IntroductionWelcome| 00:00 | (Music playing.)
| | 00:06 | Hi there, my name is Michael Ninness.
I'm a Product Manager and User Interface
| | 00:10 | Designer at Adobe. I have also been
teaching and speaking about Photoshop since 1990.
| | 00:14 | For most Photoshop users,
blend modes remain confusing and mysterious.
| | 00:18 | Most of you have probably never
bothered memorizing what each blending mode
| | 00:21 | actually does. You just keep choosing
the next blend mode in the list until your
| | 00:24 | image looks the way you want it to.
In this course I'm going to explain away
| | 00:27 | the mysteries and show you just how
useful and fun blending modes can actually be.
| | 00:31 | I won't be diving into the nitty-gritty
math behind the blend modes and I promise
| | 00:35 | not to use a bunch of geeky technical
terms like algorithms or luminance.
| | 00:39 | In the opening chapter you will see where
blending modes live in Photoshop and how
| | 00:42 | to access them quickly.
| | 00:44 | And I'll point out the three blend modes
you must memorize, because once you know
| | 00:47 | these three you will be well in your
way to understanding the rest of them.
| | 00:51 | The remaining chapters are organized the same way
the blending modes are organized in Photoshop.
| | 00:55 | Each video in these chapters is a self
contained and compelling example of how
| | 00:59 | to use a given blend mode to accomplish
a specific task. For example, you will
| | 01:03 | see how they can be used to do tonal
correction, color correction and even
| | 01:06 | sharpening. I'll show you how easy it
can be to combine multiple exposures to
| | 01:10 | create a single image with
maximum highlight and shadow details.
| | 01:13 | I'll also show you many examples of
how they can be used to add creative
| | 01:17 | effects to your images, such as
dramatic glows, textured overlays and custom
| | 01:21 | edge treatments. My goal is that by the
end of this course you will be inspired
| | 01:25 | to incorporate blend modes in your
everyday usage of Photoshop. With that
| | 01:29 | let's get started with
Photoshop CS4 Blend Mode Magic.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library or
| | 00:03 | if you are watching this tutorial on disk,
you have access to the Exercise Files used
| | 00:06 | throughout this title. You can find them on
your Desktop in the Exercise Files folder.
| | 00:10 | If you open up that parent folder,
inside there you'll see a folder for every
| | 00:14 | chapter in the video training title.
To follow along just open up the chapter
| | 00:18 | for the group of movies you are going
to be working on in that given time and
| | 00:21 | you can open up the file that
corresponds to the video that you are watching.
| | 00:25 | In this title there is usually a
beginning file and a final file as well.
| | 00:29 | So if you just click on the Textures.psd
as an example here, that's the opening file.
| | 00:34 | The one that has the word Final on
it would be what you are going to be
| | 00:36 | achieving at the end. We'll go ahead
and double-click on this to give an idea.
| | 00:39 | So there is the start file and then
there is the end file. If you are a monthly
| | 00:43 | or annual subscriber to lynda.com,
you don't have access to the Exercise Files
| | 00:47 | but you can follow along from
scratch or create your own assets.
| | 00:50 | Let's get started!
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|
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1. Blending FundamentalsThe three kinds of blending in Photoshop| 00:00 | Before we get too far in this course,
I want to take this opportunity to just
| | 00:03 | kind of step back and remind you
that there are three different kinds of
| | 00:07 | blending in Photoshop. Yes, we are
going to talk a lot about blend modes,
| | 00:10 | but there are two others
that we want to cover as well.
| | 00:12 | The first one is Opacity, pretty
straight forward easiest to understand.
| | 00:17 | If you have one layer on top of another
and you lower the top layer's Opacity,
| | 00:21 | you're going to get a blend of the top
pixels and everything underneath it.
| | 00:24 | You can also change the Opacity of your
brush as you are painting, you don't have to
| | 00:27 | paint with 100%. That one most
people already know and easily understand.
| | 00:32 | The second type of blending,
the primary focus of this course, is the blending
| | 00:36 | modes themselves. In the Layers panel
there is a pop-up menu that begins with
| | 00:39 | the word Normal and there's all these
different names of things that we are
| | 00:43 | going to cover later on.
| | 00:44 | But the high level is that changes the
math of how one pixel blends with the
| | 00:48 | pixels underneath it. Bunch of different
algorithms that we'll talk about later on.
| | 00:52 | The third type of blending is the
one that's least discovered and we are
| | 00:56 | going to cover it in this course as
well. This is the Blend If sliders.
| | 01:00 | Some people call it the
Advanced Blending Options as well.
| | 01:03 | It's a buried feature in Photoshop.
It's in a very large dialog that you can
| | 01:06 | get to if you Option+Double-Click or
Alt+Double-Click on a particular layer thumbnail
| | 01:11 | that will take you to the
Layer Style dialog box and bring you to
| | 01:15 | the Blending options, specifically the
Advanced Blending Options and Blend If sliders.
| | 01:20 | The high level cut here is that this
separates your tonal values into sliders,
| | 01:26 | dark and light, that you can actually
tell Photoshop to ignore. If I drag this
| | 01:31 | slider over to the left, you'll see
that at some point the pixel values will
| | 01:34 | actually disappear based on
the tonality of the slider.
| | 01:38 | We'll cover those more in detail
later on in the course. The point is that
| | 01:41 | there's three different kinds of
blending and we are going to mix and match
| | 01:44 | these throughout each movie to dial in
and get the visual effect that we are looking for.
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| Blend modes, blend modes, everywhere!| 00:00 |
One of the things that you're going to
discover throughout this course once you
| | 00:03 |
kind of get a better understanding of
what blend modes are, you are going to
| | 00:06 |
start noticing that they are
everywhere inside Photoshop. You can take
| | 00:09 |
advantage of them in many different locations.
| | 00:12 |
The one that we'll spend the most time
on of course is the Layer Blending Mode list
| | 00:17 |
here at the top of the Layers panel.
You can see that the texture layer
| | 00:19 |
is right now set to Soft Light
and if you go to this pop-up menu you can
| | 00:23 |
see all the other different blend modes.
| | 00:25 |
But that's not the only location where
you can access blend modes. For instance
| | 00:28 |
if I type B on my keyboard to get the
Brush tool, the options for the current
| | 00:32 |
Painting tool also have this Blending
Mode list. So you can actually paint in
| | 00:37 |
different blend modes.
| | 00:38 |
If you were to run a filter, let's say
we ran a Gaussian Blur filter on this layer,
| | 00:43 |
click OK and then we go to
the Edit > Fade command, you'll see that
| | 00:48 |
there's the Blend Mode list here, you
can fade the last thing you did, not only
| | 00:52 |
it's Opacity, one type of blending, but also
choose the blend mode of that Fade and OK there.
| | 00:59 |
If you go into the Layer Style dialog,
I'll double-click on this layer and
| | 01:02 |
you will see that within each given effect
like if I click on Drop Shadow, there's
| | 01:07 |
a blend mode for the Drop Shadow effect.
If I go to say Pattern Overlay there's
| | 01:13 |
a Blend Mode list there. Eee, ugly bubbles
but let's blend those away so that we can
| | 01:17 |
barely see them, right,
and you guys get the idea.
| | 01:20 |
So blend modes exist in lots of
different locations. Once you learn the basics
| | 01:24 |
and how they work, you'll be able to
apply them to all sorts of different tasks
| | 01:28 |
and special effects. Anytime you see
that word Normal or any other type of
| | 01:33 |
blend mode look for that little pop-up menu
and start playing around for those options.
| | 01:38 |
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| Cycling through the blending modes| 00:00 |
I get a kick out of watching designers
learn Photoshop because they have this
| | 00:03 |
tendency to play with every single menu
command just to see what it does.
| | 00:07 |
Many of you may have spent eight hours
in the Filter menu choosing every single
| | 00:11 |
filter just to see what it would do, right?
| | 00:13 |
Kind of the same thing with blend modes.
You may have seen these talked about
| | 00:17 |
before, you have seen a demo or maybe
seen them in a book or something like that,
| | 00:20 |
and you pop up in this list of blend
modes and you have no idea what these
| | 00:23 |
things are. You haven't memorized them
and who does, right? That's why you are
| | 00:26 |
watching a course like this.
| | 00:27 |
So most of the time you just know that
you want to do a different blend of this
| | 00:31 |
say flower layer down to underlying layer.
| | 00:33 |
So you go to the Blend Mode list
and you do something like this.
| | 00:35 |
Was it that one? No.
Was it that one? No. Uh.
| | 00:42 |
And you just keep using that pop-up menu
until you figure out which one you like.
| | 00:46 |
So that's you and you have no idea what
these things actually do and you are just
| | 00:49 |
going visually, then I'm going to give
you a different way to experiment.
| | 00:52 |
When you just want to cycle through your blend
modes until you get to the one that you like.
| | 00:56 |
You're going to start out by having your
Move tool selected, so I'm going to press V
| | 01:00 |
on my keyboard to make sure the Move
tool is the active tool and then you just
| | 01:03 |
hold on the Shift key and then Plus
and Minus. So if I do Shift+Plus, it goes
| | 01:07 |
to the next blend mode in the list. So
here's Multiply, Color Burn, Linear Burn
| | 01:12 |
and it really doesn't matter what blend
mode you are actually going to. You are
| | 01:16 |
just looking at your image document here and
seeing if you like that particular appearance.
| | 01:21 |
If you do Shift+Minus, it goes to the
previous blend mode in the list.
| | 01:24 |
So this is a much faster way. Save your wrist,
save your having to go up to that pop-up menu
| | 01:29 |
and use the pop-up menu every single
time you want to change to different blend mode.
| | 01:32 |
The same shortcut works for when you
have Painting tool selected as well. So if
| | 01:36 |
I do B for the Brush tool, you'll see
that there's that Blend Mode list in the
| | 01:40 |
Options bar as well. And Shift+Plus and
Shift+Minus will cycle you through the
| | 01:44 |
different blend modes for the
actual Painting tool as well.
| | 01:47 |
So we'll just all the way back to
Normal to get back to the beginning. So
| | 01:50 |
cycling through your blend modes,
great trick with the Move tool for layers.
| | 01:54 |
Hold down your Shift key, Plus and
Minus to go previous and backwards and
| | 01:57 |
you'll have a lot quicker way of
cycling through you blend modes.
| | 02:01 |
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| Three blending modes you must know| 00:00 |
If you are only going to watch one
video in this course, this is the video.
| | 00:03 |
There are three blend modes that you
must absolutely memorize inside Photoshop.
| | 00:08 |
Of all the blend modes that there are,
this is a big long list here,
| | 00:10 |
there's only three that you really need to
memorize. If you memorize these three
| | 00:14 |
you will be well on your way to
understanding the rest of them.
| | 00:17 |
Let's begin with the first one you got
to know and that's Screen. The Screen
| | 00:21 |
blend mode is a great blend mode.
It ignores Black. Any black or dark pixel
| | 00:25 |
just gets ignored. It tends to make
things lighter. So light pixels get lighter,
| | 00:29 |
dark pixels are ignored. It's
like aiming two slide projectors under
| | 00:33 |
the same screen. Dark pixels just cancels
themselves out; the bright pixels get brighter.
| | 00:38 |
Multiply is the opposite of Screen.
It's the next blend mode you need to know.
| | 00:43 |
It ignores white instead of ignoring
black. It makes things darker. If you have
| | 00:48 |
any bright pixels Multiply blend mode
just ignores them. It's like sandwiching
| | 00:52 |
two 35 mm slides together,
if you guys are familiar with slides.
| | 00:57 |
The last blend mode, the third one,
you must learn is Overlay and this is a
| | 01:01 |
combination of Screen and Multiply. So
it ignores gray, 50% gray to be precise,
| | 01:07 |
and it makes things lighter or darker
thus increasing contrast. Some people
| | 01:11 |
call it the Contrast blend mode.
It's like painting with light and gives you,
| | 01:15 |
in some cases, better dodging and burning.
| | 01:17 |
So let's kind of play with these for
a second just to kind of get our minds
| | 01:20 |
wrapped around these. You'll see I have
a layer here in my Layers panel called
| | 01:24 |
squares. I'll just turn that on and
off so you can see that is a separate layer.
| | 01:27 |
It's a 100% black square,
a 50% gray square and a 100% white square.
| | 01:32 |
Let's change the blend mode of the
squares layer to Screen. Before I let go,
| | 01:38 |
I want you to try to visualize what's
going to happen to those squares.
| | 01:41 |
Can you think about it?
| | 01:42 |
Okay,so what's going to happen
is the black square is going to disappear,
| | 01:46 |
because Screen ignores Black.
The white square, nothing happens
| | 01:50 |
because the way blend mode work,
it takes the top pixel, compares it with
| | 01:53 |
the pixels underneath it
and then does the blend.
| | 01:56 |
In this case, the white pixel, which is
on the very top here, it's as bright as
| | 02:00 |
it can be, so there's no change.
You'll see the 50% gray pixels made everything
| | 02:05 |
underneath it lighter, just
like we said Screen would do.
| | 02:09 |
Let's change the blend mode one more
time to Multiply. And again before I let go,
| | 02:13 |
try to visualize what's going to
happen. What do you think is going to
| | 02:17 |
happen to that black square? What's
going to happen to that white square?
| | 02:19 |
Well let's check it out. Let's choose Multiply
now and just like I said opposite of Screen,
| | 02:24 |
Multiply ignores white,
all the white pixels go away.
| | 02:28 |
The black square, nothing happens to it
because it's already as dark as it can be.
| | 02:32 |
It's at the top. Nothing below it
can be darker. And then that gray square
| | 02:36 |
in the middle made
everything underneath it darker.
| | 02:39 |
Last blend mode to take a look at,
the Overlay blend mode. Remember we said
| | 02:43 |
it's a combination of both Screen and
Multiply. So what do you think is going
| | 02:46 |
to happen here? Let's take a look.
The gray square is what disappears.
| | 02:51 |
Overlay ignores gray and it makes things
lighter or darker, increasing contrast.
| | 02:56 |
So that dark square made everything
underneath it darker, the white square nothing
| | 03:01 |
could get brighter than white,
so there's no change there.
| | 03:03 |
So those are the three blend modes that
you have to memorize, Screen, Multiply
| | 03:07 |
and Overlay. I kind of use a little
pneumonic device to help me remember that.
| | 03:11 |
I think I SMO (Screen, Multiply and Overlay).
Why did I want you to learn these three?
| | 03:17 |
Here's why. If you take a look
at the Blend Mode list in the
| | 03:20 |
Layers panel here, you'll see that
these blend modes are actually not random.
| | 03:24 |
They are not organized randomly.
They are actually grouped logically.
| | 03:28 |
And if you take a look at this first
group here underneath the Normal group,
| | 03:32 |
I call this the Darken group. Why?
