Photoshop CS4 One-on-One: Advanced

Sharpening with the High Pass filter


Photoshop CS4 One-on-One: Advanced

with Deke McClelland

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Video: Sharpening with the High Pass filter

For this final exercise, I'd like you to open this image right here. It's called water woman.jpg and it comes to us from photographer Catarina Govorova Shenko of Now, this is obviously a portrait shot, and I'm here to tell you that it's a low frequency portrait shot. Meaning, that they're gradual luminance transitions from one pixel to its neighbor, which gives us rich volumetric detail inside the image, typical of portrait shots. We have very few areas where we have rapid luminance transitions; inside the hair, for example, might be one of them. Down here inside certain areas of the skin, along the teeth, and so on, in the eyelashes, but mostly, just nice rounded sculptural contours.
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  1. 22m 25s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 9s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 5s
  2. 2h 44m
    1. Highlights, shadows, and midtones
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 35s
    10. Previewing clipping
      7m 18s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 35s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 19s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 57s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 24s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 3s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 20s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 34s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 44s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
    2. Establishing default formatting attributes
      4m 6s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 52s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 43s
  12. 57s
    1. Until next time

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Watch the Online Video Course Photoshop CS4 One-on-One: Advanced
20h 57m Intermediate May 01, 2009

Viewers: in countries Watching now:

Photoshop is one of the world’s most powerful image editors, and it can be daunting to try to use skillfully. Photoshop CS4 One-on-One: Advanced, the second part of the popular and comprehensive series, follows internationally renowned Photoshop guru Deke McClelland as he dives into the workings of Photoshop. He explores such digital-age wonders as the Levels and Curves commands, edge-detection filters, advanced compositing techniques, vector-based text, the Liquify filter, and Camera Raw. Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, and enhancing colors without harming the original image. Exercise files accompany the course.

Recommended prerequisite: Photoshop CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Photoshop from the Exercise Files tab.

Topics include:
  • Using blend modes, adjustment layers, and layer styles
  • Organizing a layered composition so it is fluid and editable
  • Creating and editing type in Photoshop
  • Using blur effectively
  • Using adjustment layers to add color
  • Combining layers into a clipping mask
  • Working with Camera Raw
Design Photography
Deke McClelland

Sharpening with the High Pass filter

For this final exercise, I'd like you to open this image right here. It's called water woman.jpg and it comes to us from photographer Catarina Govorova Shenko of Now, this is obviously a portrait shot, and I'm here to tell you that it's a low frequency portrait shot. Meaning, that they're gradual luminance transitions from one pixel to its neighbor, which gives us rich volumetric detail inside the image, typical of portrait shots. We have very few areas where we have rapid luminance transitions; inside the hair, for example, might be one of them. Down here inside certain areas of the skin, along the teeth, and so on, in the eyelashes, but mostly, just nice rounded sculptural contours.

Compare that to a high frequency image, which would be something like a landscape or a cityscape or a still life, that thing with the scrabble tiles and the wood grain and all that jazz, or even an image of multiple people sometimes falls into the high frequency or middle frequency territory. Now, when you're working with a high frequency image, Smart Sharpen is a great tool, but when you're working with a low frequency portrait shot, High Pass tends to be the better way to work, and I'm going to show you High Pass in this exercise. Now, let's start things off by collapsing my right side palettes and bringing up the Histogram palette, and if necessary, go ahead and update the Histogram by clicking on that little Yield sign, because I want you to see exactly what clipping is going on inside this image.

So notice here inside the Red Histogram, no clipping whatsoever. Here inside the Green Histogram, we have a little bit of clipping and shadow detail. You can see that because we have that spike all the way over here on the left side of the histogram. In the Blue Channel, we also have a little bit of shadow clipping going on. Compare that to the degree of clipping we're going to have in just a moment. Now, the last filter I applied was still Smart Sharpen. So I'm going to press Ctrl+Alt+F, Command+Option+F on a Mac to bring up the Camera Shake settings. I don't want those so I'm going to switch over to Random settings here, which will set Remove to Lens Blur.

Let's go ahead and click on her eye, so we can see her eye, big and beautiful here inside of the image preview. We don't want More Accurate turned on, that's not going to do us any good. It's a little bit amusing though. Here, I'll go ahead and switch over to her nose, because the thing about this woman is she is absolutely gorgeous, she is impeccable, and yet she doesn't hold up to More Accurate. If I turn on More Accurate, we're starting to trace the little tiny hairs on nose. The thing is, of course, we all have that kind of stuff. We just don't want to emphasize it. So turn More Accurate the heck off. All right. Let's go back to her eye and her eyelashes, and I'm going to crank this Amount value through the roof to 400%, and I'll leave the Radius value of 4 pixels, and Remove is set to Lens Blur; that's great. We're not interested in the Advanced Settings. I want you to see the clipping that's going on; clipping in Red on both sides, clipping in Green on both sides, clipping in Blue even.

We didn't have any highlights in Blue and they're still clipping. Click OK to accept that modification. Now, it's going to look like the histogram clams down there, but that's because it suddenly became less accurate. Let's go ahead and update the histogram by clicking on little Caution icon, little Yield sign, and ooh, ooh, major clipping going on in Red, especially in the highlights. Some clipping going on in the highlights in Green, major clipping going on in the shadows. Huge clipping going on in Blue in the shadows, and a little bit of clipping, which is mystifying, because as I said there were barely any highlights there in the first place, a little bit of clipping going on in the Blue channel.

