruction book and more of a general resource, although it is laid out such that you can work through it if you want to with your own images.

The trademark List of 10s contained in Dummies works well here – and is less of a stretch than it can sometimes be in the series.

For the new user it\’s very, very good indeed. Kelby though is still my \”go-to guy\” for Photoshop. With Kelby you get the feeling that you are being given advice from someone who uses this software day in day out and really knows the best ways to organize your workflow. It\’s the shortest of the three books and is strongest for those who have upgraded from earlier versions or indeed come up from Elements.

First time users will get something out of this book but it\’s far from comprehensive. Neither is it helpful for the graphic design elements.

The biggest loss is that while he provides one of his excellent workflow examples, unlike some of his earlier Elements guides, this is a general one and doesn\’t detail for example different workflows for say landscape and portraits. I still refer to an old Elements guide of his for this.


In fact, if you look at the side of this building, you can see frse edge glow around it. Start your free trial. Windows is a registered trademark of Microsoft Corp. This top-down approach helps, because the other sliders build off this exposure foundation, and it will keep you from having to constantly keep tweaking slider after slider.

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