Photoshop CS6 For Dummies®

Visit www.dummies.com/cheatsheet/photoshopcs6 to view this book's cheat sheet.

Table of Contents

Introduction

About This Book

How This Book Is Organized

Part I: Breezing through Basic Training

Part II: Easy Enhancements for Digital Images

Part III: Creating “Art” in Photoshop

Part IV: Power Photoshop

Part V: The Part of Tens

Conventions Used in This Book

Icons Used in This Book

How to Use This Book

Where to Go from Here

Part I: Breezing through Basic Training

Chapter 1: Welcome to Photoshop!

Exploring Adobe Photoshop

What Photoshop is designed to do

New features to help you do those jobs

Other things you can do with Photoshop

Viewing Photoshop’s Parts and Processes

Reviewing basic computer operations

Photoshop’s incredible selective Undo

Installing Photoshop: Need to know

Chapter 2: Knowing Just Enough about Digital Images

What Exactly Is a Digital Image?

The True Nature of Pixels

How Many Pixels Can Dance on the Head of a Pin?

Resolution revelations

Resolving image resolution

File Formats: Which Do You Need?

Formats for digital photos

Formats for web graphics

Formats for commercial printing

Formats for PowerPoint and Word

Chapter 3: Taking the Chef’s Tour of Your Photoshop Kitchen

Food for Thought: How Things Work

Ordering from the menus

Your platter full of panels

The tools of your trade

Get Cookin’ with Customization

Clearing the table: Custom workspaces

Sugar and spice, shortcuts are nice

Spoons can’t chop: Creating tool presets

Season to Taste: The Photoshop Settings

Standing orders: Setting the Preferences

Ensuring consistency: Color Settings

When Good Programs Go Bad: Fixing Photoshop

Chapter 4: Getting Images into and out of Photoshop

Bringing Images into Photoshop

Downloading from your digital camera

Scanning prints

Keeping Your Images Organized

Creating a folder structure

Using Adobe Bridge

Renaming image files easily

Printing Your Images

Cropping to a specific aspect ratio

Remembering resolution

Controlling color using File-Print

Considering color management solutions

Printing alternatives

Sharing Your Images

Creating PDFs and websites

E-mailing your images

Part II: Easy Enhancements for Digital Images

Chapter 5: Adding Dark Shadows and Sparkling Highlights

Adjusting Tonality to Make Your Images Pop

Histograms Simplified

Using Photoshop’s Auto Corrections

Levels and Curves and You

Level-headed you!

Tonal corrections with the eyedroppers

Adjusting your curves without dieting

Grabbing Even More Control

Using Shadow/Highlight

Changing exposure after the fact

Using Photoshop’s toning tools

Chapter 6: Making Color Look Natural

What Is Color in Photoshop?

Color modes, models, and depths

Recording color in your image

Making Color Adjustments in Photoshop

Watching the Histogram and Info panels

Choosing color adjustment commands

Manual corrections in individual channels

The People Factor: Flesh Tone Formulas

Chapter 7: The Adobe Camera Raw 7 Plug-In

Understanding the Raw Facts

What’s the big deal about Raw?

Working in Raw

Do You Have What It Takes?

Working in the Camera Raw Plug-In

Tools and preview options

The histogram

The preview area

Workflow Options and presets

The Basic panel

The Detail panel

HSL, grayscale, and split toning

Compensating with Lens Corrections

Adding special effects

Camera profiles, presets, and snapshots

The Camera Raw buttons

Chapter 8: Fine-Tuning Your Fixes

What Is a Selection?