Because it begins with Darken. What does this
| | 03:36 |
blend mode group do? Well it makes
stuff darker. It ignores white and makes
| | 03:41 |
stuff darker. We know that because
that's the name of the group. We learned one
| | 03:45 |
blend mode in that group, Multiply.
| | 03:47 |
If you know Multiply, you know what the
other blend modes in this group do at a
| | 03:51 |
high level. Yes, there are some little
variants between each blend mode within
| | 03:55 |
the group, but by and large every
blend mode in this group ignores white and
| | 04:00 |
makes stuff darker.
| | 04:01 |
The second blend mode group, the Lighten
blend mode group, what do you think that does?
| | 04:06 |
It makes stuff lighter. How do we
know that? Because it begins with
| | 04:08 |
the word Lighten. The Lighten blend
modes ignore black; they make things lighter.
| | 04:13 |
Again we have learned one within the
group, Screen. If we know Screen,
| | 04:17 |
we know pretty much what all of the blend
modes in this group do. Everything in this
| | 04:21 |
group tends to make things lighter and
they look more black to some degree.
| | 04:26 |
That last group begins with Overlay.
We call it the Contrast group. How do we know?
| | 04:31 |
Because I just told you. It's not
as self evident as the other two we have
| | 04:34 |
just talked about. But everything in
this blend mode group ignores 50% gray and
| | 04:39 |
it increases contrast. It also
increases saturation if you are working with
| | 04:43 |
colors as well. But by and large it's
known as the Contrast group. It ignores
| | 04:47 |
50% gray and makes things lighter or darker.
| | 04:50 |
So there you have it. You have
learned one from each group, which means
| | 04:53 |
you know about 80% of your blend modes now.
You don't have to actually memorize
| | 04:58 |
right now every single difference
between these. Just stay at the high level
| | 05:02 |
and if you know one from each group,
you will be well on your way to
| | 05:05 |
understanding the majority of your blend modes.
| | 05:08 |
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| Blending mode keyboard shortcuts| 00:00 | All right, this video is for those
people that dream in keyboard shortcuts.
| | 00:03 | You drop your keys, you think Command+Z.
| | 00:05 | Ba-bum-bum. Tip your waiter,
I'll be here all week.
| | 00:08 | Would you believe that every single
blend mode has its own keyboard shortcut?
| | 00:12 | Oh yes, it's true. You can cycle
through blend modes like we talked about
| | 00:15 | before. You hold down the Shift key
with the Move tool down and just hit Plus
| | 00:18 | and Minus and that will cycle through.
But if there is a blend mode that you
| | 00:21 | know you want to jump to, you can
type its direct keyboard shortcut.
| | 00:25 | So again I have my layer active here
and I have got my Move tool chosen. It's a
| | 00:30 | matter of holding down Shift+Option on
the Mac or Shift+Alt on Windows and then
| | 00:33 | typing a letter. Now the good news is
that most of them make sense. So right
| | 00:37 | now this Texture layer is set to Soft
Light. I want to get it back to Normal.
| | 00:41 | What do you think I'm going to type?
That's right. N for Normal and that takes
| | 00:44 | me back to no blend.
| | 00:46 | What about those three that I wanted
you to memorize, Screen, Multiply, and
| | 00:49 | Overlay? Yeah, you guessed it. S for
Screen, M for Multiply, O for Overlay,
| | 00:55 | SMO, that's an acronym again. So
again I'm just holding down Shift+Option,
| | 00:59 | Shift+Alt in Windows and I'm typing that letter.
| | 01:01 | I am going to run through the ones
that I've memorized because these are the
| | 01:04 | blend modes I use all the time. So
Screen, Multiply, Overlay. F for Soft Light,
| | 01:09 | H for Hard Light, G for Lighten, K
for Darken, Y for Luminosity, and C for
| | 01:18 | Color. Those are the blend modes I
use most often in my own personal work.
| | 01:22 | Now again every blend mode does
have its own keyboard shortcut. You can
| | 01:26 | experiment by just typing a random
letter. Let's see what does R do. It
| | 01:29 | apparently doesn't do anything. Let's
do L. That gives me Hard Mix. Whatever.
| | 01:34 | If there is a blend mode that you don't
know the keyboard shortcut for and you
| | 01:38 | want to because you use it often.
They are not documented anywhere. Inside
| | 01:41 | Photoshop you can't assign your own
keyboard shortcuts to them unfortunately.
| | 01:44 | Let's take this back to Normal.
| | 01:47 | But if you want to find the list of
keyboard shortcuts for all the different
| | 01:50 | blend modes, there is a way to do that.
Let's go to our Help menu and choose
| | 01:53 | Photoshop Help. That will launched your
browser, whatever your default browser
| | 01:57 | is, and in your Search field I'm just
going to go ahead and type in keys for
| | 02:01 | working with blend modes and hit
Return or Enter and that will take you to a
| | 02:06 | link right inside the Adobe Photoshop
Help. I'll click on that link. That takes
| | 02:11 | you to a table of all those keyboard shortcuts
for every single blend mode available to you.
| | 02:15 | So there you have it, you can get to
the fullest, memorize the ones that you
| | 02:19 | used most often. I'll jump back over to
Photoshop here. Again the reminder for
| | 02:24 | the three that you need to learn and
memorize all the time: Shift+Option,
| | 02:27 | Shift+Alt, S for Screen, M
for Multiply, O for Overlay.
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|
|
2. The Dissolve GroupRoughening or pointilizing edges with Dissolve| 00:00 | The Dissolve blend mode is one of those
blend modes you probably won't use very often
| | 00:03 | but it does have one interesting
use case that I kind of like. It's a way
| | 00:07 | to roughen or pointillize some edges.
| | 00:10 | To begin, you are going to do a
technique that you are going to use a lot with
| | 00:13 | blend modes that's called a self-blend,
and all that means is you are going to
| | 00:16 | duplicate a layer, the existing layer
in this case and then just change its blend mode.
| | 00:20 | You can change it to whatever
blend mode you want. In this case
| | 00:22 | since we are talking about
Dissolve, we'll do Dissolve.
| | 00:25 | To duplicate a layer, Command+J or
Ctrl+J on Windows and this is what we have
| | 00:29 | done to setup our self-blend. We'll
just change our blend mode to Dissolve.
| | 00:33 | Now at first glance, it's not going to
look like it's done much, or in this case
| | 00:37 | anything because I don't have
any change between the two layers.
| | 00:41 | Dissolve is not calculating any sort
of tonal differences between the two
| | 00:45 | layers and doing a sort of blend. It's
actually introducing a random pixelization
| | 00:49 | and opacity effect which we won't
really notice until we have some sort of
| | 00:53 | pixel difference between the two layers.
So to begin that we are going to get
| | 00:56 | our Move tool. If we don't have
it already, V for the Move tool.
| | 00:59 | I am just going to offset my layer
slightly. I'll use my Down Arrow, tap it
| | 01:03 | once and my Right Arrow, tap it once,
just to do a one-pixel shift. I'm going
| | 01:07 | to do Command+Plus or Ctrl+Plus to zoom
in and we'll hold down the spacebar to
| | 01:12 | pan just a little bit. I want to be
able to see my edges here a little bit.
| | 01:15 | I mean the edges of the flower petals.
| | 01:17 | Again I'm not seeing much difference
yet. I have just done a one-pixel shift.
| | 01:21 | But if I combine this blend mode with
an opacity change, so I have got my Move
| | 01:26 | tool selected. I'm just going to
press the number 5 key to change the layer
| | 01:30 | opacity of Layer 1 to 50%. Now I have
got quite a big difference between the
| | 01:35 | two layers and the blend can actually
occur. You will see I'm getting this nice
| | 01:39 | roughening or pastel or pointillism effect
along those edges. So it's kind of a neat effect.
| | 01:45 | If I turn the Background layer off,
you will see what I mean by it's punching
| | 01:49 | holes through the top layer and giving
this little random noise patterns.
| | 01:54 | So those are actually transparency holes
you see wherever there is white there.
| | 01:58 | So you're actually seeing through to
the underlying layer and because it's
| | 02:00 | roughening up the edge there,
it's giving you this nice rough blend.
| | 02:04 | If I zoom down, Command or Ctrl+Minus,
you can control this by offsetting it more,
| | 02:09 | playing with the different layer
opacity. So if I use my arrow keys just
| | 02:12 | to offset this one or two more pixels
in either direction. I can lower the
| | 02:16 | opacity or increase the opacity, so
maybe type in 8 for 80% or 3 for 30%.
| | 02:22 | It's up to you. You have a lot of
flexibility here on how to do the actual blend.
| | 02:26 | If I want to have more differences,
you can also introduce a blur on
| | 02:30 | this layer. So if I go to Filter >
Blur > Gaussian Blur and just start with a
| | 02:35 | very lower opacity, let's say just
enough to start randomizing it even further.
| | 02:40 | We have a lot of leeway here in using
these basic ingredients. We'll just go
| | 02:43 | with the two-pixel blur and click OK.
| | 02:46 | And to see the before and after, we'll
just turn that top layer off. There is
| | 02:49 | where we started, turn it back on and
there is where we ended up. The fact that
| | 02:53 | we have done it as a duplicate layer,
a self-blend, means we have never
| | 02:57 | destroyed our original background layer.
If we don't like our results, we can
| | 03:00 | simply delete the layer and start over.
| | 03:02 | But there is, you know, hopefully an
interesting use case for the Dissolve
| | 03:05 | blend mode. You won't use it that often,
but it is pretty cool when you want to
| | 03:08 | make this rough pastel-y type
effect along the edges of your image.
| | Collapse this transcript |
|
|
3. The Darken GroupRemoving halos with Darken| 00:00 |
So sometimes you are going to end up
with a halo in an image, especially if you
| | 00:03 |
are shooting JPEG or you have
silhouettes against a sky or if you've done some
| | 00:08 |
sharpening in the camera. Let's zoom in
here and take a look at what I'm talking about.
| | 00:11 |
If you look at this edge of this cliff
against the sky, you can see where there
| | 00:16 |
is this harsh transition it's
creating an edge. The orange of the cliffs
| | 00:20 |
against the blue of the sky. And it
creates this little light fringe or light
| | 00:24 |
halo around those edges.
| | 00:25 |
So what we are going to do is we are
going to quickly paint out that halo using
| | 00:29 |
our friend the Darken blend mode. So
let's begin by creating a new layer.
| | 00:34 |
By the way if you hold down the Option
key or the Alt key when you click on the
| | 00:37 |
Create New button, you'd get a chance
to name the layer as you create it.
| | 00:42 |
So I'm going to call it Remove Halo and
you can also change its blend mode while
| | 00:47 |
you create the layer.
| | 00:49 |
So we are going to go ahead and choose
the Darken blend mode as we create this.
| | 00:53 |
I'm going to go ahead and click OK.
Currently, it has no effect on this
| | 00:57 |
particular document because there are
no pixels in the Remove Halo layer yet.
| | 01:02 |
So let's go ahead and do this.
| | 01:03 |
I am going to get my Brush tool,
press B for the Brush tool and what we are
| | 01:08 |
going to do is we are going to sample
a color that is darker than the halo
| | 01:12 |
color. And with the Brush tool
chosen, I can switch to my eyedropper
| | 01:15 |
temporarily by holding down the Option
key or the Alt key on Windows and I'm
| | 01:19 |
just going to click on the sky color,
next to the halo that is darker than the
| | 01:23 |
actual halo color itself.
| | 01:25 |
Now with my blend mode for the layer
set to Darken, as I paint over the halo
| | 01:30 |
I'm using the blue color that I have
sampled and you will see that any pixel
| | 01:34 |
that is lighter than my current
foreground color is getting darkened as I paint.
| | 01:39 |
So I'm just painting and dragging along
that edge there, using a very small brush.
| | 01:45 |
So very, very quick easy technique for
getting rid of halos around edges and
| | 01:51 |
you're really just using the image to
correct itself to sampling the darker
| | 01:55 |
color, darker than the halo. Now if you
are using an image that has a dark halo
| | 01:59 |
or dark fringe, you just use the
opposite of this technique. You would set the
| | 02:03 |
blend mode of the layer to Lighten
instead of Darken and then you would sample
| | 02:07 |
a color that is lighter than the fringe.
And as you paint, it would lighten the
| | 02:13 |
dark halo instead of darkening it.
| | 02:15 |
So let's turn the layer on and off,
here is before, there is after. Very easy
| | 02:21 |
quick way to remove halos
using the Darken blend mode.
| | 02:26 |
| | Collapse this transcript |
| Bringing down hot highlights with Multiply| 00:00 | In this image, we have a lot of
highlights that are very hot. You know,
| | 00:03 | over here on the wall, the red is being
blown out a little bit. On the handle of the
| | 00:07 | gas pump, we are losing some detail
there and then in the face of the gas pump
| | 00:11 | here where the letters are, it's a
little bit blown out there. That's why
| | 00:15 | we want to bring out some of that detail.
| | 00:16 | So one quick way to do that is to do a
self-blend with Multiply. By self-blend,
| | 00:21 | I mean duplicate the existing layer,
so Command+J or Ctrl+J and change the
| | 00:26 | blend mode to Multiply. That's going to
darken the medium to dark grey pixels in
| | 00:32 | the image, leaving the lightest
pixels alone. You know, absolute white will
| | 00:35 | stay absolute white.
| | 00:37 | You can see that this is a little bit way
too strong here and that we want to dampen
| | 00:40 | this down a little bit. So I get my
Move tool, press V for the Move key.
| | 00:44 | One way to dampen this down is to just
lower the overall effect or intensity of
| | 00:48 | this layer by lowering it's opacity. So
I'm going to try 80% by just typing the
| | 00:52 | 8 on my keyboard or even
50% by typing the number 5.
| | 00:56 | This is getting a little bit better but
I want to now fine-tune it and there is
| | 00:59 | two ways to fine-tune it. I can add a
layer mask and start masking out the
| | 01:03 | areas that I don't want to be
affected by this layer here or I can use the
| | 01:07 | Advanced Blending sliders to limit it
as well. To get to the Advanced Blending sliders,
| | 01:12 | since I have an image layer here,
I can just double-click on the image
| | 01:14 | thumbnail in the Layers panel. That
brings up the Layer Style dialog box and
| | 01:18 | down at the bottom,
we have the Blend if sliders.
| | 01:21 | And we want to protect our darkest
tones in the image. We don't want them to
| | 01:25 | get darker via the Multiply. So
I'll move this black slider for this layer
| | 01:29 | over to the right and what that tells
Photoshop to do is ignore those pixels.
| | 01:33 | Basically, treat them as if they were
transparent. So they are not being added
| | 01:37 | or multiplied with the layer down below.
