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Shading with layer effects

From: Photoshop CS5 One-on-One: Advanced

Video: Shading with layer effects

I've saved my progress as Clipped irises.psd, so called because the irises comprise a series of layers that are all blended together using a Clipping Mask. Now, I am going to scroll down the list a little bit here to this layer, darker whites. Incidentally, I don't really need this irises layer anymore, these are the old irises. I am going to get rid of them by clicking on the layer and pressing the Backspace key or the Delete key on the Mac, that just throws the layer away, very easy to do. Now I am going to go to darker whites, because notice that the whites of the eyes are hyper illuminated behind the irises.

Shading with layer effects

I've saved my progress as Clipped irises.psd, so called because the irises comprise a series of layers that are all blended together using a Clipping Mask. Now, I am going to scroll down the list a little bit here to this layer, darker whites. Incidentally, I don't really need this irises layer anymore, these are the old irises. I am going to get rid of them by clicking on the layer and pressing the Backspace key or the Delete key on the Mac, that just throws the layer away, very easy to do. Now I am going to go to darker whites, because notice that the whites of the eyes are hyper illuminated behind the irises.

So I need to darken them up, and I did that using this darker whites layer. So again, I went ahead and created a new layer. This time, by the way, I used the Lasso tool, actually the Polygonal Lasso tool in order to draw a selection outline inside of the black area of the eye. So in other words, right where she has got that mascara. Then I went ahead and used a few commands. Actually, I'll go ahead and draw a shape right here, so I can show you what I did. I used a couple of commands under the Select menu, then under the Modify submenu.

I first employed the Smooth command, which rounds off the corner, so it does to a selection outline what the Median Filter does to a layer mask, goes ahead and rounds off those corners. And then, I follow it up with Feather, which softens the outlines, it blurs them, and that's analogous to what Gaussian Blur does to a layer mask. Anyway, I'll go ahead and Escape out of there and press Ctrl+D, Command+D on the Mac in order to deselect that region. Then I went and grabbed my Brush tool, I got a shade of gray, painted inside of those selection outlines, and that's how I arrived at this layer. All right! But to really make it work for us, we'll switch back to the Rectangular Marquee tool.

I am going to go up here to the Blend mode pop-up menu and choose the Multiply command in order to burn that darkness into the eyes. We now have much more credible colors for the whites of the eyes, because it looks like they're in shadow, which is great, exactly what I want. Now, the irises still needs some work here. So I am going to click on that new irises layer, and what we need to do is shade the irises some more, again, so they feel more at home inside of these eyes. That's an ongoing process, you have to keep working it, until it starts looking the way you want it to.

At this point, having these many clip layers here, I am now going switchover to layer Effects, because using layer Effects you can add things like Drop Shadows and Glows and so on. What I want is an Inner Glow effect. So I am going to go down to this little FX icon, and I'm going to choose Inner Glow. This may seem like a strange idea, especially given that it produces a horrible effect right off the bat there. But that's because I don't want a Glow, I want an Inner Shadow.

So I could go up to Inner Shadow of course, but that gives you a directional shadow effect. I want an omnidirectional effect, in other words, that's tracing evenly around the entire perimeter of the layer. So I am going to go with Inner Glow, and I'm going to change the color. I'll click on that color swatch. I could move my cursor outside the dialog box, in which case I get an Eyedropper, and I could click somewhere in order to load that color. You will see the loaded color here in this new swatch, here inside the Color Picker dialog box.

But I am just going to dial in a color that came up with an advanced 40 for the Hue value; H is Hue. S is Saturation, I'll take that up to 60, and then B is Brightness, and I am going to take that Brightness value down to 20 , like so. This will be our Inner Glow color, so quite dark. Click OK; it doesn't look like anything right now, because we need to multiply it into place by changing the Blend mode from Screen to Multiply. So whenever you're doing shadows, you want to Multiply. You might go with something like Linear Burn on the rare occasion.

Whenever you're doing Glows, you try Screen, and then if you want more of a glowy effect, you go to Linear Dodge, it's pretty much the way it's organized. Anyway, I am going to choose Multiply, and then I am going to increase the Size value quite dramatically. I am going to take that up to 35 pixels , like so. You can now see that Inner Glow effect at work inside of the iris. This is what the iris looks like without the effect, this is what it looks like with the effect. So it looks much better now. Now, I think we've gone too far, so I am going to take that Opacity value right there, down to 35%.

So we have just a little bit of that Inner Glow at work or really that Inner Shadow. That's not enough of course, so let's heap on a little more shadow in the form this time of an Inner Shadow. So if I click on Inner Shadow, I am going to add an Inner Shadow effect. I can even drag it around, notice that, I can drag that effect directly inside the image window if I want. Quite amazingly, I almost dragged it to exactly the angle I'm looking for. I am going to take that angle value actually down to -18 degrees.

You know what, I actually probably messed everything, up because I have Use Global Light turned on, and that's going to be a big mistake for me. So what I am going to do, I am going to go ahead and press the Alt key or the Option key on the Mac and click on the Reset button right there, in order to restore the original settings, that means I wiped out my previous work, but that's okay. That's better than making a mess of the Global Light Source. Because if I changed the Global Light Source from 70 degrees to something else, I am going to mess up some layer Effects that are at work on other layers, and I don't want that to happen. So let's go back to Inner Glow.

I apologize, going to reestablish things, but sometimes you make mistakes, the best of us make mistakes in Photoshop. All you've got to do is take care of them. So 40, 60, 20 for H, S, and B. Click OK in order to change that value. 35% for Opacity. I believe I was using the Multiply Blend mode, and I took the Size value up to 35. So easy to reestablish those settings. Now I'll go Inner Shadow, and before I make a mess of things, I'll turn off Use Global Light, now I can do whatever I want without messing up other layers. I will change this value to -18 degrees because that's what I recall working for me.

I'm also going to change my Inner Shadow color; you can see that it's already set to Multiply, so that's fine. But I am going to change the color to 45 for Hue, 50 for Saturation, and 30 for Brightness. This is all based on trial and error on my part and lifting colors using this Eyedropper. Click OK. I am going to change my Distance value to 19 pixels, and I am going to increase the Size to 35 pixels. And now what's happening, you can see, is the shadow is coming from this direction. So there's the shadow as cast by a light that's over here, as indicated by this Angle value, -18 degrees.

So it goes this direction, that is the light sources over here casting a shadow that direction, against the light. And because I think I've gone too far with this modification, I'm going to take the Opacity value down to 45%. Now, finally, where this exercise is concerned, I want to cast a little bit of a shadow behind the irises. Now, it's not like the irises naturally cast shadows, but there should be a little bit of darkness around them. So I am going to go ahead and turn on Outer Glow for this purpose. Click on it.

Again, we are getting a glowy effect, which is not what I want, I want a shading effect. So I'm going to dial in a dark color, though this time quite a different value. I am going to go with a sort of a sea green at a 190 degrees for the Hue value, 20% for the Saturation value, and 40 for that Brightness value right there. You can see we get this kind of dark turquoise. Click OK. Change the Blend mode from Screen to, as always for the shading effects, Multiply. I'm going to take the Opacity value down slightly to 70% and then I am going to increase that Size value to 16 pixels.

And now we can see, take a look at my iris out there in the Image window, this is what the iris looks like without that bit of Outer Glow there, this is what it looks like with the Outer Glow. It helps to create a more integrated eye effect. And I'll click OK in order accept that modification. Now, we are not done. I went ahead and added three layer Effects so far. There are still two more that I want to add, and we will do so in the next exercise.

Show transcript

This video is part of

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

247 video lessons · 32837 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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Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.