Feathering and Anti-Aliasing

Making Your Selections with Tools

Marquee selection tools

Lasso selection tools

The Quick Selection tool

The Magic Wand tool

Refine Edge

Your Selection Commands

The primary selection commands

The Color Range command

Selection modification commands

Transforming the shape of selections

Edit in Quick Mask mode

The mask-related selection commands

Masks: Not Just for Halloween Anymore

Saving and loading selections

Editing an alpha channel

Adding masks to layers and Smart Objects

Masking with vector paths

Adjustment Layers: Controlling Changes

Adding an adjustment layer

Limiting your adjustments

Chapter 9: Common Problems and Their Cures

Making People Prettier

Getting the red out . . . digitally

The digital fountain of youth

Dieting digitally

De-glaring glasses

Whitening teeth

Reducing Noise in Your Images

Decreasing digital noise

Eliminating luminance noise

Fooling Around with Mother Nature

Removing the unwanted from photos

Eliminating the lean: Fixing perspective

Rotating images precisely

Part III: Creating “Art” in Photoshop

Chapter 10: Combining Images

Compositing Images: 1 + 1 = 1

Understanding layers

Why you should use Smart Objects

Using the basic blending modes

Opacity, transparency, and layer masks

Creating clipping groups

Making composited elements look natural

Making Complex Selections

Vanishing Point

Creating Panoramas with Photomerge

Chapter 11: Precision Edges with Vector Paths

Pixels, Paths, and You

Easy Vectors: Using Shapes

Your basic shape tools

The Custom Shape tool

More custom shapes — free!

Changing the appearance of a shape

Simulating a multicolor shape layer

Using Your Pen Tool to Create Paths

Understanding paths

Clicking and dragging your way down the path of knowledge

A closer look at the Paths panel

Customizing Any Path

Adding, deleting, and moving anchor points

Combining paths

Tweaking type for a custom font

Chapter 12: Dressing Up Images with Layer Styles

What Are Layer Styles?

Using the Styles Panel

Creating Custom Layer Styles

Exploring the Layer Style menu

Exploring the Layer Style dialog box

Layer effects basics

Opacity, fill, and advanced blending

Saving Your Layer Styles

Adding styles to the Style panel

Preserving your layer styles

Chapter 13: Giving Your Images a Text Message

Making a Word Worth a Thousand Pixels

A type tool for every season, or reason

What are all those options?

Taking control of your text with panels

The panel menus — even more options

Working with Styles

Putting a picture in your text

Creating Paragraphs with Type Containers

Selecting alignment or justification

Ready, BREAK! Hyphenating your text

Shaping Up Your Language with Warp Text and Type on a Path

Applying the predefined warps

Customizing the course with paths

Chapter 14: Painting in Photoshop

Discovering Photoshop’s Painting Tools

Painting with the Brush tool

Adding color with the Pencil tool

Removing color with the Eraser tool

Working with Panels and Selecting Colors

An overview of options

Creating and saving custom brush tips

Picking a color

Integrating Your iPad into Your Painting Workflow

Expressing yourself with PS Express

Using Adobe Nav

Getting colorful with Color Lava

Easing your way into Eazel

Connecting with Photoshop

Fine Art Painting with Specialty Brush Tips and the Mixer Brush

Exploring erodible brush tips

Introducing airbrush and watercolor tips

Mixing things up with the Mixer Brush

Filling, Stroking, Dumping, and Blending Colors

Deleting and dumping to add color

Using gradients

Chapter 15: Filters: The Fun Side of Photoshop

Smart Filters: Your Creative Insurance Policy

The Filters You Really Need

Sharpening to focus the eye

Unsharp Mask

Smart Sharpen

Blurring images and selections

The other Blur filters

Correcting for the vagaries of lenses

Cleaning up with Reduce Noise

Getting Creative and Artistic

Photo to painting with the Oil Paint filter

Working with the Filter Gallery

Push, Pull, and Twist with Liquify

Do I Need Those Other Filters?

Adding drama with Lighting Effects

Bending and bubbling

Creating clouds

Part IV: Power Photoshop

Chapter 16: Streamlining Your Work in Photoshop

Ready, Set, Action!