| | 01:40 | This is 256 levels of shades or levels
of black and white here, so I have said
| | 01:45 | Photoshop, any pixel that is on this
layer that has a tonal value of 0-80,
| | 01:50 | you go away, you are transparent. I can get
some pretty harsh edges if I just slide
| | 01:55 | this to a whole number here. So what we
want to do is create a transition zone
| | 01:58 | between opaque and transparent. I'm
going to hold down the Option key on the Mac
| | 02:02 | or the Alt key on Windows to
split the sliders and that creates a
| | 02:06 | gradation, from opaque to transparent.
| | 02:10 | So I'll make this from 60 to say 120,
and now we are saying that every pixel
| | 02:15 | has a tonal value on this layer of 0
to 60 goes away, everything that's
| | 02:20 | between 60 and 120 gradates to opaque
and then everything else is left alone.
| | 02:25 | I can turn the Preview on and off and
you can see the before and after. I have
| | 02:30 | used the sliders and we'll go ahead
and click OK. And if I turn the bottom
| | 02:33 | layer off, you can actually see where we
punched a hole through those dark pixels.
| | 02:38 | For the top layer, I may want to
control this just a little bit more and
| | 02:41 | I may want this area up here to not be as
affected as much. So I'll add a layer mask
| | 02:46 | to this layer by clicking the Add Layer
Mask button at the bottom of the Layers panel.
| | 02:49 | Let me get my Gradient tool, type a G
for Gradient and I want my gradient to be
| | 02:55 | from the foreground color to
transparent. I want black to be my foreground color,
| | 03:00 | so I'll press X for exchange and
you will see that black now becomes my
| | 03:04 | foreground color and my gradient is
now black to transparent. I'm going to go
| | 03:08 | ahead and press in the middle of the
image here a little bit and drag up,
| | 03:12 | all the way up to into the highlight area,
just to create a nice soft transition
| | 03:16 | there to protect these regions.
| | 03:17 | You can see in the layer mask, anything
that's black is protected from this layer.
| | 03:20 | Anything that's white allows
the blend to pass through. So there is before,
| | 03:25 | there is after and if I turn
off the layer mask, I'll Shift-click on
| | 03:30 | the layer mask, you can see the effect
without the layer mask. You see the red
| | 03:34 | X now, turning off that mask. If I Shift
-click again, the mask is now in play
| | 03:38 | and I can see the final composite result.
| | 03:40 | So here again, there is where we
started and here is after and you can see
| | 03:43 | we are getting much better detail on the gas pump
and we've dampened down the highlights overall.
| | Collapse this transcript |
| Tonal correction with Screen and Multiply| 00:00 |
When you are going to work on an image
that needs some correction, either tonal
| | 00:03 |
adjustments, color corrections or
whatever it is that you need to do to the image,
| | 00:06 |
it's a good idea just to take a
second and kind of evaluate the image
| | 00:09 |
and figure out what you might do to fix it.
| | 00:12 |
So in the example here, I've got an
image that's got two distinct problems.
| | 00:15 |
The foreground is very dark and the
background is very light. So that kind of tells me
| | 00:20 |
that I'm going to have to two
different adjustments, right. If I make an
| | 00:23 |
adjustment to try to make that
background darker, that's going to make the
| | 00:27 |
foreground dark too. So I'll have to mask
that off or somehow protect that from happening.
| | 00:33 |
To this image here, I'm going to use
blend modes to correct the problem.
| | 00:36 |
So let's do a little bit of review when
I want to make something darker.
| | 00:40 |
What blend mode makes things darker? Well,
let's begin by doing a self-blend, by
| | 00:45 |
doing a duplicate. I'll duplicate this
layer, Command+J, Ctrl+J. And if we take
| | 00:50 |
a look at the Blend Mode list in the Layers
panel, remember which group darkens things?
| | 00:53 |
Well, the group that begins with Darken,
and I'm going to use my old
| | 00:56 |
standby the Multiply blend mode.
Let's choose that and you'll see, great,
| | 01:00 |
the background looks a lot better but of
course, the foreground looks a lot worse.
| | 01:05 |
So what do we do here? We need to mask
that off. We'll go to the bottom of the
| | 01:08 |
Layers panel, we'll add a layer mask by
clicking the Add Layer Mask button and
| | 01:12 |
I'm going to get my Gradient tool, which
acts as a very big paintbrush here, and
| | 01:16 |
we are going to drag a gradient
between the foreground and background areas.
| | 01:19 |
Remember in masking terminology, black
protects, white selects, or black hides
| | 01:24 |
and white reveals. So I want
to hide the foreground area.
| | 01:27 |
So I'm going to click right above this
last rock here and drag up and then when
| | 01:33 |
I let go, I have created a mask that
protects the foreground from this Multiply
| | 01:38 |
blend mode on this particular layer.
So you can see wherever there is black,
| | 01:42 |
don't show the Multiply. If I Shift-
click, there is the mask turned-off.
| | 01:46 |
If I Shift-click, again
there is the mask turned-on.
| | 01:48 |
So now we are going to duplicate
this layer that we have set to Multiply,
| | 01:52 |
Command+J, Ctrl+J. Now that doubled up
the background, right, we didn't want
| | 01:57 |
that to get dark again. So what I'm
going to do is change the blend mode to
| | 02:02 |
Screen, which is the opposite of Multiply.
| | 02:05 |
Now we've actually made the
background worse, so what I need to do to this
| | 02:08 |
layer mask here is invert it, so
I get the opposite of it. Right now,
| | 02:13 |
the top is white, the bottom is black.
If I do Command+I or Ctrl+I on Windows,
| | 02:18 |
the background is now protected from the
screening of the foreground. So I'll turn
| | 02:23 |
that layer on and off and you can see
the foreground is now looking much better.
| | 02:27 |
Now if the effect is too strong for
both the foreground and the background,
| | 02:31 |
you can of course play with the layer
Opacity and fine-tune this and adjust this down.
| | 02:35 |
If I get my Move tool, press V
for the Move tool. I now have a hundred
| | 02:40 |
levels of screening or a hundred levels
of multiplying because I have a hundred
| | 02:45 |
levels of opacity per layer.
| | 02:47 |
So if I go to the Screen layer and I
think it's making the foreground too bright,
| | 02:50 |
I'm just going to press say
the 7 key on my keyboard and that changes
| | 02:54 |
the opacity of that layer to 70%.
Maybe I'll make it 50%. Here is before and
| | 03:00 |
there is after, and I'm pretty happy with that.
| | 03:01 |
For the background, I'm going to click
on the middle layer here that's been
| | 03:05 |
set to Multiply and maybe that sky
has been turned too dark. So again I can
| | 03:09 |
play with my layer Opacity. Maybe
we'll type 6 for 60% and then I can see
| | 03:14 |
before and after by turning
the eye of that layer on and off.
| | 03:18 |
So you can see it's very quick to just
duplicate a layer and change its blend mode
| | 03:22 |
to start correcting images, and
me personally being a visual person,
| | 03:27 |
I find it a little bit easier than
dealing with the charts and graphs interface
| | 03:30 |
of something like the Curves
command or the Levels command.
| | 03:35 |
| | Collapse this transcript |
| Combining adjustment layers with blending modes| 00:00 | One of the quickest techniques of
working with blend modes is to run a blend
| | 00:04 | mode or apply a blend mode to a
duplicate of a layer, so we call that a self blend.
| | 00:08 | But there is a downside to that.
You're actually increasing your file size.
| | 00:11 | Um, not unnecessarily. So if we take a
look at this file size here, down at the
| | 00:16 | bottom of the window it says 900K
for the document. This is a really
| | 00:19 | low-resolution file. So the
file size isn't all that big.
| | 00:22 | If I duplicate the layer, Command+J
or Ctrl+J on Windows, you'll see I've
| | 00:26 | effectively doubled the file size
because I've added twice as much information
| | 00:30 | to the file. If I duplicate the layer
again, Command+J, Ctrl+J, I'm now three
| | 00:35 | times roughly where I started from. So
instead of 900K, I'm at 2.7 megabytes roughly.
| | 00:40 | I am going to revert this file. Revert.
There is a different way to do the same
| | 00:45 | effect as applying the blend mode to a
duplicate layer. And that is to use an
| | 00:49 | adjustment layer instead. I'm going to
open up my Adjustments panel here. And
| | 00:54 | will choose a Curves or Levels
adjustment layer, it doesn't actually matter for
| | 00:58 | the technique that we're going to use,
to lighten the foreground and darken the
| | 01:02 | background of this particular image.
| | 01:03 | We'll go ahead and choose Levels. But
I'm not going to do anything to these
| | 01:06 | sliders. I'm going to leave them alone.
It turns out that when you create an
| | 01:10 | adjustment layer, you sucked up all
the tonality of the image, up into this layer.
| | 01:15 | It's now a mask instead of pixels.
| | 01:18 | And if you take a look at the file
size down here in the bottom left-hand
| | 01:20 | corner, the file size has not changed
at all yet. It's still 900K because
| | 01:24 | I haven't done any pixel adjustments or
added any pixel information to this image
| | 01:29 | by painting a layer mask let's say.
| | 01:32 | If I change my blend mode to Screen, I
get the exact same result as duplicating
| | 01:39 | the actual layer, the pixel layer and
changing it to Screen. I'm just applying
| | 01:42 | the blend mode to the adjustment layer
instead. It's one of the reasons why
| | 01:46 | I really like adjustment layers. In
addition to the fact that they are
| | 01:48 | non-destructive, where I can turn it on
or off, I can change its blend mode,
| | 01:52 | I can change its Opacity and I
can mask it off if I need to.
| | 01:56 | All without changing the file size
unless I paint a layer mask, which we're
| | 01:59 | going to do right now. I'm going to
press G for the Gradient tool on my
| | 02:02 | keyboard, and again I want to create a
Gradient from foreground to background,
| | 02:06 | so I'll just click at the top of this
rock and drag straight up, and let go.
| | 02:11 | Now in this case I have done a
Gradient on the foreground, on the area that
| | 02:14 | just protected, and that's okay. A
layer mask can be reversed anytime you want
| | 02:18 | it to just by using the Invert
command, Command+I or Ctrl+I. And now I've
| | 02:23 | masked out the background so it's not
getting brighter and the foreground looks
| | 02:28 | a lot better than it did.
| | 02:29 | So now to change the background and
make it a little bit darker we're going to
| | 02:33 | duplicate this adjustment layer,
Command+J, Ctrl+J on Windows. And now it's
| | 02:38 | been duplicated here. We're going to
change the blend mode from Screen to
| | 02:42 | Multiply to darken that sky, and
again the layer mask needs to be inverted
| | 02:45 | because the wrong area's been protected,
so I'm going to do Command+I or Ctrl+I
| | 02:50 | on the layer mask for that top layer.
| | 02:52 | And now I get the separation of Tonal
correction, the foreground is separate
| | 02:57 | from the background. I can turn these
layers on and off to kind of see the
| | 02:59 | difference here. Just like a normal
layer, if the effect is too strong, like
| | 03:04 | for instance, I think the darkening is
too much on this layer, I can just press
| | 03:07 | the V key on my keyboard to switch to
the Move tool and I can lower the Opacity
| | 03:12 | of this particular layer, I'll make it
50% by pressing the number 5, and
| | 03:16 | then I can see before and after.
| | 03:19 | Now you will see that the file size
has increased a touch but only slightly
| | 03:23 | because I have a layer mask which is
only a single channel of information as
| | 03:28 | opposed to duplicating an entire layer
of pixels which is an RGB collection of
| | 03:33 | pixels, so that would be three channels
of information on that layer because I
| | 03:36 | only have a layer mask there. The file
size increase is only a small size here.
| | 03:41 | So there you have it, using adjustment
layers and blend modes together to do
| | 03:46 | Tonal correction the benefit there is
that it's much more flexible and you
| | 03:50 | don't have the file size increase as much as
if you were just to duplicate the entire layer.
| | Collapse this transcript |
| Creating a composite from a single Camera Raw file| 00:00 | One of the great things about shooting
with the Camera Raw file format is that
| | 00:04 | you can capture ton of information and
then you can use that to create multiple
| | 00:08 | exposures to get the ultimate
composition with all the detail that you want in
| | 00:12 | the Shadows and the Highlights.
| | 00:14 | So let's give an example of that,
let's open up this Camera Raw file from Bridge.
| | 00:17 | That opens up the Camera Raw
plug-in here, opens dialog box.
| | 00:21 | Now we're going to begin by doing just a base
exposure for the portrait here, and you can
| | 00:27 | see the background, the waterfall is
really blown out and the plant here is
| | 00:30 | really dark but we're going
to deal with that separately.
| | 00:32 | So I'm just going to do a basic
conversion, I'm going to go ahead and give my
| | 00:35 | Eyedropper tool, press I, I'm going
to click on something I know, I want
| | 00:38 | neutral gray, so we gray this rock here.
And pump up the Exposure just a little
| | 00:43 | bit, maybe bring up some of the
Brightness, do a little Clarity and a little
| | 00:50 | Vibrance as well. So just make it look
pretty nice for the three ladies here.
| | 00:57 | Okay, now when I take this over to
Photoshop, I have a couple of different
| | 01:01 | options here. I can just click Open
Image and that just processes it as a
| | 01:05 | normal Photoshop document. I wanted
to come in as a Smart Object because a
| | 01:08 | Smart Object can be edited again and
I can come back to Camera Raw to do
| | 01:12 | further adjustments. So I'm going to
hold down the Shift key for that, you can
| | 01:16 | see when I hold down Shift, the Open
Image button becomes the Open Object
| | 01:20 | button. So I'm going to go ahead and
hold down Shift and click Open Object, and
| | 01:24 | there it brings in it into
Photoshop as a Smart Object.
| | 01:28 | Now if I were to double-click on this
thumbnail, that will re-open this image
| | 01:31 | in Camera Raw and give me the previous
settings used for it. That's not what I want.
| | 01:36 | I want to be able to do a different exposure
to bring out the waterfall detail let's say.
| | 01:41 | So to do that I need to create a copy
of this Smart Object layer so I can act
| | 01:45 | on it independently. I'm going to right-
click or Ctrl-click on the name of the
| | 01:48 | layer and say New Smart Object via Copy.
| | 01:52 | Now I have a completely independent
version, and just to keep things straight,
| | 01:56 | I'm going to go ahead and rename. So
I'm going to rename the bottom layer. I'll
| | 01:59 | call that the Base layer, and we're going
to rename this one to be Waterfall. Great!
| | 02:07 | So we're going to go ahead and double-
click on the thumbnail of the Waterfall
| | 02:10 | layer that will re-open Camera Raw.
