The Photoshop CS5 Pocket Guide

Brie Gyncild

Ginormous knowledge, pocket-sized



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The Photoshop CS5 Pocket Guide


About the Author

Brie Gyncild aims to make technical information accessible to those
who need it. She’s written books on many Adobe applications, including
Adobe Photoshop, Adobe Photoshop Elements, Adobe InDesign, and
Adobe After Effects. Brie lives in Seattle with her partner, their cats,
and an overgrown garden.


Acknowledgments


My name may be on the cover, but many people played a part in producing
this book. Jean-Claude Tremblay’s capable technical review made
the chapters more accurate and more coherent, Elizabeth Kuball and
Liz Welch ensured the text was clean, Valerie Haynes Perry composed
the index to help you find what you need, and Tracey Croom and Myrna
Vladic kept production running smoothly. If you judged the book by the
cover, you relied on Cory Borman’s good work. I am particularly grateful
to Rebecca Gulick for inviting me to write the book, providing me the
resources I needed, and making the whole process a pleasure.

Thank you to Doña and Verne, Andrew, Colleen, Sandy, Jinx, Pico,
Longfellow, Nada, and Belly for letting me share their photos with you.

As always, I am indebted to Sandy, who put up with my working long
hours, helped me brainstorm structural and technical issues, and shared
my enthusiasm when everything fell into place.

Introduction
Adobe Photoshop CS5 packs a lot of power into a single application. All
that power can make your life easier and your photos stunning, but
it can also be a bit overwhelming. This book is intended to help you
accomplish whatever you need to do in Photoshop without requiring
too many swear words or raising your blood pressure. As you get more
comfortable with Photoshop and the concepts involved, you’ll likely
tackle more challenging photo corrections and find yourself editing
photos with increasing confidence.

Keep in mind that this is a pocket guide to Photoshop, not a photography
primer. You’re probably a much better photographer than I am, and there
are countless books and resources out there to help you develop photography
skills. Likewise, this book isn’t a comprehensive manual for the
Photoshop application. In fact, I don’t cover any of the additional features
in Photoshop Extended (such as 3D features) in this book.

The chapters are organized primarily by task. You can read the book
from start to finish, or you can pick it up when you need to perform an
unfamiliar task or try to make sense of a feature that has you confused.
It’s completely up to you. You’ll have the best success working with
Photoshop overall, though, if you start with the basics, get comfortable
with the fundamental concepts (such as working with panels in general,
manipulating layers, creating selections, and so forth), and build on
success. Therefore, if you’re new to Photoshop, I recommend you read
through the first couple of chapters in order to learn a bit about the
Photoshop paradigm before you jump around too much.

It’s most fun to learn when you feel free to explore and experiment,
especially in an application with as many gizmos and gee-whiz features
as Photoshop. My life got much better when I started routinely working
with copies of my images, preserving the original. Knowing that those
precious pixels are safe means you can wander down any path you like
without risking your masterpiece, whether it’s the photograph of your
daughter’s first experience with ice cream or a striking sunset over a
Venetian canal.

Meet Photoshop
Adobe Photoshop has long been a treasured tool for professional
photographers, but its reputation extends far beyond industry circles.
To the lament of Adobe’s legal department (and, most likely, the glee
of its marketing folks), the brand name has become a verb in casual
conversation. Amazing images often prompt the question, “Did you
Photoshop that?”
There’s good reason that Photoshop has become so ubiquitous.
Photoshop provides the tools you need to manipulate a photograph
in almost any way you can imagine. From simple tasks, such as removing
red eye or cropping an image, to more complex procedures, such
as making creative distortions or merging parts of images with each
other, Photoshop offers a full range of features to meet the needs of
professional and amateur photographers, as well as family historians,
graphic designers, and tabloid layout artists.
While it may have been a straightforward program at its inception,
Photoshop has grown in complexity with each new release. It’s chock-full
of features, but that abundance can be a bit intimidating to a newcomer.
However, even a beginner can take advantage of much that Photoshop
has to offer from day one. Take the time to tour the user interface and
get familiar with some of the terms so that you’ll be able to make sense
of instructions later in this book, in Photoshop Help, or anywhere else you
turn for assistance. Then, dive in!