Recording your own Actions

Working with the Batch command

Creating contact sheets and presentations

Sticking to the Script

Adding Extensions to Photoshop

Tooling around in Bridge

Creating Fancy PDF Presentations and Multi-Page PDFs

Creating a PDF presentation

Collecting thumbnails in a contact sheet

Saving paper with picture packages

Creating Web Galleries

Chapter 17: Working with Video and Animation

Importing and Enhancing Video Clips

Getting video into Photoshop

Adjusting the length of video and audio clips

Adding adjustment layers and painting on video layers

Transitioning, titling, and adding special effects

Transforming video layers

Rendering and exporting video

Creating Animations in Photoshop

Building frame-based animations

Creating frame content

Tweening to create intermediary frames

Specifying frame rate

Optimizing and saving your animation

Part V: The Part of Tens

Chapter 18: Ten (or so) Things to Do with Photoshop CS6 Extended

Understanding Photoshop CS6 Extended

Using Smart Object Stack Modes

Working with 3D Artwork

Creating 3D Objects

Importing 3D Objects

Rendering and Saving 3D Scenes

Measuring, Counting, and Analyzing Pixels

Measuring Length, Area, and More

Calculating with Vanishing Point

Counting Crows or Maybe Avian Flu

Viewing Your DICOM Medical Records

Ignoring MATLAB

Chapter 19: Ten Reasons to Love Your Wacom Tablet

More Natural Movement

Health and Safety

Artistic Control

Extended Comfort

Programmable ExpressKeys, Touch Rings, and Touch Strips

The Optimal Tablet

The Pen’s Switch

Setting Preferences

The Accessories

Cintiq for the Ultimate Control

Chapter 20: Ten Things to Know about HDR

Understanding What HDR Is

Capturing for Merge to HDR Pro

Preparing Raw “Exposures” in Camera Raw

Working with Merge to HDR Pro

Saving 32-Bit HDR Images

HDR Toning

Painting and the Color Picker in 32-Bit

Filters and Adjustments in 32-Bit

Selections and Editing in 32-Bit

Printing HDR Images

Cheat Sheet

Photoshop® CS6 For Dummies®

by Peter Bauer

Photoshop® CS6 For Dummies®

Published by
John Wiley & Sons, Inc.
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Hoboken, NJ 07030-5774

www.wiley.com

Copyright © 2012 by John Wiley & Sons, Inc.

Published by John Wiley & Sons, Inc., Hoboken, NJ

Published simultaneously in Canada

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About the Author

Peter Bauer is a member of the Photoshop Hall of Fame, an award-winning fine-art photographer, the Help Desk Director for the National Association of Photoshop Professionals (NAPP), and an adjunct professor of design at the University of Notre Dame. He has authored more than a dozen books on Adobe Photoshop, Adobe Illustrator, computer graphics, and photography. Pete is also the host of video-training titles at Lynda.com and a contributing writer for Photoshop User magazine. He appears regularly as a member of the Photoshop World Instructor Dream Team, hosting Help Desk Live! As NAPP Help Desk Director, Pete personally answers thousands of e-mail questions annually about Photoshop and computer graphics. He has contributed to and assisted on such projects as special effects for feature films and television, major book and magazine publications, award-winning websites, and fine art exhibitions. He serves as a computer graphics efficiency consultant for a select corporate clientele, and shoots exclusive photographic portraiture. Pete’s prior careers have included bartending, theater, broadcast journalism, professional rodeo, business management, and military intelligence interrogation. Pete and his wife, Professor Mary Ellen O’Connell, of the University of Notre Dame Law School, live in South Bend, Indiana.

Dedication

I have written (and John Wiley & Sons has published) this book for you — the many who learn and live by the written word. Whether on paper or tablet, these words and illustrative figures were put here for you. There is no irony in the fact that you’ll use these words to produce pictures.

Author’s Acknowledgments

First, I’d like to thank Bob Woerner and Linda Morris and the rest of the superb crew at John Wiley & Sons that put the book together. I’d also like to acknowledge Scott and Kalebra Kelby, Jean Kendra, Larry Becker, and Dave Moser of the National Association of Photoshop Professionals (NAPP). With their support, I’m the Help Desk Director for NAPP, and get to share my Photoshop knowledge with tens of thousands of NAPP members — and with you. I also thank my Help Desk colleagues Nicole S. Young (Nicolesy) and Rob Sylvan (who served as technical editor on this book) for their support during the development of this project.

Another great group from whom I continue to receive support are my colleagues on the Photoshop World Instructor Dream Team. If you haven’t been to Photoshop World, try to make it — soon. Rather than “Photoshop conference,” think “Photoshop festival.” Where else can you see suits and slackers, side by side, savoring every single syllable? It’s more than just training and learning: It’s a truly intellectually invigorating environment. And, of course, I thank my wife, the wonderful Professor Mary Ellen O’Connell of the Notre Dame Law School, for her unwavering support during yet another book project.