And now I can do a process to just bring
| | 02:16 | out the Waterfall details. I'm taking
the Exposure really far down, and yes,
| | 02:21 | that is darkening up everything else in
the image, but that's okay because it's
| | 02:23 | making the waterfall look great.
| | 02:25 | I'm going to go ahead and click OK and
that's going to update that version of
| | 02:29 | the document. Now what I want to do is
blend this back into the bottom layer.
| | 02:34 | So I want this to darken the waterfall
underneath, so I'm going to set it to
| | 02:39 | the Multiply blend mode, and that
waterfall now looks a lot better higher
| | 02:43 | contrast, more detail and of course,
it's made everything else darker, so we
| | 02:46 | need to throw a layer mask on that.
| | 02:48 | I'm going to hold down the Option key
or the Alt key when I click on the Add
| | 02:52 | Layer Mask button because that will
create a layer mask filled with black and
| | 02:56 | hides everything on this layer. Then
I'm going to get my Brush tool. Press B
| | 03:01 | for Brush. And I'm going to start
painting in the Waterfall detail. Let's go
| | 03:06 | ahead and start with 100% Opacity,
just type-in 0 and I'm going to white my
| | 03:10 | foreground color because I'm painting
against a black mask. And we're just
| | 03:14 | going to paint back in the
Waterfall detail exactly where I want it.
| | 03:19 | That's looking pretty good there. Now
I don't want to go too far in a certain area.
| | 03:22 | That's okay because I can just
press X to exchange my foreground and
| | 03:25 | background colors. I'm going to lower
the size of my brush by using my Left
| | 03:27 | Bracket key. And I can just come in
and make these leaves behave. I want to
| | 03:32 | type 5 for 50%, make my brush slightly
bigger Right Bracket, I'm going to paint
| | 03:37 | back over the dark shadow area of the
waterfall. I don't want that to be so dark.
| | 03:41 | Okay, so there I have it. There is
before, there is after. By doing a different
| | 03:46 | Camera Raw adjustment for just the
Waterfall detail and then masking that off
| | 03:49 | at the blend mode to Multiply. So
let's repeat that technique for the plant
| | 03:54 | over here on the left. That's a little
bit too dark. I want to lighten that up.
| | 03:57 | So I'm going to go back to the Base
layer. I'm going to right-click and
| | 03:59 | Ctrl-click on the word Base and
choose New Smart Object via Copy.
| | 04:03 | I want to create another version of
this and call it Plant by double-clicking
| | 04:08 | on the name. And now when I double-
click on this thumbnail it's going to reopen
| | 04:12 | Camera Raw again, and this time I can
do an Exposure setting to make the plant
| | 04:17 | look really good. So I'm really going
to crank up the Exposure here and maybe
| | 04:20 | bring out the Clarity just a bit more
and open up the Fill Light to open up the
| | 04:25 | shadows there of the plant. Again it's
blowing everything else out. That's okay.
| | 04:29 | I'm going to go ahead and click OK.
Looking good, I want to blend that back
| | 04:32 | down to the base. So I'm going to
change the blend mode from Normal to Screen,
| | 04:37 | and that's going to make these plants
look even better. If I want to lower the
| | 04:39 | Opacity, just a touch I can go ahead
and do that I'm going to press the V key
| | 04:42 | on my keyboard to switch to the Move
tool and I'm going to type 8 for 80%, just
| | 04:46 | to bring down the brightness
of that Screen, Plant layer.
| | 04:50 | Again we want to add a layer mask and
paint back in the Leaf detail. So I'm
| | 04:54 | going to hold down the Option key again
and click on the Add Layer Mask button.
| | 04:58 | That hides everything on that layer by
filling it with black. I'm going to get
| | 05:01 | my Brush tool again. Nice big brush,
using my Right Bracket key, starting out
| | 05:06 | with say 100% by pressing 0.
| | 05:09 | And then I'm just going to paint with
white, X to bring white to my foreground
| | 05:13 | color. And I'm just going to paint
in the plant detail, where I want it.
| | 05:19 | Brighten that portion in the
image up. It's looking really nice.
| | 05:23 | There you have it, when we're all done,
I'm going to lower the brush size just
| | 05:26 | a little bit, Left Bracket. We'll
paint inside here and then we'll just stop
| | 05:30 | right about there. That's looking good.
| | 05:33 | So using the power of Camera Raw and
the ability to create Multiple Smart
| | 05:38 | Object versions of a single Camera Raw
file, you can create Multiple Exposures
| | 05:42 | and bring them in, duplicate them as
Smart Objects, change their blend mode to
| | 05:46 | Multiply and Screen and mask out the
result to get a nice composite. So here's
| | 05:50 | where we started and here's where we ended up
by taking advantage of these great features.
| | Collapse this transcript |
| Creating a cast shadow with Multiply| 00:00 |
When it comes to adding a Drop Shadow
to a layer inside Photoshop they have
| | 00:04 |
made that pretty easy. There is a Drop
Shadow layer style. We'll just click on
| | 00:07 |
the layer that we want to add the
Drop Shadow to and at the bottom of the
| | 00:10 |
Layers panel the little Effects icon where
you can choose Drop Shadow from the menu.
| | 00:15 |
You'll notice that by default the
blend mode for a Drop Shadow is set to
| | 00:19 |
Multiply because you want your
pixels to darken the underline pixels
| | 00:23 |
underneath the shadow, and of course
you can grab your Move tool here and
| | 00:27 |
position the shadow outside the dialog
box here manually and you can lower the
| | 00:31 |
Opacity, you can change it's Size,
make it softer or harder and what not.
| | 00:34 |
I am going to go ahead and hit Cancel
here. We're going to use the old school
| | 00:38 |
method for creating a shadow because
there is no effect for a Cast Shadow,
| | 00:43 |
meaning a shadow that trails off at an angle.
So we're going to do that the old fashion way.
| | 00:49 |
We're going to begin by duplicating
the Silhouette layer Command+J or Ctrl+J,
| | 00:53 |
create Silhouette copy. We'll go ahead
and rename this by double-clicking on
| | 00:56 |
the name and saying Cast Shadow and
we'll go ahead and move this below the
| | 01:02 |
Silhouette layer just by clicking-and-
dragging. Great, so we get our Move tool
| | 01:06 |
now, press V on the keyboard and we'll
just grab that Shadow layer and move it
| | 01:11 |
off to the left a little bit.
| | 01:13 |
Now that we have offset the shadow a
little bit, let's change its Opacity. I'm
| | 01:16 |
just going to press the number 5 on my
keyboard and that lowers that Opacity to
| | 01:19 |
50%. Well, I want my shadow not to be
black. I want it to be a little bit of
| | 01:25 |
color. I want to have color in it. And
I still want to be able to see my shadow
| | 01:29 |
over this background here. So let's
make it the same color as the blue
| | 01:33 |
background, just for an example that I
want to show you. I'm going to press the
| | 01:36 |
I key on my keyboard and I'm going to
click on the blue background to sample
| | 01:41 |
that color, make it my foreground color.
| | 01:43 |
If I press the Shift+Delete keys or
Shift+Backspace key on Windows, I bring up
| | 01:48 |
the Fill command or I can choose to
use the foreground color or any of these
| | 01:51 |
other colors in the pop-up menu. I want
to turn on Preserve Transparencies that
| | 01:56 |
I only fill the pixels that are
actually on this layer instead of the entire
| | 02:00 |
layer with this color. So I'm
going to go ahead and click OK.
| | 02:03 |
And you can see now that when the
shadow has been filled with the same color as
| | 02:08 |
the blue I have lost the shadow over
against the blue background because they
| | 02:11 |
are of the same color. I can still
see it against the purple on the orange
| | 02:16 |
because the Opacity is set to 50%, but
where it's overlapping the blue I can't
| | 02:19 |
see it. That's why the Multiply blend
mode is so important. I'm going to go
| | 02:23 |
change the blend mode of the Shadow
layer to Multiply, and now you can see that
| | 02:28 |
even though it's the same color
technically the Multiply blend mode takes those
| | 02:32 |
pixels and darkens the pixels underneath.
So I can still see my shadow against
| | 02:38 |
the blue background and as you shift
the shadow across other colors you can see
| | 02:43 |
just like in real life a shadow
isn't actually black it's just darkening
| | 02:48 |
whatever the shadow is cast upon. So
in this case the blue is getting darker,
| | 02:53 |
the orange is getting darker, and the
purple is getting darker, but they are
| | 02:55 |
not all the same colors even though
the shadow is the same across all three.
| | 02:59 |
Great, so we've got this great effect
now where it's more realistic and now we
| | 03:04 |
want to create the cast shadow part
of this. To do that I want to do a
| | 03:07 |
perspective transformation on the
shadow and just as a rule of thumb you want
| | 03:11 |
to always try to keep things non-
destructive as much as possible. I may want to
| | 03:15 |
be able to tweak this transformation
later on. If that's the case we want to
| | 03:18 |
turn this layer into a Smart Object
before we do the transformations that we
| | 03:23 |
can always go back and
readjust it non-destructibly.
| | 03:26 |
To do that I'm just going to right-
click or Ctrl-click on the Cast Shadow name
| | 03:29 |
of that layer and choose Convert to
Smart Object. That wraps that content up
| | 03:34 |
into a special layer, puts a little
special icon on there to let you that it's
| | 03:38 |
a Smart Object, and now I'll use Free
Transform, Command+T or Ctrl+T, to bring
| | 03:43 |
up the Transform bounding box around that layer.
| | 03:45 |
If I hold down the Command key or the
Ctrl key on Windows I can grab a handle
| | 03:50 |
here and do a free distort. So I'm
just going to drag this around and kind of
| | 03:55 |
create this cast shadow. I can
reposition it as I'm doing the free transform to
| | 04:00 |
get it into position, and maybe I
want it to have the shadow go across the
| | 04:03 |
purple background as well. So again I'm
just grabbing that handle, holding down
| | 04:06 |
the Command key or the Ctrl key. And
once I get it the way I want it I just
| | 04:09 |
press the Enter key on my keyboard
and that locks in that transformation.
| | 04:14 |
Now if I'm not happy with that, I want
to distort it some more, because it is a
| | 04:18 |
Smart Object if I do Command+T or Ctrl+
T, again that bounding box comes back
| | 04:23 |
and remembers that the last
transformation I had made. So I can just pick up
| | 04:26 |
right where I left off.
| | 04:28 |
I'll hold down the Command key or the
Ctrl key again and grab that handle, and
| | 04:33 |
just reposition this. So it's a little
bit more of a severe angle for that cast
| | 04:38 |
shadow, then I press Enter+Apply. So
there you have it, a cast shadow using
| | 04:43 |
Free Transform on a Smart Object
layer and using the Multiply blend mode to
| | 04:47 |
make it look realistic.
| | 04:50 |
| | Collapse this transcript |
| Creating artistic edges with Multiply and Screen| 00:00 | This next technique is one of my all
time favorites and that's adding an Edge
| | 00:04 | effect to an image to make a
little bit more interesting.
| | 00:07 | So here I have just a regular
background image here, it can be any image, and
| | 00:12 | what I have done is brought in an
edge file, a file that I want to use to
| | 00:17 | create a custom Edge effect. Now
these Edge effects can be anything.
| | 00:21 | It's a black against a white background
and that black could be ink, it could be
| | 00:25 | paint, it could be charcoal, it could
be pencil, whatever. Just take a piece of
| | 00:30 | white paper or canvas, whatever you
want really and just drag out some sort of
| | 00:34 | effect with your materials here.
You can take pictures of something.
| | 00:38 | It really doesn't matter. You can
create these yourself, there are tons of
| | 00:40 | websites out there that distribute
this type of stuff, there are products you can buy,
| | 00:43 | or you can buy these edge files.
The point being is that it's not that
| | 00:47 | hard to get your own custom edge file.
| | 00:50 | Once you've got it scanned or you
take a picture of it, you bring it in the
| | 00:53 | Photoshop and drag into this document
or the document you want to use it in
| | 00:57 | as its own layer. Now in this particular
example, the edge file is not the same
| | 01:02 | size as the image size. That's not too
big of a problem here. We'll just Free
| | 01:06 | Transform it and make it fit this
particular file. To do that Command+T or
| | 01:10 | Ctrl+T, puts a bounding box around
that Edge layer, and we'll just go ahead
| | 01:15 | and drag the handles out to the edge
of the document until it fits. So real
| | 01:21 | easy transformation here. We'll kind of
make sure we fine-tune that there once
| | 01:25 | we get it the way we want,
press Enter and this now matches.
| | 01:29 | Now the trick is that you want your
areas that are going to be hidden through black
| | 01:33 | to be absolute black and the
area that you want to show through and the
| | 01:37 | white areas you want them to be
absolute white. So depending on how you created
| | 01:40 | this file, whether it's paint or you
took a picture of it or whatever, and
| | 01:45 | scanned it, you need to make sure that you
force these to be absolute black and absolute white.
| | 01:49 | Well, the easiest way to do that is to
use your good friend Levels. Command+L
| | 01:53 | or Ctrl+L to open up the Levels dialog
box and then very quickly we are just
| | 01:56 | going to click once on the Black
Eyedropper and take our mouse into the image
| | 02:02 | and click where you know something is
supposed to be absolute black. One click
| | 02:06 | forces that to happen. We'll get the
White Eyedropper, and again we'll click in
| | 02:10 | the image where you know something
supposed to be white, and that forces those
| | 02:13 | pixels to be white, and it leaves some
nice gray pixels along the way, so you
| | 02:17 | get nice soft edges.
Go ahead and click OK.
| | 02:20 | Now it's just a matter of hiding the
black stuff and keeping the white stuff,
| | 02:24 | or the reverse depending on what Edge
effect you want. Since we have primarily
| | 02:28 | black in the middle and white on the outside,
which blend mode ignores black?
| | 02:34 | That would be one of the Lighten blend
modes. So I'm going to try Screen.
| | 02:39 | All these blend modes ignore dark pixels
and there we have our Edge effect where
| | 02:43 | the Screen blend mode is ignoring all
the black pixels on that layer. The white
| | 02:47 | pixels are already as white as they
can be, so they don't make anything
| | 02:51 | underneath them whiter, but I get
left with this nice white Edge effect.
| | 02:54 | Now if I want the opposite of this,
it's virtual. It's something that can be
| | 02:57 | changed on the fly. I'm just going to
invert my layer, Command+I or Ctrl+I, and
| | 03:03 | I get the opposite of that, but now I
don't have the right area being screened.
| | 03:08 | So what blend mode ignores white pixels?
The opposite of Screen is Multiply so
| | 03:14 | we'll choose Multiply instead and
sure enough I get the opposite effect.
| | 03:17 | So with every edge file you create,
you actually get two versions of the Edge
| | 03:21 | effect basically for free. Right?
