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repeatedly editing and testing code, you ll frequently need to redeploy your edited code to the container for testing. And each time you do, you may have to stop and restart (bounce) the container to make it load your edited code. The most efficient way to do this loop, it seems, is to deploy your code as described above, edit the source files in your project directory structure, compile them if necessary, and bounce the container. For a nondevelopment environment, however, efficiency is not the emphasis. Instead, it is more important to know the exact configuration of code deployed into the environment, and secure that configuration from modification. These concerns suggest that you should deploy archive files into nondevelopment environments, by copying them from the location where they are prepared. Ideally your Ant build file s deploy target will be sensitive to the type of environment being administered, and do the right thing for the current environment type. Once again it is difficult to provide a universal template deploy target because of differences between containers; but the following ant script shows a deploy target that assumes Tomcat as the Web container and WebLogic 6.1 as the EJB container:

To move a button field, select either the Button tool or the Select Object tool. In the example here, two buttons are created to provide navigation back and forth between pages as shown in Figure 22.39. If you want to move the two buttons together, you need to use the Select Object tool. Drag the buttons to an area on the page where you can easily click the buttons to navigate pages. FIGURE 22.39

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hen we first get interested in digital imaging, few of us realize just how quickly the digital dream can become an organizational nightmare. In the days of shooting film, organization was just as important, though much more intuitive. After film was developed, it and its associated proofs or contact sheets was placed in a box or file cabinet. When a negative was needed for printing, we had a clear idea of where to find it. With digital photography, organization gets more complicated. For one thing, the place where image files are stored isn t quite so intuitive. Sometimes, files end up in cryptic places requiring three software engineers to find them. Second, when working with digital images, we tend to create lots and lots of derivative files from some original files. When we begin creating so many similar yet different files, organization takes on a whole new meaning. Finding a particular picture is important, but finding a particular interpretation of that particular picture is even more important. Add the fact that you can easily create huge quantities of digital files, and you ll soon be lost in a sea of image files. My goal in this chapter is to help you get a handle on organization right now. I begin by explaining the primary file formats we use when working with digital photography and when they re appropriate in the workflow. Then I describe different ways of getting organized, focusing primarily on Adobe Bridge CS3. I also talk about different ways of protecting all your work by backing up and archiving digital files. By the end of this chapter, you ll be ready to create your own intuitive organizational system that helps you quickly locate your files when you want them.

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When multiple tools share a single Toolbox slot, you select the tool you want from a menu-style list, as shown in Figure 2.4. A tiny triangle in the lower-right corner of a Toolbox button indicates that multiple tools share that button. You can click the triangle and then click the name of the tool you want to use. Or, to do the job with one less click, just drag from the icon onto the name of the tool and then release the mouse button.

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The auditor has a responsibility to plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement, whether caused by error or fraud.

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When a mask is created, it becomes its own channel in the Channels palette. This is very similar to what happens when a selection is saved. To load this mask as a selection from the Channels palette, click the indicated icon. (You also can load a mask as a selection by Command/Ctrl-clicking on the mask in the Layers palette.)

Adaptive Wireless Tranceivers L. Hanzo, C.H. Wong, M.S. Yee Copyright 2002 John Wiley & Sons Ltd ISBNs: 0-470-84689-5 (Hardback); 0-470-84776-X (Electronic)

Food, Fermentation and Micro-organisms Charles W. Bamforth Copyright 2005 by Blackwell Publishing Ltd

4. To change the height of the horizontal rule, type a pixel measurement in the height (H) text box.

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