Publisher’s Acknowledgments

We’re proud of this book; please send us your comments at http://dummies.custhelp.com. For other comments, please contact our Customer Care Department within the U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002.

Some of the people who helped bring this book to market include the following:

Acquisitions, Editorial, and Vertical Websites

Project Editor: Linda Morris

Executive Editor: Bob Woerner

Copy Editor: Linda Morris

Technical Editor: Rob Sylvan

Editorial Manager: Jodi Jensen

Editorial Assistant: Amanda Graham

Sr. Editorial Assistant: Cherie Case

Cover Photos: Cover images created by Peter Bauer

Cartoons: Rich Tennant (www.the5thwave.com)

Composition Services

Project Coordinator: Patrick Redmond

Layout and Graphics: Claudia Bell, Joyce Haughey, Corrie Niehaus

Proofreader: Evelyn Wellborn

Indexer: Potomac Indexing, LLC

Publishing and Editorial for Technology Dummies

Richard Swadley, Vice President and Executive Group Publisher

Andy Cummings, Vice President and Publisher

Mary Bednarek, Executive Acquisitions Director

Mary C. Corder, Editorial Director

Publishing for Consumer Dummies

Kathy Nebenhaus, Vice President and Executive Publisher

Composition Services

Debbie Stailey, Director of Composition Services

Introduction

Adobe Photoshop is one of the most important computer programs of our age. It’s made photo editing a commonplace thing, something for the everyperson. Still, Photoshop can be a scary thing (especially that first purchase price!), comprising a jungle of menus and panels and tools and options and shortcuts as well as a bewildering array of add-ons and plug-ins. And that’s why you’re holding this book in your hands. And why I wrote it. And why John Wiley & Sons published it.

You want to make sense of Photoshop — or, at the very least, be able to work competently and efficiently in the program, accomplishing those tasks that need to get done. You want a reference that discusses how things work and what things do, not in a technogeek or encyclopedic manner, but rather as an experienced friend might explain something to you. Although step-by-step explanations are okay if they show how something works, you don’t need rote recipes that don’t apply to the work you do. You don’t mind discovering tricks, as long as they can be applied to your images and artwork in a productive, meaningful manner. You’re in the right place!

About This Book

This is a For Dummies book, and as such, it was produced with an eye toward you and your needs. From Day One, the goal has been to put into your hands the book that makes Photoshop understandable and useable. You won’t find a technical explanation of every option for every tool in every situation, but rather a concise explanation of those parts of Photoshop you’re most likely to need. If you happen to be a medical researcher working toward a cure for cancer, your Photoshop requirements might be substantially more specific than what you’ll find covered here. But for the overwhelming majority of the people who have access to Adobe Photoshop, this book provides the background needed to get your work done with Photoshop.

As I updated this book, I intentionally tried to strike a balance between the types of images with which you’re most likely to work and those visually stimulating (yet far less common) images of unusual subjects from faraway places. At no point in this book does flavor override foundation. When you need to see a practical example, that’s what I show you. I worked to ensure that each piece of artwork illustrates a technique and does so in a meaningful, nondistracting way for you.

You’ll see that I used mostly Apple computers in producing this book. That’s simply a matter of choice and convenience. You’ll also see (if you look closely) that I shoot mostly with Canon cameras and use Epson printers. That doesn’t mean that you shouldn’t shoot with Nikon, or that you shouldn’t print with HP or Canon. If that’s what you have, if it’s what you’re comfortable with, and if it fulfills your needs, stick with it! You’ll also find that I mention Wacom drawing tablets here and there (and devoted one of the final chapters to the subject). Does that mean you should have one? If you do any work that relies on precise cursor movement (like painting, dodging, burning, path creation and editing, cloning, healing, patching, or lassoing, just to name a few), yes, I do recommend a Wacom Cintiq display or Intuos tablet. Next to more RAM and good color management, it’s the best investment just about any Photoshop user can make.

One additional note: If you’re brand new to digital imaging and computers, this probably isn’t the best place to start. I do indeed make certain assumptions about your level of computer knowledge (and, to a lesser degree, your knowledge of digital imaging). But if you know your File⇒Open from your File⇒Close and can find your lens cap with both hands, read Chapter 1, and you’ll have no problem with Photoshop CS6 For Dummies.

