It is always a good idea to familiarize yourself with the terms and conditions that apply to any service you are using. Generally speaking, most social media platforms allow users to keep the copyright they have in their content and ask users to grant them a copyright license to use that content for purposes of providing their service. In some cases, platforms may also ask for a license to use your content in advertising and other promotions of their service. Creative Commons licenses do not allow sublicensing, which means you cannot grant a license to a platform with respect to the rights in any CC-licensed content you do not own. For example, if you share on Facebook a CC-licensed image you downloaded from Flickr, you cannot grant Facebook any rights to that image under copyright.
However, it is unusual for social media platforms to require you to own or control the copyright on all content you share on their sites. Instead, they often simply require that you have the rights to post it. When sharing CC-licensed content, always remember to provide proper attribution and otherwise comply with the relevant license conditions. There may be times when you want to add to your document canvas, so there's more room to add elements like text or images to your design. You can do that by using the Canvas Size command which we'll look at in this lesson. If you're following along, you can use this image from the practice files for this tutorial or an image of your own.
To add to the canvas around this image, I'll go up to the Image menu, where there is a Canvas Size... Now, just to keep these 2 straight, the Image Size command..., which we looked at in another video in this tutorial, works differently than the Canvas Size... Doesn't change the size of your actual photos or other artwork or images in a composition. At the top of this dialog, you can see the Width and Height of this image in Inches. And down here you can add to the Width of the canvas or add to the Height of the canvas or both.
So, I'm going to change either one of these menus from Inches to Pixels. If you know the total width in pixels that you want the image to be after expanding the canvas, you could type that number here in the Width field. But it's often easier to just tell Photoshop how many pixels to add to the canvas without worrying about what the total will be. To do that, come down here and click the Relative checkbox. And now, I can type in the number of pixels that I want to add to the canvas. So, let's say that I want to add 400 pixels to the width of the canvas.
If I wanted to add to the height of the canvas, I could do that too. And out in the Document window, you can see that Photoshop added canvas to both the left and the right sides of this photo. What it did was split the 400 pixels of extra width that I asked it for, into 200 pixels on the right and 200 pixels over here on the left. Well, what if I wanted to add canvas to just one side of this image. I'll press Command +Z on the Mac, Ctrl + Z on a PC to undo.
And I'll go back to the Image menu and choose Canvas Size... The first thing I'm going to do here is to check that the Width and Height fields are still set to Pixels. As I said, I want the added canvas to appear just on the right side of this image. To do that, I'll go down to this anchor diagram and I'm going to click on the middle box on the left side of this diagram. What that does is tell Photoshop to pin or anchor the image to the left side of the canvas, and put the extra canvas to its right.
So now I'm going to go up to the Width field, and I'm going to type in the number of pixels that I want to add to the right side of this image. You probably noticed that so far, my canvas extensions have all been white. But you can control the color of your canvas extension, here in the Canvas Size dialog, using the Canvas extension color menu here. By the way, if you're working on another image, and you're not on a special background layer, as we are in this image, then your Canvas extension color menu will be unavailable and the canvas that you add will be transparent. It will appear like a gray and white checkerboard in Photoshop. And, if I want to save this image, I'll go to the File menu and I'll choose Save As..., so I don't save over my original.
So that's how you can add space to your document canvas, so you have some extra room to add more image elements. If the database is released under the current version (4.0) of CC licenses, you must attribute the licensor if you share a substantial portion of the database contents. The other requirements depend on the particular license applied to the database. Under the NC licenses, you may not extract and reuse a substantial portion of the database contents for commercial purposes.
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The only categories of works for which CC does not recommend its licenses are computer software and hardware. You should also not apply Creative Commons licenses to works that are no longer protected by copyright or are otherwise in the public domain. Instead, for those works in the worldwide public domain, we recommend that you mark them with the Public Domain Mark. Whether a modification of licensed material is considered an adaptation for the purpose of CC licenses depends primarily on the applicable copyright law. Copyright law reserves to an original creator the right to create adaptations of the original work. CC licenses that allow for adaptations to be shared—all except BY-ND and BY-NC-ND—grant permission to others to create and redistribute adaptations when doing so would otherwise constitute a violation of applicable copyright law.
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This means, for example, that a CC license applied to a digitized copy of a novel grants the public permission under copyright to use a print version of the same novel on the same terms and conditions . The Crop tool is one of Photoshop's CC most useful tools, particularly for those of you who take lots of photographs. You can use it to improve a composition and to straighten crooked photos. I've opened this photo from the practice files for this tutorial.
I'll start by selecting the Crop tool here in the Tools panel. As soon as I do, you can see this border around the whole image. I'll move my cursor over any of the corners or any of the edges of the Crop box and drag to reshape that box. So, in this case, I might drag it way in to create a very different composition than the original photograph. As you create your crop, Photoshop shows you a preview with the areas to be cropped away shaded in gray.
That way you can evaluate what it is you're about to eliminate before you finalize the crop. Now, before I finalize this crop, I want to go up to the Options bar to show you an important option there. Because when Delete Cropped Pixels is checked, if you finalize the crop and save the image, you'll permanently delete the cropped away pixels. But, with this option unchecked, you can bring back the cropped away pixels at any time. I'm going to finalize this crop by going over to the big Checkmark in the Options bar and clicking there. Now, there are other ways to finalize a crop, but I like this way because it's very simple.