Oh dear, let's undo that, we don't want that, obviously. Also, we're kind of over sharpening her in general. So let's go ahead and undo that modification and here is how I recommend you work instead. Now, it's going to seem patently absurd at first, like we're using the absolute worst filter we possibly could be using, one of those filters that's just mystifying inside of Photoshop, but it's really great. So go to the Filter menu, choose Other, and choose High Pass. I think it's so great, I gave you a keyboard shortcut of Shift+F10, if you loaded my Deke Keys way back then.

So I'm going to choose High Pass. Don't pay any attention to the Histogram right now, because it's just going to look like little volcanoes here. Notice what the High Pass does. High Pass goes ahead and turns everything that's not an edge, this horrible gray, there's just this medium gray, and then tries to keep color and luminance in the areas that represent edges. So notice, right around the teeth, for example, where we had the starkest contrast between the black inside of her mouth and the white of her teeth, we have some black and some white left in the form of 10 pixel halo. So think, that's got to be a sharpening function with a halo like that going on, and that's what High Pass is. It's just a strange little weird sharpening function.

When I'm thinking of Unsharp Mask, I like to think of Gaussian Blurs being the grandparent of Unsharp Mask. Right there in the middle, the parent, is High Pass. High Pass falls in between there. So anyway, I don't know if that helps. I'm going to change the Radius value to 4 pixels, just to match what we saw in Smart Sharpen, so that we have these very thin precise edges to work with. Then I'll click OK. Then you go, okay, well, Deke, if you were worried about your histogram, buddy, that's one of the worst histograms I've ever seen. That's like a needle of a histogram right there. You could hurt yourself on it.

I'll go ahead and update it. It's still bad. You wouldn't hurt yourself quite so badly on that though, it's more of a volcanic sort of thing. All right, though, what we need to do is we need to say goodbye grays. Make the grays go away, make them transparent, and keep those other edges and sort of burn them in to the original image. We can do that using a blend mode. So go up to the Edit menu and choose Fade High Pass right there. Very important. Ctrl+Shift+F, Command+Option+F on the Mac. Now, just so that we have an over the top effect, you can go with Overlay. All of these contrast modes right here will make gray neutral and drop the grays out. So if you choose Overlay, you'll drop out the grays and you'll keep the shadows, you'll go ahead and burn in the shadows, and you'll dodge away the highlights, and you'll give yourself a nice sharpening effect.

Now, it doesn't look like it's done much at all. In other words, it doesn't look that different than the original image before we applied High Pass, but it is. It is different. But if you want to get something stronger, something way over the top, like we were applying 400% inside the Smart Sharpen dialog box, we want to match that, then you advance a few modes to Linear Light. Don't use Soft Light; that will give you a lesser effect. Hard Light will give you a bigger effect and more intense effect, if you want to try it out. Vivid Light will just give you a bad effect. You don't want that. It's going to be weird colors. Linear Light though is going to give you the ultra amped up effect.

Then Pin Light, don't even touch it. Hard Mix, bah. So this is the one you want. Choose Linear Light. Notice how we're seeing a stronger sharpening effect now. You can reduce the Opacity value if you want to, but I want to keep it nice and pronounced, so we're matching the intensity of what we have with Smart Sharpen. So click OK in order to accept that effect. Now, just to make sure that we have a decent histogram, and notice that the histogram looks totally different than it did a moment ago when we were inside the Fade dialog box, it just wasn't the least bit accurate when we were working inside of Fade. Let's go ahead and update the histogram, and notice the clipping that's occurring. Now, we do still have an awful lot of clipping on the shadow detail on the Blue Channel, but nothing, barely anything in the highlights. Barely anything for Green in the highlights, less going on for the shadows as well. Just about no shadow clipping in Red, a little bit of highlight clipping going on.

Now, if we wanted to get rid of some of that, I could press Ctrl+Shift+F again to bring up the Fade dialog box and knock this down to something more reasonable, let's say, 65% for Opacity, and then click OK, and then go ahead and update the histogram once again. You can see that we have less clipping going on. It's still very pronounced in Blue, but we have less going on in the other channels. So you're going to get a more moderated, more suitable sharpening effect for a low frequency image here. Just so that you can see what we've managed to accomplish, I'm going to go to the View menu and choose Print Size, so that we're looking at the image, presumably at the size it will print of course. Then just by way of a comparison, let's go ahead and run a reversion by pressing the F12 key. So that's the original version of the image right there, and this is the sharpened version if I press Ctrl+Z or Command+ Z on the Mac. So it's a fairly subtle effect, but it's a nice portrait sharpening effect overall.

So remember that for your high frequency images, your landscapes, your cityscapes, your still life, your multi -people shots, use Smart Sharpen, it's going to work beautifully for you. For your low frequency images, your portrait shots that you really care about and you really want to make them sing, and you want to make them look great, and you don't want to bring out any bad details, at least consider using the High Pass function. It can really prove to be your friend. If you want more information about sharpening images in general, because this is, believe me, just the tip of the old iceberg here, then please check out my Photoshop CS3 Sharpening Images Series, which is available to you here at the Online Training Library.

Best of luck with everything you decide to do. My series isn't over, so I'm not saying goodbye to you. Please join me in the next chapter, which is where we'll talk about blurring and averaging here inside Photoshop CS4.

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