How This Book Is Organized

Photoshop CS6 For Dummies is primarily a reference book. As such, you can check the Table of Contents or the index for a specific subject, flip to those pages, and get the information you need. You can also start at the beginning and read cover to cover (just to make sure you don’t miss a single tip, technique, or joke). To give you an indication of the type of information in each chapter, I organized the book into parts. Here’s a quick look at what sort of content you can find in each part.

Part I: Breezing through Basic Training

The first set of chapters presents the basic operation of Photoshop, what you need to know to get around in the program, and the core process of getting images into Photoshop and back out again. If you’re new to digital imaging, and particularly unfamiliar with Photoshop, make sure to read Chapter 1 through Chapter 3. If you’ve worked with Photoshop or another image editing program and aren’t quite sure about the concept of resolution or which file formats are best for which purposes, don’t overlook Chapter 2. Chapter 4 is the meat and potatoes of Photoshop: scanning and downloading images from cameras, cropping to fit specific print and frame sizes, and printing or posting your images on the web. All in one nice, tidy package.

Part II: Easy Enhancements for Digital Images

In Chapters 5 through 9, you discover ideas and techniques for improving the appearance of your images. You read about tonality (the lightness and darkness of the image), color correction (making the image’s color look natural), and making selections to isolate individual parts of your image for correction. Part II also includes a full chapter on the Raw file format for digital cameras — what it is, why it’s important, and how to determine whether it’s right for you. At the end of this part, I include a chapter on the most common problems in digital photos: red-eye, wrinkles, and unwanted objects. And, yes, that chapter includes what to do about those problems, too!

Part III: Creating “Art” in Photoshop

The chapters in Part III take a walk on the creative side. Although not everyone wants to use Photoshop as a digital painting program, everyone should understand how to get around in the complex and daunting Brush panel. Compositing images (making one picture from two or more), adding text (whether a simple copyright notice or an entire page), using paths, and adding layer styles are all valuable skills for just about all folks who work with Photoshop, even if they don’t consider their work to be “art.” You’ll also find info about how to integrate your iPad into your Photoshop workflow.

Part IV: Power Photoshop

The two chapters in Part IV are more specialized than the rest of the book. If you don’t work in a production environment (even regularly cropping to the same size for printing on your inkjet printer can count as production), you might not need to use Actions in Photoshop. But there’s far more to Chapter 16 than just Actions and scripting! It also shows you how you can use Adobe Bridge’s Output panel to create an on-screen presentation that anyone can view, generate a single page with small thumbnail images of all your photos, and save paper by printing multiple copies of a photo on a single sheet. Chapter 17 explores Photoshop’s new and improved video editing capabilities (now available in the non-Extended version of Photoshop). With more and more digital cameras and smart phones capturing video, here’s an introduction to working with both video and animation in Photoshop.

Part V: The Part of Tens

The final part of this book, The Part of Tens, was both the easiest and most difficult section to prepare. It was easy because, well, the chapters are short. It was incredibly tough because it’s so hard to narrow any Photoshop-related list to just ten items. Photoshop is such a beautifully complex and deep program that I had a very hard time restricting myself to just ten things to know about the Extended version of Photoshop, just ten reasons a Wacom tablet can be your best friend, and just ten things you need to know about high dynamic range (HDR) photography.

Conventions Used in This Book

To save some space and maintain clarity, I use an arrow symbol as shorthand for Photoshop menu commands. I could write this:

Move the cursor onto the word Image at the top of your screen and press the mouse button. Continuing to press the mouse button, move the cursor downward to the word Adjustments. Still pressing the mouse button, move the cursor to the right and downward onto the words Shadow/Highlight. Release the mouse button.

But it makes more sense to write this:

Choose Shadow/Highlight from the Image⇒Adjustments menu.

Or even to use this:

Choose the Image⇒Adjustments⇒Shadow/Highlight command.

You’ll also note that I include keyboard shortcuts (when applicable) for both Mac and Windows. Generally the shortcuts are together, with Mac always first, and look like this:

Move the selection to a separate layer with the shortcut maccmd+Shift+J/Ctrl+Shift+J.

