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Any sort of ratio The measurement we commonly use in bitmap evaluation is pixels per inch, which is a ratio, like mph is a ratio miles (one unit) per hour (a different unit) A pixel is a unit, but not a ratio, and therefore if someone says they have an image that s 640 by 480 pixels, they ve told you how many pixels are in the image, but not its resolution and not its size A pixel is a unit, and needs to be contextualized for example, 120 pixels per inch, or 300 pixels per centimeter before the unit becomes meaningful and useful to a printer or designer If you told friends you were driving your car down the Autobahn at 200 miles, they probably wouldn t be impressed because you haven t contextualized this unit into something meaningful such as a measurement But 200 miles per hour tells your friends something that they probably don t want to ride with you!

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network failure impacts every user and every application Fortunately, Citrix provides a very flexible and cost-effective approach to building redundancy across multiple geographies, power grids, data access grids, and user access points 8 will provide greater detail on why we strongly recommend organizations utilize two data centers (one main data center and one geographically separate data center) and how to technically configure this solution For the purposes of this chapter, though, the requirements we have discussed should be applied to the first data center, with the assumption that additional data centers will be similar (albeit scaled down if your DR plan does not require full-scale operations in the case of a disaster) NOTE: Citrix XenApp is a redundant, but not a failover solution, because data that is residing in memory within a session that has not been written to disk will be lost when a user is moved to another server due to hardware failure, a server reboot, or a server blue screen

In addition to being color value placeholders, pixels also have depth, not depth as we d measure a swimming pool, but rather a color density For example, GIF images have a maximum color depth of 256 unique values; grayscale images have a brightness depth of 256 shades Because 256 unique colors can t truly express the beauty we capture with a digital camera (even dull scenes can contain tens of thousands of unique colors), programmers decided early on in the digital imaging game to structure high-quality images into components, the most common structure being red, green, and blue, like your computer monitor is based on the RGB color model We usually call these three components color channels: by adding the brightness values of these three channels together, we get the composite view of digital photos and other bitmaps Channels are a very efficient method for storing bitmap color information in contrast, GIF images store image colors as explicit color table values, and this is one of the reasons why GIF images are limited to 256 unique colors By assigning the red, green, and blue color channels in a bitmap image an 8-bit per 8 channel color capability, this equals 2 , meaning the red, green, and blue channels can each have one of 256 possible brightness values with which to contribute color to the RGB composite image Eight bits per channel times three color channels adds up to 24-bit images BMP, PNG, TIFF, TGA (Targa), and Photoshop PSD being the most common file formats that can hold this color information So, 24-bit images have a maximum unique color capability of 167 million colors However, color depth doesn t stop at 24-bit (8 bits per channel); although monitors today can only display 24-bit image depth, the camera manufacturers anticipate that this will change soon, with the advent of high dynamic range (HDR) displays and higher-definition monitors Today, many of the middle-range digital cameras can write photos to the Raw file format, whose specifics vary from manufacturer to manufacturer as do the file extensions,.

Layers are one of the trickier features in Elements, and I ll admit to a slow learning curve while getting used to their quirks The concept is to create different layers, or

CHAPTER 26:

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