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Like nearly all corporations, hedge funds use accrual accounting to time the recognition of accounting entries. It is dif cult to imagine how cash accounting would treat limited partners fairly. In fact, tax reporting requires the hedge fund to accrue unrecognized gains and losses (see 10). The managers of hedge funds are organized into business units separate from the business unit that contains the assets. The manager may compile these accounting records using either accrual or cash accounting. If a fund is organized as a ow-through tax entity such as a partnership, a limited liability corporation, or an S corporation, the accounting records probably must be compiled using the same basis as the owners. As a result, many hedge fund managers use cash accounting because their owners are individuals who use cash accounting.

2. Delete the secondary axis on the right by selecting it and pressing Delete. The target segment remains centered over the column. 3. Change the target segment so that it appears as a marker. Right-click the target segment and choose Chart Type. In Excel 2007, choose Change Series Chart Type. Select Line with Marker and choose OK. The target segment that was a column segment becomes a marker. There is no line, because there is only one point. 4. Right-click on the marker and choose Format Data Series. 5. Format the line so that it is invisible. Format the marker so that it is a heavy dash, as shown as shown in Figure 24.9. This formats the target marker as a heavy dash floating over the stacked columns. Choose OK.

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The bridge photo looked like a tough job, but in fact it was surprisingly simple to correct. Turn your attention now to a tougher challenge: the microphone image. This has a really strong color cast to it and needs a more delicate adjustment to achieve a good result. To prove the point, start by repeating the approach used on the bridge image. Open the photo in Photoshop, and add a Levels adjustment layer by clicking the Create New Fill or Adjustment Layer icon in the Layers palette. Follow the same process as before, clicking and dragging the black and white Input Levels sliders in so they touch the left and right edges of each channel s histogram data. You can see the results in Figure 15.15. The image is somewhat improved, but it still has something of a color cast to it. To get rid of this, you re going to have to get a little more involved with the Levels adjustment.

Communication is vital if a change is going to be successful (Price and Chahal, 2006). Communication with employees can eliminate their resistance and avoid confusion too. The assumption behind the use of communication (i.e. keeping employees updated with the need for change) and consultation is that this approach for effecting change will be more successful than an imposed leader-driven one.

Using layers .................................................................................................................... 264 Switching the current layer .................................................................................. 265 Changing a layer s state ........................................................................................ 265 Saving layer states ................................................................................................ 267 Changing an existing object s layer ....................................................................... 269 Making an object s layer current........................................................................... 269 Using special layer tools ................................................................................................. 269 Modifying layers ............................................................................................................. 272 Managing columns ............................................................................................... 272 Filtering the layer list ........................................................................................... 273 Changing a layer s color, linetype, and lineweight ................................................ 274 Renaming layers ................................................................................................... 275 Deleting layers ..................................................................................................... 275 Purging layers and linetypes ................................................................................. 275 Changing Object Color, Linetype, and Lineweight.................................................................... 277 Changing an object s color ............................................................................................. 277 Changing the current color............................................................................................. 278 Changing an object s linetype ......................................................................................... 278 Changing the current linetype ........................................................................................ 279 Changing an object s lineweight ..................................................................................... 279 Changing the current lineweight .................................................................................... 280 Working with Linetype Scales .................................................................................................. 282 Changing linetype spacing by using a different linetype ................................................. 282 Changing linetype spacing by changing the global linetype scale .................................... 282 Changing linetype spacing by changing the object linetype scale .................................... 284 Changing the current object linetype scale ........................................................... 284 Changing an existing object s linetype scale ......................................................... 284 Importing Layers and Linetypes from Other Drawings.............................................................. 286 Matching Properties .................................................................................................................. 287 Summary .................................................................................................................................. 288

7. Choose Select Inverse to create a selection around everything but the man and the Jeep. 8. Refine the edges of the selection.

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