What about the others?

Some filters don't really belong in either the corrective or destructive camp. Take Filter ^ Video ^ NTSC Colors, for example, and Filter ^ Other ^ Offset. Both are examples of commands that have no business being under the Filter menu, and both could have been handled much better.

The NTSC Colors filter modifies the colors in your RGB or Lab image for transfer to videotape. Vivid reds and blues that might otherwise prove very unstable and bleed into their neighbors are curtailed. The problem with this function is that it's not an independent color space; it's a single-shot filter that changes your colors and is done with them. If you edit the colors after choosing the command, you may very well reintroduce colors that are incompatible with NTSC devices and therefore warrant a second application of the filter. Conversion to NTSC — another light-based system — isn't as fraught with potential disaster as conversion to CMYK pigments, but it still deserves better treatment than this.

The Offset command moves an image a specified number of pixels. Why didn't I cover it in Chapter 8 with the other movement options? Because the command actually moves the image inside the selection outline while keeping the selection outline itself stationary. It's as if you had pasted the entire image into the selection outline and were now moving it around. The command is a favorite among fans of channel operations, a topic I cover in Chapter 13. You can duplicate an image, offset the entire duplicate by a few pixels, and then mix the duplicate and original to create highlight or shadow effects. But I much prefer the more interactive control of layering and nudging with the arrow keys. I imagine the Offset filter might find favor with folks who want to automate movements from the Actions palette, but now that Photoshop records movements made with the move tool, I'm not even sure about that. Okay, I admit it; the Offset command is a primitive feature with no purpose in our high-tech modern world.

Among the filters I've omitted from this chapter is Filter ^ Stylize ^ Wind, which is technically a destructive filter but is covered along with the blur and noise filters in Chapter 10. I discussed Filter ^ Render ^ Texture Fill in Chapter 7. And finally, for complete information on the Custom and Displace filters, crack open Chapter A on the CD-ROM at the back of this book.

As for the other filters in the Filter ^ Distort, Pixelate, Render, and Stylize submenus, stay tuned to this chapter to discover all the latest and greatest details.

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