Icons Used in This Book

You’ll see icons in the margins as you read this book, icons that indicate something special. Here, without further ado, is the gallery:

This icon tells you I’m introducing a new feature, something just added to the program with Photoshop CS6. If you’re brand new to Photoshop yourself, you can ignore this icon — it’s all new to you. If you’re an experienced Photoshop user, take note.

When I have a little secret or shortcut to share with you — something that can make your life easier, smoother, more convenient — you see the Tip icon.

This icon doesn’t appear very often, but when it does, read carefully! I reserve the Warning icon for those things that can really mess up your day — things that can cause you to lose work by ruining your file or prevent Photoshop from fulfilling your wishes. If there were to be a quiz afterward, every Warning would be included! (Actually, they do appear on my exams — ask my students!)

The Remember icon shows you good-to-know stuff, things that are applicable in a number of different places in Photoshop, or things that can make your Photoshop life easier.

You might notice this icon in a place or two in the book. It’s not common because I exclude most of the highly technical background info: you know, the boring techno-geek concepts behind Photoshop. But when you do see the icon, it indicates something that you probably should know.

How to Use This Book

This is a reference book, not a lesson-based workbook or a tips-and-tricks cookbook. When you have a question about how something in Photoshop works, flip to the Table of Contents or the index to find your spot. You certainly can read the chapters in order, cover to cover, to make sure that you get the most out of it. Nonetheless, keep this book handy while you work in Photoshop. (Reading cover to cover not only ensures that you find out the most about Photoshop, but it guarantees that you don’t miss a single cartoon or joke.)

Unless you’re borrowing a friend’s copy or you checked this book out of the library or you’re reading it on your iPad, I suggest you get comfortable with the thought of sticky notes and bent page corners. Photoshop is a very complex program — no one knows everything about Photoshop. And many concepts and techniques in Photoshop are hard to remember, especially if you don’t use them often. Bookmark those pages so they’re easy to find next time because you’re sure to be coming back time and again to Photoshop CS6 For Dummies.

Where to Go from Here

Occasionally, we have updates to our technology books. If this book does have technical updates, they will be posted at www.dummies.com/go/photoshopCS6fdupdates.

Please note that some special symbols used in this eBook may not display properly on all eReader devices. If you have trouble determining any symbol, please call Wiley Product Technical Support at 800-762-2974. Outside of the United States, please call 317-572-3993. You can also contact Wiley Product Technical Support at www.wiley.com/techsupport.

Part I

Breezing through Basic Training

A solid understanding of certain basic concepts and techniques makes learning Photoshop much easier. Heck, it’s difficult to understand a discussion of feathered selections when you don’t know your pixels from a hole in the ground, right?

In Chapter 1, I introduce you to Adobe Photoshop. Chapter 2 focuses on the basic concepts of digital imaging and offers a look at the primary file formats in which you save Photoshop images. Chapter 3 makes sure we’re all reading from the same menu as we discuss Photoshop’s various commands, tools, and features — and provides some critical troubleshooting procedures. Finally, Chapter 4 covers bringing images into Photoshop from digital cameras or scanners, organizing those files, and basic output through printing.

Chapter 1

Welcome to Photoshop!

In This Chapter

arrow What Photoshop does very well, kind of well, and just sort of, well . . .

arrow What you need to know to work with Photoshop

arrow What you need to know about installing Photoshop

Adobe Photoshop is, without question, the leading image-editing program in the world. Photoshop has even become somewhat of a cultural icon. It’s not uncommon to hear Photoshop used as a verb (“That picture is obviously Photoshopped!”), and you’ll even see references to Photoshop in the daily comics and cartoon strips. And now you’re part of this whole gigantic phenomenon called Photoshop.

Before I take you on this journey through the intricacies of Photoshop, I want to introduce you to Photoshop in a more general way. In this chapter, I tell you what Photoshop is designed to do, what it can do (although not as capably as job-specific software), and what you can get it to do if you try really, really hard. I also review some basic computer operation concepts and point out a couple of places where Photoshop is a little different than most other programs. At the end of the chapter, I have a few tips for you on installing Photoshop to ensure that it runs properly.

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!

Lesen Sie weiter in der vollständigen Ausgabe!