Just invert the layer and switch the blend
| | 03:26 | mode to get the opposite effect. So
real easy Edge effects by using a custom
| | 03:31 | edge file that's pretty easy to
create and then just using the Multiply or
| | 03:35 | Screen blend modes.
| | Collapse this transcript |
| From iPhone to Photoshop: Colorizing line art with Multiply| 00:00 | So while I was here at the lynda.com
offices to record this training title,
| | 00:04 | I was having lunch with Bruce Heavin and
he is one of the founders of the company
| | 00:07 | along with his wife Lynda, and Bruce
just happens to be an awesome illustrator.
| | 00:11 | He creates great little pictures like
this one here. He was just doodling and
| | 00:15 | I'm like oh, I want to use that in my
title. Can you scan that for me?
| | 00:18 | He was like, well, I'll just take a picture of
it with my iPhone and I'll mail it to you.
| | 00:22 | So it has gotten to the point now where
you don't even need to scan these type
| | 00:25 | of napkin drawings or pencil drawings
or whatever. You can just take a little
| | 00:29 | snapshot with it, your little pocket
camera or the camera on your cell phone,
| | 00:32 | in this case the iPhone. And once you
get into Photoshop, it's pretty easy to
| | 00:36 | get this turn into line art that you can then
start colorizing. So let's begin that process.
| | 00:41 | The goal here is we want the
background of the illustration to be 100% solid
| | 00:46 | white and then we want the line art of
course to be a nice solid black with a
| | 00:50 | little bit of gray pixels on the edge
just to have nice soft non-jaggy edge
| | 00:54 | there. So the trick here is to get rid of
this background very quickly and easily.
| | 00:59 | To begin, we are going to convert
this Background layer to a layer that
| | 01:01 | supports transparency. I'm going to
Option+Double-click or Alt+Double-click on
| | 01:04 | the name. We'll go ahead and click on
the name and rename it Line Art like so.
| | 01:10 | I'll press Enter to apply that.
| | 01:12 | Then we want to get rid of all the
color on this layer. This was taken with a
| | 01:16 | little camera and not scanned as
grayscale, so a very quick command to
| | 01:20 | desaturate an image. I'm going to hold
down Command+Shift+U or Ctrl+Shift+U on
| | 01:25 | Windows. This keeps it as an RGB file.
We haven't changed the mode at all.
| | 01:29 | We have just sucked out all the color on
this particular layer and made it grayscale.
| | 01:33 | Next, we want to force the background
to be white. So I'm going to use our
| | 01:36 | friend, the Levels dialog to do that,
and once Levels is opened, I can use my
| | 01:40 | White Eyedropper to click on a medium
gray pixel here in the background, and
| | 01:45 | force any pixel that's lighter than
that to go to absolute white. And now you
| | 01:49 | can see the Line Art itself got a
little gray there. So I'm going to get my
| | 01:52 | Black Eyedropper and we'll click on a dark
gray pixel to force those pixels to go black.
| | 01:57 | Okay, I'm going to go ahead and click
OK and I can do this in multiple passes.
| | 02:01 | I may still have some residue
background pixels there, so I'm going to go back
| | 02:04 | to Levels again. We'll just get our
White Eyedropper again and we'll click on
| | 02:08 | these gray pixels here until they go
white. You can drag and click there until
| | 02:13 | you find the right one.
| | 02:14 | Great, those are all gone now, and
just checking our blacks, we'll click the
| | 02:18 | Black Eyedropper one more time and
click on a medium gray pixel on the dark
| | 02:23 | areas to force those to go black as
well. So that's looking pretty good.
| | 02:26 | We have isolated our image. It's against
a white background. I'm going to add a
| | 02:30 | little bit of extra canvas here. I'm
going to press C for the Crop tool, drag
| | 02:34 | out a crop boundary for the entire document.
| | 02:36 | Once I let it go, I can grab the
crop boundary again, and go beyond the
| | 02:40 | original canvas. I'll go ahead and do
that on this side a little bit, give it a
| | 02:43 | little extra room. Once I get the
extra areas sketched out here, I hit the
| | 02:47 | Enter key, and I have expanded my document.
| | 02:50 | Now we want a layer behind everything
that we can blend back down to. So I'll
| | 02:54 | click the New Layer icon, but before
I do that, I'm going to hold down the
| | 02:57 | Command key, Ctrl on Windows to create
that layer below my current layer, and
| | 03:01 | I'm going to fill this layer with white.
| | 03:03 | White happens to be my background color
right now. So I'll do Command+Delete or
| | 03:07 | Ctrl+Backspace on Windows. The trick
here now is that we want the white pixels
| | 03:13 | of this Line Art layer to become
transparent. Now there just happens to be a
| | 03:18 | blend mode that ignores white.
Do you remember what that is?
| | 03:20 | If you go to the Blend Mode list up
here, all the blend modes in the Darken
| | 03:24 | group ignore white. So I'm going to
change this to Multiply, and though it
| | 03:29 | doesn't look any different on my actual
image here, all the white pixels on the
| | 03:33 | Line Art layer have now become
transparent and I'm actually seeing the white
| | 03:37 | pixels of Layer 1 show through.
| | 03:39 | To kind of prove that, I'm going to
select Layer 1 and we'll go ahead, and
| | 03:43 | click and create a new layer here, so
it goes above Layer 1. I'll just go ahead
| | 03:47 | and get my Paint Brush tool, B for brush,
and we'll pick a hot pink color here,
| | 03:53 | and I'm just going to start painting
where the cat is and you can see I still
| | 03:59 | see the black lines of the Line Art
blending down through the pink layer and
| | 04:04 | then the white layer underneath.
| | 04:06 | So I'm not seeing any of the white
pixels of the Line Art layer, those are all
| | 04:10 | transparent. So I'll undo this painting
here, Command+Z, Ctrl+Z. And now it's a
| | 04:15 | matter of how you want to organize your
color layers. Some people just have one
| | 04:19 | layer that they used and they put all
their different colors on one layer.
| | 04:23 | I like a little bit more control than
that, so I'm going to name this pink, and
| | 04:25 | I'm only going to paint pink paint on
this pink layer. So I'm sampling from my
| | 04:31 | Swatches panel, this little like pink
color, and I want the nose to be pink. So
| | 04:35 | I'm just going to paint the nose a
little bit and I don't have to worry about
| | 04:39 | painting over the lines of the black
because the blend mode is protecting that
| | 04:43 | as long as I stay within the lines
and don't go outside into the other area
| | 04:46 | like that. All right, so I'll undo that.
| | 04:48 | I can just loosely paint within the
black lines, I'll paint the tongue pink
| | 04:53 | here, and I might want to create
another layer for the bowl. So I'll click the
| | 04:57 | New Layer button. We'll call that bowl.
Good, and we'll pick a different color
| | 05:02 | for the bowl, and maybe a dark green
color for the MILK part of the bowl.
| | 05:07 | I will go ahead and just paint this
quickly. And again, I can paint right over
| | 05:14 | them, the MILK letters. I don't have to
worry about trying to stay around those
| | 05:18 | edges because the Multiply blend mode on
the Line Art layer protects those areas.
| | 05:22 | I can just go right behind them and I
don't have to worry about being really
| | 05:27 | careful there. So I'll go ahead and
paint here, and I can increase my brush
| | 05:32 | size by using the Bracket keys. I'll
just make that a little bit bigger, and if
| | 05:36 | I go outside the line, that's okay. It just
makes it more of a fun little illustration.
| | 05:41 | I will pick a lighter green from the
Swatches panel and we'll click back of the
| | 05:46 | bowl here, paint that little bit
different, just for a little contrast there.
| | 05:51 | And again I can hold down the Option
key or the Alt key that will turn my Brush
| | 05:55 | into the Eyedropper tool, and I can
click on that green paint again, and I can
| | 05:58 | just touch up where I went
a little bit careless there.
| | 06:02 | So there, you get the idea. I won't
bore you by painting the whole image here,
| | 06:06 | but if you turn off the Line Art layer,
you can see that's where I drop down
| | 06:10 | paint. If I turn off the bowl layer
here. So I have got a real easy way to go
| | 06:16 | from paper napkin sketch to actual
colorized Line Art in Photoshop taking
| | 06:21 | advantage of blend modes and cool technology.
| | Collapse this transcript |
|
|
4. The Lighten GroupRemoving dust spots with Lighten| 00:00 | If you are shooting with a digital SLR,
a common problem is that you might get
| | 00:04 | dust in your sensor and then that
dust can actually show up in your actual
| | 00:08 | images. Like in this example here,
I've got these little dots and we are just
| | 00:11 | looking for a really quick way to get
rid of dust. And yeah, you could use your
| | 00:15 | Healing Brush, or your Spot Removal
Brush, or the Clone Stamp tool, but because
| | 00:19 | this is a title about blend modes, let
me teach you a really quick way to do it
| | 00:23 | with blend modes as well.
| | 00:24 | So I'm going to start by getting my
Selection tool. Just press the M key for
| | 00:28 | the Rectangular Selection tool. I'm
just going to make a really quick selection
| | 00:32 | of the offending area, these dust
spots here. We are going to duplicate the
| | 00:36 | selection up to its own layer. You do
that by holding down Command+J or Ctrl+J
| | 00:40 | on Windows, and you have just
created a duplicate layer here.
| | 00:43 | I am going to switch to my Move tool,
press V for the Move tool, and I'm going
| | 00:47 | to move these pixels over, after I
change the blend mode to Lighten. So a
| | 00:52 | keyboard shortcut for that, Shift+
Option+G or Shift+Alt+G, will change your
| | 00:58 | blend more to Lighten for this layer.
Because the pixels are exactly the same
| | 01:02 | and at the same position you won't see
any change. But if I just start nudging
| | 01:05 | these over, I'm just using my arrow
keys on my keyboard, did you see that?
| | 01:08 | I just nudged it four times to the left and
those dots or dust spots magically disappeared.
| | 01:15 | So I'll turn that layer off, the top
layer. There is before and there is after.
| | 01:19 | And remember what the Lighten blend
mode does. It looks at the top pixel and
| | 01:22 | says, "am I lighter or darker than
what's underneath me?" And if I'm darker
| | 01:26 | than what's underneath me, I'm going
to make myself lighter. So the Lighten
| | 01:30 | blend mode to the rescue, a very quick
way to get rid of spots or dust in an image.
| | Collapse this transcript |
| Adding lightning to a sky with Screen| 00:00 | Now I don't know about you but when I
look at this image, I'm thinking, man,
| | 00:03 | this image could use a lightning bolt
coming out of that cloud and hitting
| | 00:06 | that horizon line, don't you think?
Me too.
| | 00:09 | So let's learn how to create lightning
and just kind of as a reminder here,
| | 00:14 | we are not really learning how to do
lightning here. I want to reinforce what the
| | 00:16 | Screen mode is all about,
the Screen blending mode.
| | 00:20 | Let's get started by creating a new
layer, and if I hold down the Option key or
| | 00:24 | Alt as I click on the layer, I get a
chance to name it. So I'll go ahead and
| | 00:27 | call it Lightning. Great. And to
create lightning in Photoshop, we'll start
| | 00:32 | with our default colors, black and white.
| | 00:33 | Just press D for default black and
white and then we'll go to the Filter menu >
| | 00:38 | Render > Clouds. Kind of make sense,
right? In order to have lightning in the sky,
| | 00:42 | there probably needs to be clouds first.
| | 00:44 | Next we'll go to Filter > Render >
Difference Clouds. Now it may be tough to see
| | 00:49 | but you can start faintly seeing
that it started some streaks here. So
| | 00:53 | to extrapolate those streaks, we want
to push the Levels around. Command+L,
| | 00:57 | Ctrl+L to bring up the Levels dialog
box and we'll grab that white slider and
| | 01:02 | drag it all the way over to the left
like so, stopping right about there.
| | 01:06 | In that middle triangle lets us
decide how much glow we want around the
| | 01:11 | lightning. So that works
out to be just like that.
| | 01:13 | I will go ahead and press OK and now
the lightning is taking shape but I don't
| | 01:19 | know about you, I usually see white
lightning against a black background.
| | 01:22 | This is the opposite of that. So I need to
invert my layer. Command+I or Ctrl+I to
| | 01:27 | invert the layer. Now if there is only a
way I could make those black pixels go away.
| | 01:32 | I know. I'll use the Tragic Wand tool,
right? I'll press Tragic Wand tool and
| | 01:36 | we'll Shift-click through the black
stuff. No, we are not going to do that,
| | 01:40 | Command+D. There is a blend mode that
ignores black, remember what it is?
| | 01:44 | If you go to the Blend Mode list, all
the Lighten blend modes ignore black and
| | 01:49 | make stuff lighter.
| | 01:49 | So I'm going to choose the Screen
blend mode, one of the blend modes in the
| | 01:52 | Lighten group. And look at that, the
black pixels on that layer just disappear.
| | 01:57 | It's as if they are not even there. I'm
going to get my Move tool. I'm just going to
| | 02:00 | move the Lightning layer into position
where I want the lightning to occur.
| | 02:05 | I just pick the lightning bolt I want.
| | 02:06 | Incidentally, when you run Clouds,
note that's random filter so every time
| | 02:10 | you run it, it will be different.
So if you don't like a particular
| | 02:14 | lightning bolt shape that you ended up
with, you can always just start over and
| | 02:17 | run Clouds and Difference Clouds again.
| | 02:19 | All right, so I like this lightning
bolt here. I just want that one though.
| | 02:22 | So I'm going to add a layer mask to the
bottom of the layer panel. We'll go and
| | 02:25 | we'll click on the Add Layer Mask button.
I'll get my Brush tool, B for Brush.
| | 02:30 | I'm going to make the brush a little
bit larger and I'm just going to paint
| | 02:32 | with black wherever I don't want the lightning.
| | 02:35 | I want to paint with 100% Opacity and
I'll just paint out the lightning bolts.
| | 02:39 | I don't care about like these over here.
I'll just hide those with the layer mask
| | 02:44 | and then we'll touch this up by
getting rid of this part of the lightning bolt.
| | 02:49 | I want this to fade into the clouds.
So I'm going to lower my opacity. Well,
| | 02:53 | first let's get rid of the stuff above
the water. Good, like so, and then to
| | 02:58 | get rid of the extra bolt there in the
cloud, I'm going to press 5 for 50% to
| | 03:03 | change my brush to 50% and I'll just
kind of fade that top part out.
| | 03:07 | So it looks like it's kind
of coming into the cloud.
| | 03:08 | All right, there you have it, lightning
magically with Photoshop, but the trick
| | 03:13 | here is doing it on a layer where you
can then set the blend mode to Screen so
| | 03:17 | that all the black stuff just goes away.
| | Collapse this transcript |
| Adding a lens flare effect with Screen| 00:00 | Don't you think this image is just
screaming for a Lens Flare? Oh yes.
| | 00:03 | Let's put a fake little sunrise right there
peaking over that image. I'll get on the sid.
| | 00:07 | All kidding aside, you might want to run a
Lens Flare and we want to do a non-destructive
| | 00:12 | Lens Flare effect of course, so that
you don't damage your original layer.
| | 00:16 | Let's begin though by just going
to Filter > Render > Lens Flare.
| | 00:20 | You will see we get this little dialog
box with a little tiny preview and
| | 00:24 | we can go ahead and position that Lens
Flare where we wanted to. And I'll position
| | 00:27 | it right about there. We'll click OK.
