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The Advanced sharpening settings

From: Photoshop CS5 One-on-One: Advanced

Video: The Advanced sharpening settings

In this exercise, I'm going to show you how and why you might apply the Advanced settings from the Smart Sharpen dialog box, but first, I made a big mistake in the last exercise. Do you know what it is? So, here I was working inside the Rodents in love.jpg file. I've made some changes to it. So, I went ahead and jumped the image to a new layer, turned that layer off, applied some settings, using the Smart Sharpen filter, but see, I didn't follow it up with the Fade command. And if you zoom in on these squirrels, you'll see that we have all kinds of weird colors now, going on inside the fur.

The Advanced sharpening settings

In this exercise, I'm going to show you how and why you might apply the Advanced settings from the Smart Sharpen dialog box, but first, I made a big mistake in the last exercise. Do you know what it is? So, here I was working inside the Rodents in love.jpg file. I've made some changes to it. So, I went ahead and jumped the image to a new layer, turned that layer off, applied some settings, using the Smart Sharpen filter, but see, I didn't follow it up with the Fade command. And if you zoom in on these squirrels, you'll see that we have all kinds of weird colors now, going on inside the fur.

Notice these little purples and these greens and so on. So, if you've been working along with me, and Smart Sharpen was the last thing you did, you should be able to go up to the Edit menu and choose Fade Smart Sharpen, just as I'm doing right now. We'll press Ctrl+Shift+F, Command+Shift+F on the Mac, and watch these little weird colors inside the fur. As soon as I change the mode from Normal to Luminosity, they go away and we focus our sharpening efforts just on the luminance information inside of that image, and we leave the color alone. All right, now click OK in order to accept that affect.

I'll go and zoom back out, so that we see more of the squirrels at a time. And now I'll turn on my Advanced settings layer that I created in the previous exercise, I'll click on it in order to make it active, this is the original version of those squirrels before I sharpen them. All right, let's press Ctrl+Alt+F or Command+Option+F on the Mac to bring back up the Smart Sharpen dialog box, and I want you to click on the Advanced option right there. Now, here is the idea. This is something I want you to note about sharpening inside of Photoshop in general because you're tracing these bright halos on the bright side of an edge, and the dark halos on the dark side of the edge, you're exaggerating the contrast in the image, and you're running the risk of clipping your highlights and shadows.

Now, you're not clipping the highlights and shadows in big, huge areas, the way you might say using the Levels command or the Curves command, if you're not careful. However, you're clipping little, tiny strips of highlights and shadows, allover the place, especially when you're applying high Amount values and high Radius values. So, the idea behind these advanced settings, notice when I turned on the Advanced radio button, I got two more panels of settings here, named Shadow and Highlight. So, before we didn't those tabs, notice with Basic as selected, we don't have any tabs there.

As soon as I turn on Advance, we get the tabs and what they allow you to do is mitigate the clipping in the shadow detail and the highlight detail. All right, so I'm going to switch to shadows first, and generally speaking, because I don't have a lot of patience for these options. I just recommend you set them to the exact same darn thing and I'll show you what those settings are. First of all notice that the Fade Amount is set to 0%. So, at 0%, you're leaving all of the clipping intact. You're not making any changes to the clipping, you're not reining in it, in other words.

So, I suggest, if you're going to go to the trouble of reining in that clipping to any degree whatsoever, you can finesse this value if you like, you can sit there and play with it, and try to keep track of what's happening here inside the preview, but what I tend to do is just max it out. Just say, you know what, I want to rein in my clipping to 100%. That's still actually not the most significant modification in the world. So, you're just easing it back to the point that all of your halos fall inside that visible spectrum. Tonal Width controls what's shadows and what's highlights.

So, at this point, you're saying 50% of the luminance range falls inside the shadows and this is tapering off, by the way. So, Black is an absolute shadow. We taper away to 50% gray. So, it's not that kind of harsh transition we were looking at with the Threshold options, for example. It's not an on or off proposition. I recommend you leave this guy set as is, 50% is just fine. Now, Radius, I'll be darned, if you can tell the difference in most images where radius is concerned. I'll go ahead and zoom in on this eye. That's me, by the way, hunkered down looking at the squirrels, inside of this particular squirrel's eye, but notice, if I take the Fade amount down to 0%, notice how the edges of that eye brighten up right there.

If I take it all the way up to 100%, we're limiting those highlights of all things. Even though, we're mitigating the shadows, we're limiting the highlights inside of that eye. Well, if you want to rule out some of those details, you can bring the Radius value up, so that you're not scrubbing inside of that eye, for example, to the same extent. So, when you bring Radius down to one pixel, which is the default setting, you're fitting your changes into small crevices inside the image. If you don't want that to happen, you can raise that value to 100 pixels, for example and notice that recovers a little bit of the highlight edge inside of the eye, but I have to go all the way from one pixel to 100 pixels to see any kind of difference going on whatsoever.

My suggestion to you is when in doubt, unless you really want to sit there, and figure out exactly what's going on inside each and every image that you edit, I recommend that you just leave Radius set to 1. In that way, you're digging into all sorts of crevices and you're making sure that you're mitigating the shadows and highlights all over the place. Now, I suggest you replicate these exact same settings for the highlight options and that means just making one change, i. e. you're changing the Fade Amount from 0% to 100% and that's all you're doing.

Now, here is where things get very important. Don't click the OK button because if you do that, you will replace your active Settings option right there. So Print defaults is going to get completely messed up with these new shadow and highlight settings, even if I switch back to Basic now. They're still at work, which I think is highly confusing. So, what I suggest you do is go ahead and turn out Advance once again, so you can keep track of what in the world you're doing and then go ahead and save out your new settings. I'll click on my little floppy disk, and for starters, I'll just call this Advanced settings and I can always come back to this later on, if I want to create some variations on my advanced settings.

For now, this will be the only advanced settings I have. Click OK, and then, of course, very important, after you get done saving, you have to choose them. So, you have to now choose Advanced settings from this Settings pop-up menu, and then click OK and that just goes ahead and protects the other settings that you have. Now then, let's get a sense of what kind of difference this makes. I'll go ahead and zoom in on my scroll, so we can see them at a 100% view size. If I turn off Advance settings, you can see these are the original settings I applied. So, a fairly over-the-top application of Smart Sharpen with some fairly obvious clipped highlights and shadows inside the fur.

In fact, it almost looks like these guys have had their tips bleached or something along those lines. Now, I'll turn Advanced settings back on and you can see that those highlights and shadows are mitigated, not only inside the fur, but in the whiskers as well. Now, of course, the final thing I would do is that first thing I did at the beginning of the exercise, with Advanced settings active, that Advanced settings layer, go up to the Edit menu, choose Fade Smart Sharpen, Ctrl+Shift+F, Command+Shift+F on the Mac, and switch your mode from Normal to Luminosity, notice that all my weird colors went away there.

If you decide after this point that you've applied too much sharpening, you can go ahead and back off that Opacity value to take it down to something more reasonable, like 50%. So, if you ever want to see, by the way, the before version of the image, before you start modifying it, you can take Opacity down to 0%. So, these are the before sharpening squirrels right there, and then if I take this Opacity value up to, let's say, 70%, these are the nicely sharpened versions of the squirrels, thanks to a combination of Advanced settings that I saved out inside the Smart Sharpen dialog box, and, of course, the good old Fade dialog box that allows me to focus my sharpening energies on the luminance information inside the image.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32830 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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