The Photoshop Work Area
If you’ve worked with other Adobe applications, especially Adobe
InDesign or Adobe Illustrator, the Photoshop work area will be familiar.
There’s plenty going on in this window, too, with panels and tools tucked
into their storage spots. At the top are the menu bar, the application bar,
and the options bar. On the left, the Tools panel includes most of the
tools in Photoshop. On the right is the panel dock, home to panels that
give you quick access to settings and options for many different tasks.
As in most applications, you’ll find most of the main commands in the
menu bar. The application bar, similar to those in other Adobe Creative
Suite applications, makes it easy to jump to Adobe Bridge or open the
Mini Bridge panel, arrange open documents, and change workspaces.
The settings in the options bar change to include whatever is relevant
for the tool you’ve selected in the Tools panel.


Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Chapter 1: Meet Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
The Photoshop Work Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  6
Navigating Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  8
The Zoom tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  8
Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  10
The Navigator panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  11
The Hand tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  11
Opening Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Opening files using Bridge or Camera Raw . . . . . . . . . . . . . . . . . . . . . . . 14
Using the Mini Bridge panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Chapter 2: Laying the Foundation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Bitmaps and Vectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Image Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Color Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Foreground and Background Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Working with Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  30
Nondestructive Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   34
Returning to the Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Recommended Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Chapter 3: Common Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Cropping an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  40
Straightening an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  42
Resizing an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  44
Enlarging the Canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  45
Transforming Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  48
Removing Red-Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  50
Lightening or Darkening an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Converting to Black and White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Changing the image mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using an adjustment layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Chapter 4: Making Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  57
Tonal Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  58
Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  63
Vibrance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  65
Correcting shadows and highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  66
Selecting a variation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  66
Healing Blemishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  68
Spot Healing Brush tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  69
Content-aware fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Healing Brush tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Patch tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  74
Clone Stamp tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  76
The Clone Source panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  76
Erasing Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  78
Replacing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  79
Reducing Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Sharpening Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  84
Smart Sharpen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  85
Unsharp Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  86
Correcting Specific Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  88
Chapter 5: Editing Images in Camera Raw . . . . . . . . . . . . . . . . . . . . .  91
Capturing Raw Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  92
Opening Images in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  92
The Camera Raw Work Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  93
Adjusting White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  94
Cropping and Straightening Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  96
Removing Isolated Blemishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  98
Adjusting the Overall Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  99
Making Local Tonal Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Sharpening Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  104
Adjusting Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Tone Curve pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  106
Detail pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  106
HSL/Grayscale pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  107
Split Toning pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  108
Lens Corrections pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  109
Effects pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Additional panes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  111
Synchronizing Settings across Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Finishing Up in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Chapter 6: Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
About the Painting Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Selecting Brush Tips and Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Brush presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Brush tip options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  120
Brush Tip Shape settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Bristle Qualities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Shape Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Using the Brush or Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  124
Using the Mixer Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Applying Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Using the Gradient Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  129
Chapter 7: Applying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Using preset styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  136
Blending Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Puppet Warp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  144
Chapter 8: Merging Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  147
Adding Layers from Other Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  148
Replacing the Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  150
Using the Background Eraser tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Merging Group Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Creating a Panorama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  156
Merging Multiple Exposures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Increasing Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  160
Chapter 9: Preparing Images for the Web . . . . . . . . . . . . . . . . . . . . 163
Slicing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  164
Creating slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  165
Editing slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  167
Creating Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  168
Optimizing Images for the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Chapter 10: Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  175
Archiving Photoshop Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  176
Proofing Your Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  176
Setting up color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  176
Soft proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Identifying out-of-gamut colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  179
Printing a hard proof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Printing to a Desktop Printer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  182
Preparing to Print an Image Professionally . . . . . . . . . . . . . . . . . . . . . . . .  184
Chapter 11: Organizing Images in Bridge . . . . . . . . . . . . . . . . . . . . .  187
Importing Images into Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  188
Viewing Files in Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  189
Adding Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  192
Adding Keywords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  193
Searching with Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  195
Creating Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  196
Labeling Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  197
Stacking Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  199
Jumping Off from Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Chapter 12: Automating Tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Playing Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  202
Recording Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Creating Droplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  205
Using Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Creating Presets in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  207
Appendix: Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  209
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  210
Factual Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  210
Inspiration and Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  210
Adobe TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
More inspiration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  213


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Product details
 Price
 Pages
 241 p
 File Size
 5,758 KB
 File Type
 PDF format
 ISBN-13
 ISBN-10
 978-0-321-71432-9
 0-321-71432-6
 Copyright
 2010 by Brie Gyncild 
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