Great, image looks better, yes, look at
| | 00:32 | that glorious fake sunrise. Here is
the problem. That we did it on the actual
| | 00:35 | Background layer, which means we
can't reposition the Lens Flare,
| | 00:38 | lower its Opacity, scale it and flip it,
animate it, whatever we want to do here.
| | 00:42 | So I'm going to undo this. Command+Z,
Ctrl+Z. Instead we want to create the
| | 00:46 | Lens Flare on its own layer. So I'm
going to create a new layer and I want to
| | 00:51 | fill this layer with black after I
name it. So let's call it Lens Flare by
| | 00:54 | double-clicking on the name. Great.
To fill this with black. Black is my
| | 00:58 | foreground color, if it's not for you
press the D key on your keyboard.
| | 01:01 | And then Option+Delete, or Alt+
Backspace will fill your layer with black.
| | 01:07 | We want to reopen the last Filter we
used. That was Lens Flare here.
| | 01:11 | So I can do Command+Option+F or Ctrl+Alt+F,
and that will reopen the last filter used,
| | 01:16 | which in this case it's Lens
Flare, and here you will see that the
| | 01:20 | Preview is remembering the
last location that was used in.
| | 01:24 | So I often find when I actually
want to do a Lens Flare, I'll do it on the
| | 01:28 | original Background first just so I
can position it in the Preview area, and
| | 01:32 | then I'll click OK and undo it, so
that when I then run Lens Flare on the
| | 01:37 | additional layer, the Lens Flare will
already be in the position that it needs
| | 01:40 | to be in. I'll go ahead and click OK.
Beautiful Lens Flare effect now.
| | 01:45 | Man, is there some way I can make
those black pixels go away? Because really
| | 01:49 | all I want is the bright pixels here
to composite down and blend into the
| | 01:54 | Background layer. Of course, we do
have a blend mode that ignores black.
| | 01:58 | It happens to be Screen. And look at that.
All the black pixels go away as if they
| | 02:03 | weren't even there. They are now
transparent. And the Lens Flare is now a
| | 02:06 | separate layer, so it can be
repositioned. It can be scaled, it can be dialed
| | 02:11 | down its Opacity if you needed to.
You can mask it if you want to.
| | 02:14 | So there's before, there's after.
| | 02:16 | When that client calls you and says
"I really need a Lens Flare in my image,"
| | 02:20 | you now know a way to do it non-destructively
by using your good friend, the Screen blend mode.
| | Collapse this transcript |
| Reducing halos when sharpening with Lighten| 00:00 |
Here's a nice picture of the fall
colors in beautiful Seattle and, of course,
| | 00:03 |
it was a rainy morning. I want to make
these raindrops pop off the leaf. I want
| | 00:08 |
them to be really, really sharp. So,
of course, we're going to use our
| | 00:11 |
sharpening ability in Photoshop to
make these water drops have a little bit
| | 00:15 |
more depth and be a little bit crisper.
As usual, what we'll typically do
| | 00:19 |
when we do any kind of filter in Photoshop
is you duplicate the layer first,
| | 00:22 |
so you protect your original, Command+J,
Ctrl+J, and there is a duplicate layer.
| | 00:27 |
Now, when you sharpen an image, let's
talk about that real quick. Sharpening is
| | 00:31 |
increasing the contrast of edge pixels.
Now Photoshop thinks an edge is a light
| | 00:36 |
pixel next to a dark pixel. It doesn't
really know anything else is an edge. So
| | 00:41 |
it doesn't necessarily know that this
edge of the leaf, meaning in real life
| | 00:45 |
that's an actual edge, as we perceive
it, is the actual edge. It just knows
| | 00:48 |
that is a dark pixel next to a light pixel.
| | 00:51 |
So when you increase the sharpness,
you're making the dark half of an edge
| | 00:56 |
darker, and the light half an edge
lighter. So you're increasing the contrast
| | 01:00 |
of edge pixels. Now there are lots of
different ways to sharpen an image here,
| | 01:04 |
let's go to Filter > Sharpen and we'll
use Unsharp Mask. I'm just going to go
| | 01:09 |
with an exaggerate Amount. You'll
see what the problem is right away,
| | 01:13 |
hopefully, you're seeing that the
sharpening is producing some halos. We'll
| | 01:18 |
take a look at that little area right there.
| | 01:20 |
You can see the dark half of the edge
is getting darker; the light half is
| | 01:22 |
getting lighter. Overall the image is
getting sharper, but I'm introducing
| | 01:27 |
these artifacts. I'm going to go ahead
and go with this value, 200%, 1 and 4
| | 01:32 |
for the Amount, Radius and Threshold
and click OK, because I want to reinforce
| | 01:36 |
how blend modes can
actually help you with sharpening.
| | 01:38 |
So if you remember what happens when
you sharpen an image, you're increasing
| | 01:42 |
the contrast of edge pixels. What we
need to be able to do is split the result
| | 01:47 |
of that sharpening up into its
component parts. So there is the dark part of
| | 01:51 |
the edge and there is the light part
of the edge, and if we could split the
| | 01:55 |
edges, we could control the each one
separately. I could keep the darkening
| | 01:59 |
part of that edge, but maybe downplay
the lightening part of it, so that
| | 02:02 |
I don't get such a strong halo.
| | 02:05 |
So let's rename this Layer 1 to
Darken and that's your clue there that
| | 02:10 |
if I choose the Darken blend mode,
that's only going to keep the dark stuff.
| | 02:15 |
It's going to ignore the light stuff, because
you remember, the Darken group ignores white.
| | 02:20 |
So if I choose the Darken blend mode,
and look at that, all those light halos,
| | 02:25 |
those white halos disappear. They go
away as if they are transparent. If I turn
| | 02:30 |
the Darken layer off, there is before
and there is after. You can see the image
| | 02:34 |
actually already look sharper. If
all I do is the dark half of the edge
| | 02:39 |
enhancement, my image does look sharper.
Now I do want to have a little bit of
| | 02:43 |
a pop on the highlights.
| | 02:44 |
So to do that, we're going to
duplicate the Darken layer, Command+J, Ctrl+J.
| | 02:47 |
It's now called Darken copy. Let's
rename this. What do you think we're going
| | 02:52 |
to name it? That's right, Lighten, the
opposite of Darken. Because if I change
| | 02:56 |
the blend mode now from Darken to Lighten, I'm
going to get the light half of the edge back.
| | 03:01 |
So now I can control that separately.
If that's too strong, which I think it
| | 03:05 |
is, I then can just lower the Opacity
of the Lighten layer. To do that, I just
| | 03:10 |
need to have my Move tool selected. So
V for the Move tool and I'm just going
| | 03:13 |
to type a number to lower the Opacity.
I'm going to start with say 30%. So I'm
| | 03:16 |
just going to type a 3.
| | 03:18 |
So, let me turn the layer off, the
Lighten layer, there with no highlight
| | 03:23 |
adjustment. Turn it back on. You can
see I'm getting a little bit of a bump
| | 03:27 |
there. If I take it back to 100% by
pressing 0, you can see it's really severe.
| | 03:31 |
So, by splitting the edges of
sharpening, you can control the dark half
| | 03:36 |
separate from the light half.
| | 03:38 |
Well, it's simple as duplicating a
layer, running the sharpen on that
| | 03:41 |
duplicate, changing that blend mode to
Darken for that layer, duplicate that,
| | 03:46 |
change the blend mode to Lighten. And
now you have a way to control both the
| | 03:50 |
light half and the dark half of the edge
independently through the power of blend modes.
| | 03:56 |
| | Collapse this transcript |
| Creating a faint soft-edged line drawing with Linear Dodge| 00:00 | Here is a great technique if you
want a turn a photograph into more of a
| | 00:03 | charcoal type line art drawing. And
we are going to use a blend mode to
| | 00:07 | achieve it. So first we are going to
duplicate this layer, Command+J, Ctrl+J,
| | 00:12 | and I'm going to rename this Line
Drawing. Great! And we are going to
| | 00:18 | begin by inverting this, Command+I or
Ctrl+I, and setting its blend mode to one
| | 00:24 | of the Lighten blend modes called Linear Dodge.
| | 00:28 | Now when you first do this by inverting
the layer and setting to Linear Dodge,
| | 00:32 | it doesn't look like much of anything.
It's made everything white. And to bring out
| | 00:38 | some of the line art drawing, we are
going to use something called Gaussian Blur
| | 00:41 | to create some differences between
these two layers. So right now there is
| | 00:44 | an exact pixel match for the blend in
these blend modes. The Linear Dodge blend
| | 00:49 | mode is actually canceling these
pixels out, making it more white.
| | 00:52 | If we start introducing some
differences here, we'll actually get some cool
| | 00:55 | interactions between the two layers.
One way to introduce the differences is to
| | 00:58 | add a blur to this layer. Now we
may want to play around with the blur.
| | 01:02 | So normally when you run a filter
it's a destructive action. I guess that
| | 01:06 | depends on your perspective. But it
applies and actually permanently changes
| | 01:09 | those pixels. If you change your mind
you don't have the original starting point.
| | 01:13 | In order to create filters that
can be done non-destructively, you want
| | 01:17 | to use Smart Filters and Smart
Filters can be applied to Smart Objects.
| | 01:21 | So we are going to convert this Line
Drawing layer into a Smart Object by
| | 01:24 | right-clicking on it or Ctrl-clicking
and choose Convert to Smart Object.
| | 01:29 | Gives you a little special icon letting you
know that's a Smart Object layer instead
| | 01:32 | of a regular layer.
| | 01:34 | And now we'll go to Filter > Blur >
Gaussian Blur. You can see right away just
| | 01:39 | what the default setting here,
whatever settings used last of two pixels,
| | 01:43 | I'm starting to see the line art drawing
appear. We'll zoom in Command+Plus,
| | 01:47 | Ctrl+Plus until I can see a little bit
better detail. I can hold down my spacebar
| | 01:51 | to pan the image around and get a
good look at what I want to look at.
| | 01:55 | So I can play around the Radius. The
higher the Radius the more of the original
| | 01:59 | image comes back and more of the
original color comes back as well.
| | 02:03 | So to keep it more of a line art
drawing you will want to keep the Radius
| | 02:07 | towards the low side. But again it's up
to you can make this whatever you want.
| | 02:10 | I'm going to go ahead and click OK,
and now the Smart Filter get shown as a
| | 02:14 | special type of filter underneath the
Smart Object layer. If I need to reedit this,
| | 02:19 | I can just double-click on the
word Gaussian Blur and tweak this
| | 02:22 | a little bit more until I get it
the way I want it to look.
| | 02:25 | So you have a non-destructive way to go
back and adjust how much of a line art
| | 02:29 | effect you want. So this becomes a
really nice technique to create say a
| | 02:32 | background image if you are going to
put a series of other images on top of this,
| | 02:36 | maybe border them or frame them
or whatever, this can act as a nice
| | 02:40 | stylized background to put everything
on instead of just a white background.
| | 02:44 | If you want to remove the color and
just have this be more of a charcoal type
| | 02:47 | of effect then we can just add a Black
& White adjustment layer. I'm going to
| | 02:50 | go Adjustments panel and choose Black &
White and that will add a Black & White
| | 02:55 | adjustment layer at the very top which will just
basically desaturate all those colors out of there.
| | 03:00 | I can turn that on and off and you can
see the difference there, especially if
| | 03:03 | I zoom up Command+Plus, Ctrl+Plus and
turn the adjustment layer on or off.
| | 03:08 | And so it's up to you, if you want
it to be more of a grayscale charcoal
| | 03:11 | type drawing, do the adjustment layer.
If you don't mind the color then just
| | 03:15 | ignore that part of that technique.
| | 03:17 | But there you have it an interesting
use for the Linear Dodge blend mode
| | 03:21 | applied to an inverted copy and then
just do a little bit of blur on that
| | 03:26 | inverted copy to bring out that charcoal effect.
| | Collapse this transcript |
|
|
5. The Contrast GroupUsing Dodge and Burn with Overlay| 00:00 |
In this image the background could
use a little bit of darkening, bring out
| | 00:04 |
some contrast there. It's pretty
typical in landscape photography for the
| | 00:08 |
distance to be a little bit faded, and
lacking contrast where the foreground
| | 00:12 |
has most of the contrast.
| | 00:14 |
Now some of you may have used the Dodge
& Burn tools. Nothing wrong with those tools.
| | 00:17 |
They have actually gotten better in
CS4. But I actually find using a
| | 00:21 |
Dodge & Burn layer to be much more
flexible and faster, even faster than using
| | 00:26 |
my curves or levels and having to mask
things off as adjustment layers and whatnot.
| | 00:31 |
So a Dodge & Burn layer, what is a
Dodge & Burn layer? Well, a Dodge & Burn
| | 00:34 |
layer is nothing more than a layer
filled with gray set to Overlay. Now if you
| | 00:40 |
remember the make better key is the
Option key on the Mac or the Alt key in
| | 00:44 |
Windows. If you click the New Layer
icon without the modifier key down,
| | 00:48 |
you just a get a new layer Layer 1.
Okay I'm going to undo that.
| | 00:51 |
If you hold down the Option key or the
Alt key and click, you get a chance to
| | 00:54 |
name the layer. So I'm going to call
this Dodge & Burn. But you also get a
| | 00:59 |
chance to choose a blend mode for the
layer. So we'll choose Overlay and then
| | 01:03 |
you can fill that new layer you are
creating with the color that is neutral to
| | 01:08 |
that blend mode, meaning the color it ignores.
| | 01:10 |
So Overlay ignores gray. So I'm going
to turn that on. Click OK. And now I have
| | 01:16 |
a Dodge & Burn layer waiting for me to
use. If I turn the background layer off,
| | 01:21 |
you will see that indeed there is a
layer filled with 50% gray, but when it's
| | 01:25 |
being composited down and it's set to
Overlay of course, the gray pixels are ignored.
| | 01:30 |
So now I'll get my Brush tool, B for
the Brush tool, pick a nice big soft brush here.
| | 01:34 |
Maybe start with a medium Opacity
maybe 30% or 40% just by pressing the
| | 01:40 |
number 3 of 4. And now anywhere I
paint with black, I'm going to be darkening
| | 01:46 |
the image or burning it. Anywhere I
paint with white I'm going to be lightening
| | 01:52 |
the image or dodging it.
| | 01:53 |
So it's pretty easy to start doing this
now. You just reset your colors back to
| | 01:58 |
Black & White D for Black & White, turn
out that way already, and then you just
| | 02:01 |
lower the Opacity by typing a
number and then you just start painting.
| | 02:04 |
So I'm darkening the sky. So I'm
going to paint with 30% black and I'm just
| | 02:08 |
brushing real big soft brush strokes
here, kind of filling the background area,
| | 02:13 |
and as I go across you should see the
contrast of the water and the mountains
| | 02:19 |
getting improved and seeing some
more details, just kind of taking that
| | 02:22 |
background haze of the image here.