Let's say that I'm doing something else with the image and then, I change my mind about the way I'd cropped it. At any time, I can go back and select the Crop tool and then click on the image again, and all the pixels that I cropped away appear back in view and I can change my crop. This time I might include some of those cropped away pixels. By the way, you may have noticed that there's a grid of vertical and horizontal lines on top of my photo as I use the Crop tool. This overlay presents a classic compositional technique known as the rule of thirds.
The idea of this technique is that if you place the important content in an image at the intersection of any of these horizontal and vertical lines you may improve the composition. I'm going to place the bouquet right at this intersection by clicking on the image and dragging and placing it here. And then I might reshape the crop boundary a little more, pulling it in tighter on this bouquet. Again, I'm going to click on the image with my Crop tool to try to fine-tune this crop a little more. I notice that this image is a little crooked, especially down here at the table.
One of the things you can do with the Crop tool is straighten an image. You either can move your cursor outside of one of the corners and manually try to drag to straighten the image, and this grid appears that helps you do that. So, I'm going to undo, that's Command + Z on the Mac, Ctrl + Z on the PC. So, the image is crooked again and then I'll go up to the Options bar and I'm going to use the automatic straighten tool. I'll click on that tool to select it in the Options bar for the Crop tool.
I'll move into the image, and then I'm going to click along the edge of this table, hold my mouse down, and drag a little way further along that edge. And Photoshop uses your line as a guide to rotate the image so that the content looks straight. I'm going to fine-tune this crop a little more, maybe bringing up this edge and maybe moving the bouquet over a bit to put it right in the center. And then I'm going to go up to the Options bar and click the Checkmark to finalize my crop.
I hope you give these techniques a try to work on your own compositions in Photoshop. CC licenses never require a reuser of a CC-licensed work to make the original work or resulting works (collections, derivatives, etc.) publicly available. There are lots of private reuses of works that are permitted by CC's licenses that do not require compliance with their terms. Regarding ShareAlike, the condition only applies if a work is modified and if the work is shared publicly. In the situation where a reuser created a dataset of photos and made it publicly available, and assuming copyright permission is required, then what is released is likely a collection or compilation of pre-existing works.
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See below for more information regarding how to provide clear notice of what is licensed. Machine-readable metadata based on well-accepted metadata standards creates a platform upon which new services and applications can be built. Software and services can detect CC licenses and the details of that license, as described by the metadata. For example, on many websites and search engines such as Google and Flickr, you can run filtered searches for works offered under specific CC licenses. In addition, CC license deeds can automatically create copy-and-paste attribution code so users may easily comply with the BY condition of the licenses.
When you click on a CC license or button from a page with license metadata, you get copy-and-paste attribution HTML within that license deed page. That HTML is based on available RDFa metadata in the original material. Under CC licenses, synching music in timed relation with a moving image is always considered an adaptation, whether or not it would be considered so under applicable law. For more details about adaptations in the database context, see the Data FAQ. Creators may also apply Creative Commons licenses to material they create that are adapted from public domain works, or to remixed material, databases, or collections that include work in the public domain.
However, in each of these instances, the license does not affect parts of the work that are unrestricted by copyright or similar rights. We strongly encourage you to mark the public domain material, so that others know they are also free to use this material without legal restriction. A term I use is what I call Kodak negative quality meaning the quality of the negative of a high quality photo taken with a good quality 35mm camera in relation to dpi and resolution.
This important limitation of all CC licenses is highlighted on the license deeds in the Notice section, where we emphasize that compliance with the license is not required for elements of the material in the public domain. When the database structure or its contents is subject to copyright, reproducing, distributing, or modifying the database will often be restricted by copyright law. However, it is important to note that some uses of a copyrighted database will not be restricted by copyright. It may be possible, for example, to rearrange or modify the uncopyrightable data in a way that does not implicate the copyright in the database structure. In those situations, compliance with the license conditions is not required unless the database contents are themselves restricted by copyright.
While this result is the same across all CC version 3.0 licenses, the reason for this outcome varies. In the 3.0 licenses ported to the laws of EU jurisdictions, the scope of the licenses expressly cover databases subject to copyright and/or sui generis database rights. However, the conditions of the license are explicitly waived when use of the licensed work only involves the exercise of database rights. When any of the six CC licenses is applied to material, licensees are granted permission to use the material as the license allows, whatever the media or format chosen by the user when it is used or distributed further. This is one of a very few default rules established in our licenses, to harmonize what may be different outcomes depending on where CC-licensed material is reused and what jurisdiction's copyright law applies. In the somewhat limited circumstances where sui generis database rights apply to your use, special conditions apply and there are more specific considerations you should be aware of.
Under 4.0, sui generis database rights are licensed alongside copyright, but the treatment in earlier versions of the license varies. A fuller explanation of these variations and related considerations is available in the Data FAQ. CC offers six core licenses, each of which grants a different set of permissions.
Before you use CC-licensed material, you should review the terms of the particular license to be sure your anticipated use is permitted. If you wish to use the work in a manner that is not permitted by the license, you should contact the rights holder to get permission first, or look for an alternative work that is licensed in a way that permits your anticipated use. The size and color quality of animated GIF files can vary significantly depending on the application used to create them. Strategies for minimizing file size include using a common global color table for all frames and minimizing the number of pixels covered in successive frames . More advanced techniques involve modifying color sequences to better match the existing LZW dictionary, a form of lossy compression. Simply packing a series of independent frame images into a composite animation tends to yield large file sizes.