Come back over here on the mountains, and
| | 02:28 |
real simple, nice big soft strokes
and nothing too complicated here.
| | 02:34 |
Okay. So I'll just stop for a second
and let's go take a look at this Dodge &
| | 02:38 |
Burn layer now. Now if I turn the
bottom layer off, you will see anywhere it's
| | 02:42 |
50% gray nothing happens. Anywhere
it's darker than 50% gray the underlying
| | 02:48 |
image is going to get darker.
| | 02:50 |
So let's switch our colors X for
exchange, do exchange of our foreground and
| | 02:54 |
background colors, and I'm just going
to go across the foreground a little bit,
| | 02:58 |
with white now, I think this is too fast,
so I'm going to Undo that Command+Z, Ctrl+Z.
| | 03:02 |
I am going to lower my Opacity. Right
now its 30%. I'm going to make it 10% by
| | 03:08 |
just pressing the number 1, and I'm
just going to very gently come in on some
| | 03:12 |
of the darker parts of the foreground
here and just going to go again kind of
| | 03:16 |
come in with a nice big fat strokes here,
with my big brush, set to a low Opacity.
| | 03:23 |
And again let's take a look at the
before and after. Here is before and there
| | 03:28 |
is after. You should see a pretty big
shift happening now, and if I turn the
| | 03:32 |
bottom layer off again, again
anything that's 50% gray, no change anything
| | 03:36 |
that's lighter than 50% gray, the
underlying image is going to get lighter,
| | 03:40 |
anything that's darker than 50% gray the
underlying image is going to get darker.
| | 03:44 |
So it's a very versatile, if you burn
too much of an area here come back in
| | 03:49 |
multiple strokes here and now this is
getting too hot. Just press X to exchange
| | 03:54 |
and paint back with the other
color to darken that back up again.
| | 03:58 |
So it's non-destructive, it's on its
own layer, you can go back and change it
| | 04:01 |
anytime, very flexible, trick here.
I'm going to go burn this little bit up.
| | 04:06 |
That's the wrong color. So I'm going to
undo it. X for exchange again. I'm just
| | 04:10 |
going to take off a little bit of
haze here. A little bit more in the
| | 04:13 |
mountains, just kind of bring out some
more contrast in that portion of the image.
| | 04:18 |
So there you have it. That's using a
Dodge & Burn layer and again that's just a
| | 04:23 |
layer filled with gray set to
Overlay, then just paint with different
| | 04:27 |
percentages of white and black and
you've got your custom way to Dodge & Burn an image.
| | 04:35 |
| | Collapse this transcript |
| Reducing wrinkles with Overlay| 00:00 | This image gives me another opportunity
to kind of show you the versatility of
| | 00:04 | a Dodge & Burn layer and what it can
be used for. So rather than Dodge and
| | 00:08 | Burning a landscape or whatnot,
we are going to use a Dodge & Burn layer to
| | 00:13 | de-emphasis the deep wrinkles
that are on these two people.
| | 00:16 | So if I go to actual size here Command+
1 or Ctrl+1, I'm going to just pan this
| | 00:20 | around so I can see both sets of eyes
here, and you can see there are some
| | 00:23 | pretty deep wrinkles here.
| | 00:25 | Now what is a wrinkle? In
Photoshop's definition it doesn't actually know
| | 00:29 | whether that's a wrinkle. It's just a
bunch of dark pixels next to a light pixel.
| | 00:33 | So another way of saying it's an
extreme edge that's an area of contrast.
| | 00:38 | So if we can deemphasize the contrast
here, if I can make the dark part of the
| | 00:42 | wrinkle lighter and make the light
part of a wrinkle darker, or in this case
| | 00:47 | some shine here, then what I can do is
draw attention away from the brightest
| | 00:52 | and darkest parts of the image,
and put the focus back on their eyes.
| | 00:56 | So let's begin by creating a Dodge &
Burn layer. To do that we are going to
| | 01:00 | hold down the Option key or the Alt
key and click the New Layer icon then
| | 01:04 | we'll call this Dodge & Burn again.
We'll set the layer to Overlay, which
| | 01:12 | ignores 50% gray, so we'll go ahead and
fill that layer with its neutral color.
| | 01:16 | 50% gray, great. And now I'm going to
switch to my Brush tool, type B on the
| | 01:20 | keyboard for the Brush tool. I
obviously need a much smaller brush.
| | 01:23 | I'm going to use my Left Bracket key
to make the brush much smaller. Great!
| | 01:27 | Again I'm going to start with a very
low opacity, maybe 20% so I just type a 2
| | 01:32 | for 20%, and if I want to lighten
these shadows here, the wrinkles here at
| | 01:37 | Etere's face on the left, I'm going
to start with white. So X for exchange.
| | 01:41 | If your default colors are not black
and white right now just press the letter
| | 01:44 | D to get them back so and then X
to make white the foreground color.
| | 01:48 | And I'm just going to start painting
very softly with a brush. We are just
| | 01:54 | going to test our Opacity setting here,
and I'm thinking it's a little bit too hot
| | 01:57 | so I'm going to undo that, the
initial stroke there, make it more like 10%,
| | 02:01 | and we are just going to very
carefully go in and lighten the shadow area.
| | 02:07 | So that's going to take a few minutes
to kind a work this area through, but
| | 02:10 | we'll kind of come around the corner of the eye here,
and we come on this individual wrinkle here.
| | 02:17 | Now what we are trying to do is just
lower that contrast, okay, and on
| | 02:24 | these individual wrinkles here. Now I
happen to be using a tablet, a Wacom tablet.
| | 02:29 | I find that very helpful, especially
when you are doing a lot of painting,
| | 02:32 | because its pressure-sensitive,
and you can just press harder and
| | 02:36 | softer to get a larger brush.
| | 02:39 | Every once in a while, you are going
to want to check your work and see the
| | 02:42 | before and after, because sometimes
it doesn't look like you have done much,
| | 02:45 | because your eyes get accustomed
to the area that you are looking at.
| | 02:48 | So come over here and turn the layer
off. There is before and there is after.
| | 02:53 | You can see it's made quite a big
difference already. So don't overdo it.
| | 02:57 | Just every once in a while just turn that
on or off, so you can check your work as you go.
| | 03:01 | So let's come over here and we'll
continue to use white and we'll lighten
| | 03:06 | these shadows here. Now you'll notice
I'm not using the Healing Brush, right.
| | 03:09 | I'm not looking for that big hammer.
Etere is a good family friend and
| | 03:14 | I happened to know how old he is. I'm
not going to share that information with you.
| | 03:16 | But my point is not to make him
look like he is 19, all right?
| | 03:19 | I'm not trying to get rid off these wrinkles.
Those are his wrinkles. I'm just trying
| | 03:23 | to deemphasize them a little bit so
they don't dominate the photograph. Okay,
| | 03:29 | and again come over here before, and after.
| | 03:32 | And you can see I'm getting a very nice
lightening effect of those hard shadows
| | 03:36 | underneath his eyes. If I want to take
away some of the shine here, I'll press
| | 03:40 | X for exchange and I'll switch to
black. I'll use a much larger brush here.
| | 03:45 | Again just stay with 10% and I'm going
to very gently go over these hot spots
| | 03:52 | or the shiny spots on his forehead
here and maybe under his cheek there.
| | 03:58 | And again it may not look like you are
doing much. Let's go over here on the lip part.
| | 04:03 | And let's turn that on and off
and back and forth and you can see
| | 04:09 | the before and after.
| | 04:11 | Now when you come over to Elena here,
kind of a thing to remember is pay
| | 04:16 | attention to your brush size a little
bit. It's less of an issue if you are
| | 04:18 | using a tablet because you can just
press harder of softer to get a larger or
| | 04:21 | smaller brush stroke.
| | 04:23 | But if you are using a mouse, if you
look at Etere, his wrinkles are quite a
| | 04:28 | bit wider than Elena's and that's
because they are quite a bit different in ages.
| | 04:32 | The older you get, the longer
your wrinkles get, and the thicker they get.
| | 04:37 | So as you are retouching people of
different ages you kind of have to make
| | 04:40 | sure that you don't paint the same sort of
stroke widths across all the people equally.
| | 04:46 | So I laid down a stroke here. I'm
going to Undo, Command+Z. We are going to
| | 04:49 | lighten these areas again around her
eyes. So again I'm going to press X for
| | 04:52 | exchange and have a white be my
foreground color. I'm going to make the
| | 04:55 | brush size just a little bit smaller,
and I'll come in here and lighten these
| | 04:59 | deep shadow areas in the wrinkles here.
And again I'm just kind of go into the
| | 05:03 | dark side of the wrinkle, just to
lower the contrast of the dark part of it.
| | 05:09 | It doesn't take long and what's really
nice about this technique is you really
| | 05:13 | get to dial it in very specifically.
So it's something that's a little bit
| | 05:17 | hard to accomplish with just Curves or
Levels alone. You end up having to paint
| | 05:20 | the mask and you are doing the same
thing. I just think it's more work to do it
| | 05:23 | that way. So I really like the
flexibility of Dodge & Burn layers. Okay,
| | 05:29 | let's see our before and
after, before and after.
| | 05:33 | If I take a look at the layer by itself,
let's turn off the background layer,
| | 05:37 | you can really see the difference
here right. Everywhere it's white
| | 05:40 | I've lightened the image, everywhere it's
dark I have darkened the image. And if you
| | 05:44 | want to take this down a little bit so
that's it not such a harsh transition,
| | 05:47 | you can always blur this layer a little bit.
| | 05:50 | If I go to Filter > Blur > Gaussian
Blur and just give it a slight maybe one
| | 05:56 | pixel blur, just to soften those
transitions maybe even take it up to 1.5.
| | 06:01 | And that way you don't get any weird
haloing effects. If you want, you may want to
| | 06:05 | turn this Dodge & Burn layer into a
Smart Object so you can adjust the blur
| | 06:09 | after the fact. If you blurred it too
much, you can always go back and just do
| | 06:12 | a live edit of that as a smart filter, but I'll
skip that for now, just kind of point that out.
| | 06:17 | And there you have it. This is just
another use of a Dodge & Burn layer to do
| | 06:21 | specific retouching of portraits where
you just don't want to deemphasize these
| | 06:24 | harsh shadows and shiny spots to make
a portrait look more in character with
| | 06:30 | who the subjects actually are and to
draw attention to their great attributes,
| | 06:34 | to their eyes and their smiles.
| | Collapse this transcript |
| Using graduated neutral density filters with Overlay| 00:00 | So here is a great shot taken by one
of our producers here at lynda.com,
| | 00:03 | Carmel, California. And it's really nice,
it's got great color, but I think we can
| | 00:09 | just do a few things to make it really pop.
| | 00:12 | One of the things that a photographer
has in their bag of tricks is they have
| | 00:16 | something called graduated density
filters or graduated neutral density filters.
| | 00:20 | These are literally pieces of glass
that are graduated from dark to
| | 00:23 | light on the surface of the glass, and
you can hold that in front of your lens
| | 00:28 | to change the contrast of
the picture you are taking.
| | 00:31 | Most common use of a graduated
filter is to darken the sky, when you are
| | 00:36 | shooting a landscape scene like this.
Well the cool thing is that Photoshop has
| | 00:41 | this concept of graduated neutral
density filters as well, after the fact and
| | 00:45 | they are much more versatile inside
Photoshop of course. So let's play around with these.
| | 00:50 | Let's go ahead and begin first by just
making the image pop a little bit in color.
| | 00:53 | We are going to use one of the
new adjustment layers in Photoshop CS4
| | 00:56 | called Vibrance. Look at our
Adjustments panel and then I click on the
| | 01:00 | Vibrance adjustment and we are just
going to push up the Saturation of some of
| | 01:05 | these muted colors. Just to make it more of
the sunset color palette there in the scene.
| | 01:10 | So I just pump that up a bit and
make those colors pop and get some more
| | 01:14 | orange into the water. But we still
want that blue sky to be a little bit
| | 01:18 | darker and moodier, have a little
bit more contrast, maybe darken the
| | 01:22 | foreground as well. So let's close the
Adjustments panel here by collapsing it
| | 01:25 | and we are going to create a new
adjustment. Down the bottom of the Layers panel,
| | 01:30 | the little black and white
cookie icon is what I call it,
| | 01:32 | the Adjustment Layer menu.
| | 01:34 | Towards the very top is the Gradient
adjustment layer, I'm going to go ahead
| | 01:37 | and choose that. And it brings up a
Gradient Fill. Now at first it's looking
| | 01:42 | like it's making the image look worse.
That's okay. We'll play around with some
| | 01:45 | of the options here.
| | 01:47 | If you are following along, you want
to make sure that your Gradient is from
| | 01:50 | black to transparent. You can click on
little pop menu. It's the second one from the left.
| | 01:54 | The default is black to white;
you want the black to transparent.
| | 01:57 | And we'll double-click to make that active.
| | 01:59 | For Style, this is one of the great
things about Photoshop digital version of these,
| | 02:04 | Linear just means from light to
dark in the angle that you specify. So
| | 02:08 | the default is 90 degree, so it's
light at the top and dark at the bottom.
| | 02:12 | If you want to lighten both the top of
the image and the bottom of the image at
| | 02:18 | the same time or darken the top and
the bottom at the same time, you can
| | 02:21 | choose a different style. Instead of
Linear change it to Reflected and here
| | 02:25 | you'll see you get a dark strip in the middle,
where it's light at the top and the bottom.
| | 02:30 | Now this is actually doing the
opposite of what I want. I don't want it dark
| | 02:33 | in the middle. I want to keep the
middle light and bright and darken the top
| | 02:36 | and bottom. So I'm going to choose
the Reverse check box and you'll see I'm
| | 02:40 | getting much closer now to what I
want. This is looking pretty good.
| | 02:43 | Now I can also Scale this gradient.
If I want to widen the gap in the center
| | 02:49 | so that more of it is left alone, I can
use the Scale slider. Now Photoshop has
| | 02:53 | this concept called scrubby sliders.
And I'm going to hold down the
| | 02:56 | Command key or the Ctrl key and you'll
see when I put my mouse over the 100%,
| | 03:00 | holding down that modifier key,
I get a little special cursor, the scrubby
| | 03:04 | slider cursor. And that just makes it
easier instead of having to deal with this
| | 03:07 | pop-up slider. I can just click on the number,
holding that key down, Control on Windows,
| | 03:11 | Command on Mac, and just drag
to the right to scale up or down
| | 03:16 | this particular gradient. So I'm just
opening that up so more of the center of the
| | 03:20 | image is exposed through
this graduated density filter.
| | 03:24 | All right, so let's go ahead and I'm
going to click OK. Now the problem though
| | 03:27 | is that I'm adding black to the image.
I don't want to darken the colors with black.
| | 03:32 | I want them to be get richer in
their own color. So I want this to be a
| | 03:36 | darker blue, not black.
| | 03:38 | So what we need to do? We need to
change our blend mode. What blend mode
| | 03:42 | is going to ignore gray and darken
the dark pixels and lighten the light pixels?
| | 03:47 | That would be Overlay, right,
one of those contrast blend modes.
| | 03:51 | Really with this technique you can
choose any of these different blend modes
| | 03:54 | within the contrast group. We'll
start with Overlay. Oh, wow, see?
| | 03:57 | Look at that pop, the blue sky looks great
and looks moody. I've got real nice pretty blue there.
| | 04:03 | But now I can play around and
choose a different blend mode if I wish.
| | 04:06 | I have my Move tool selected. If you don't,
you press the V key for move and then
| | 04:10 | you do a Shift+Plus and Shift+Minus.
| | 04:11 | So Shift+Plus will go to the next
blend mode in the list and look that's Soft Light.
| | 04:15 | It's just a little bit softer,
as the name implies, than Overlay.
| | 04:18 | If I do Shift+Minus I go back to Overlay,
and I can kind of see the difference
| | 04:22 | before and after. So there's Overlay,
there is Soft Light. Overlay, Soft Light.
| | 04:26 | Let's take it one step further and
take it to Hard Light and you could see
| | 04:31 | it's a completely different look and
feel. Shift+Plus to Vivid Light and if
| | 04:35 | you really want a strong mood, then
Linear Light. And last in the group is Hard Mix.
| | 04:40 | That does a little bit of posterization.
So I tend to not use that blend mode
| | 04:44 | very often. I don't
like that it's posterizing it.
| | 04:47 | So we are just going to cycle through
them. I'm going to do Shift+Minus to go
| | 04:49 | backwards within the list and I'm
probably going to settle on Overlay because
| | 04:52 | that's what I wanted to start with to
begin with. So let's do a before and
| | 04:55 | after. Let's real quickly and easily
do that by Shift-clicking on the two
| | 04:59 | layers to select them and then
grouping them. Command+G or Ctrl+G on Windows
| | 05:04 | will put them in a group. And now I
can just click on the one eye to see the
| | 05:07 | before and the after.
| | 05:09 | So that's how you can use graduated
density filters. The trick is to create a
| | 05:15 | Gradient adjustment layer and set the
blend mode of that adjustment layer to
| | 05:20 | Overlay and then you can reposition
the Gradient anywhere you want and mask it,
| | 05:23 | do whatever you want to. Lower the
opacity if the strength is too strong,
| | 05:26 | whatever. Very handy tip and it can
really make your images pop and look beautiful.
| | Collapse this transcript |
| Custom vignettes with Overlay| 00:00 |
I want to give you a really quick technique
for adding a custom vignette to an image.
| | 00:04 |
Now sometimes a vignette happens
naturally when you have actually taken
| | 00:07 |
a photograph, depending on what type
of lens you are using, and what kind of
| | 00:10 |
light you are shooting in. You may see
a darkening of corners on a particular
| | 00:14 |
image, and that's often thought of as a
vignette. Other folks may want to add a
| | 00:20 |
vignette after the fact and what
a vignette tends to do is it draws
| | 00:24 |
attention to the area that you want
the viewer to be looking at. Your eye
| | 00:27 |
naturally goes to the brightest part
of an image, so the idea is that if you
| | 00:31 |
darken other parts of the image,
your eye will ignore those and go to the
| | 00:34 |
brightest portion of the image first.
| | 00:37 |
So in this case the subject matter of
course is Sophia here in the center.
| | 00:41 |
This is not an as interesting part of the image.
So we want to draw more attention to
| | 00:46 |
this portion of the image by
darkening the edges and the corners.
| | 00:49 |
So let's begin. What I'm going to do is again
create an Overlay layer filled with gray,
| | 00:54 |
so that it doesn't affect the image
and then the darkening will added on to the
| | 00:58 |
Overlay layer and will
darken the underlying image.
| | 01:00 |
To create an overlay layer, let's hold
down the Option key or the Alt key, and
| | 01:03 |
click on the New Layer icon. We'll go
ahead and call it vignette, and we'll
| | 01:09 |
change the blend mode to Overlay, and
fill it with its neutral color, 50% gray.
| | 01:14 |
Click OK. Again, no effect because
we haven't done anything to this layer.
| | 01:18 |
It's just 50% gray and Overlay ignores that.
| | 01:21 |
There is actually a filter that will
help us create a vignette in very quick
| | 01:25 |
easy step, it's under the Filter menu,
Distort > Lens Correction. And you may
| | 01:30 |
have never thought to use it for
this purpose, but right there in Lens
| | 01:34 |
Correction is a Vignette slider, and
you can use it to darken an image or
| | 01:39 |
lighten an image. And you can see the preview
over here of what's happening in the corners.
| | 01:44 |
The Grid may be distracting in this
image so I'm going to turn off the Grid.
| | 01:46 |
So I'm going to put the darken all
the way over to the left. You can also
| | 01:50 |
change the mid points if you want to
bring the darkening in more to the center
| | 01:55 |
of the image, you could do that, if
you want to spread it out a little bit,
| | 01:58 |
just Tab the absolute corners darken,
you can do that as well. I just want to
| | 02:01 |
bring it in just a little bit like that.
| | 02:03 |
And go ahead and click OK, and now you
see the vignette, the thumbnail has been
| | 02:08 |
updated with that Lens Distortion filter,
and I can see before and after,
| | 02:12 |
so I get that nice darkening in the corners.
| | 02:14 |
Now if I decide that I want to add to
this, I want there to be darkening on the
| | 02:18 |
edges as well, then I can just continue
to paint with black on this layer. I'm
| | 02:22 |
going to get my Brush tool, B for brush,
I have got a nice big soft brush here.
| | 02:26 |
I'm going to start with pretty low
Opacity, maybe 30%, looks good. Press or
| | 02:30 |
type 3 on your keyboard if you don't
already have that and I'm just going to
| | 02:33 |
put the center of my brush here right in the
upper left hand corner of the document window.
| | 02:37 |
I am going to click-and-drag across in
one stroke there. I'll do the same thing
| | 02:42 |
for this edge, start in the corner,
drag down, again to the bottom, center the
| | 02:47 |
brush on the edge and drag across. And
then once more on the left edge there
| | 02:52 |
and you can see I have added the
darkening around the outside edge there. I'll
| | 02:55 |
do fit to window, Command+0, Ctrl+0,
maybe go down one, Command+Minus or
| | 03:01 |
Ctrl+Minus, and now I can
see my before and after.
| | 03:04 |
So very flexible technique for creating
a custom vignette, it's just an Overlay
| | 03:09 |
layer filled with 50% gray, or on the
Lens Distortion filter, or just paint
| | 03:13 |
manually with black or white if you
want to go the opposite direction, just
| | 03:17 |
lower or increase your Opacity by
typing a number when you have your Brush tool
| | 03:20 |
selected. It's a very, very fun
technique to add a little bit of focus and
| | 03:25 |
direction for your viewer, where
you want them to look at in an image.
| | 03:30 |
| | Collapse this transcript |
| High-Pass sharpening with Overlay| 00:00 |
All right. This is one of my favorite
techniques of all time in Photoshop and it's
| | 00:04 |
the HighPass sharpening technique.
If you are like me, a designer, you are visual,
| | 00:08 |
and you want to so something as
quickly as possible in Photoshop.
| | 00:13 |
Yes, there are many different ways to
sharpen an image inside of Photoshop.
| | 00:16 |
You know there is the Sharpen Filters, there
is lame, lamer, lamest and then probably one of
| | 00:22 |
the two that you have been taught
to use or have been told to use.
| | 00:24 |
The problem I have with these filters
is that you kind of have to understand
| | 00:29 |
the relationship between all these
sliders, right. There is Amount, there is
| | 00:32 |
Radius, there is Threshold. They are
related. When you change the Radius that
| | 00:35 |
changes the impact of the Amount and
Threshold, and whatnot. Some of you may have
| | 00:39 |
actually learned what these
relationships are and mastered them.
| | 00:41 |
Perhaps you watched very long title just on
sharpening in the Online Training Library.
| | 00:47 |
I'm looking for a quick technique though.
One that involves only one slider, right.
| | 00:51 |
I don't want to have to sit there and memorize
a bunch of stuff, so let's begin this technique.
| | 00:55 |
We are going to go ahead and duplicate
our original layer, Command+J, Ctrl+J,
| | 00:59 |
and we'll go ahead and call this High
Pass. It gives you a clue where we are
| | 01:03 |
going with this. If you are a designer,
you'll probably have at one point spent
| | 01:07 |
all day in Photoshop touching every
single filter, just to see what it would do,
| | 01:10 |
and eight hours later you get to
the bottom of the filter list.
| | 01:14 |
There's an Other menu
and you got to High Pass.
| | 01:18 |
You went "great, it made my image gray,"
you hit Cancel, and you never came back.
| | 01:23 |
Well, it turns out that the High Pass
filter is one of the greatest filters
| | 01:27 |
inside Photoshop, because it's an edge
detection filter. If you recall,
| | 01:31 |
when you sharpen an image, what are you
doing? You are increasing the contrast of
| | 01:35 |
edge pixels. An edge is a light
pixel next to a dark pixel.
| | 01:38 |
So when you sharpen, the dark pixel
gets darker, the light pixel gets lighter.
| | 01:42 |
Sharpening just increases the contrast
of those light and dark pixels. We want
| | 01:47 |
this to be ultimately flexible, we
want to be able to undo or change our mind
| | 01:50 |
after the fact. So we are going to
convert this High Pass layer into a Smart Object.
| | 01:55 |
I'm going to right-click on that,
Ctrl-click, say Convert to Smart Object.
| | 01:58 |
And this gives us the ability
to apply a filter non-destructively to
| | 02:03 |
this layer. So we'll go to the Filter
menu. Again we'll come down to Other >
| | 02:07 |
High Pass and don't be alarmed.
Yes, it's making your image gray,
| | 02:10 |
but let's talk about that for a second.
Anything that's not an edge becomes 50% gray.
| | 02:16 |
Anything that is an edge gets darker
on the dark half and lighter on light half.
| | 02:21 |
So it's basically doing an edge
enhancement. It's an edge detection filter.
| | 02:25 |
Generally your Radius is going to be
somewhere between two and three, sometimes
| | 02:29 |
you will go higher and sometimes you
will go lower, depending on the detail in
| | 02:32 |
your image and the resolution of the
image. I generally start with 2.5
| | 02:35 |
for just about every image, right
in the middle between two and three.
| | 02:38 |
I am going to go ahead and click OK. Hmmm.
If only I could make all that gray stuff go away.
| | 02:43 |
Well what blend mode ignores gray?
Well, that would be Overlay or any of
| | 02:49 |
the contrast blend modes. But here is
the thing. If I go to the Blend Mode list,
| | 02:54 |
this is going to be changing
the blend mode of the actual layer.
| | 02:58 |
I am going to take this opportunity to
tell you that if you have a smart filter
| | 03:02 |
applied to a layer like we have done
here, and as a reminder we got there by
| | 03:04 |
converting this layer to a Smart Object,
the filter itself has it's own blend
| | 03:10 |
mode options. There is this little
slider to the right of High Pass here in the
| | 03:14 |
Layers panel now and if I double-click
on that slider, it reopens the Blending
| | 03:18 |
Options for that filter.
| | 03:21 |
And you can see I have the same
Blend Mode list. Now I'm going to choose Overlay.
| | 03:24 |
And voila! Look at that. All the
gray pixels go away. I click OK.
| | 03:30 |
Here is before, here is after, and you
can see that High Pass sharpening effect
| | 03:37 |
applied to a duplicate layer, set to
Overlay, is a really quick easy way to do
| | 03:43 |
sharpening. If I double-click on the
word High Pass that reopens the filter.
| | 03:48 |
It remembers the last setting.
Right now it's 2.5 and now I have
| | 03:51 |
the ability to adjust this on the fly.
| | 03:53 |
I can increase it to 4.3 let's say. I
can take it down. So you have the ability
| | 03:58 |
to fine-tune the level of sharpening.
If you thought 2.5 was too strong,
| | 04:02 |
we can take it down to 1.8 let's say.
And there is before and there is after.
| | 04:07 |
We click OK and you have got a
very flexible and fun way to do image
| | 04:11 |
sharpening without having even to
memorize a bunch of sliders and rules.
| | 04:16 |
| | Collapse this transcript |
| Smoothing skin with High-Pass sharpening and Overlay| 00:00 | So normally I teach the High Pass
filter as a sharpening technique. You can use
| | 00:06 | it to sharpen an image. But there is
actually a kind of a neat twist to it.
| | 00:09 | You can actually use it to smooth out skin
as well. Now this is kind of an extreme
| | 00:14 | a portrait here where it's really harsh
light, direct sunlight, afternoon sun,
| | 00:18 | so it's hitting every pore
in line in the face there.
| | 00:21 | So it's really harsh shadows there.
So what we are going to try to do is
| | 00:24 | deemphasize that area of the image
here and put the focus back on the eyes.
| | 00:30 | Whereas if I were to sharpen the image,
I'm actually going to make the pore
| | 00:33 | issue worse, right, because a pore is
nothing more than a dark pixel next to a
| | 00:38 | light pixel in Photoshop's idea.
| | 00:41 | So let's go ahead and our High Pass
sharpening technique, but in reverse.
| | 00:46 | So to begin, we are going to go ahead and
duplicate this layer, Command+J, Ctrl+J,
| | 00:50 | we'll go to Filter > Other > High
Pass and again we are going to choose
| | 00:54 | somewhere between 2 and 3. I'll just go
with 2 for now. We'll go ahead and click OK.
| | 00:58 | As a reminder everything that's not an
edge becomes gray; everything that is an
| | 01:02 | edge gets darker on one half and
lighter on the other. Go ahead and click OK.
| | 01:07 | So you are increasing the contrast of
those edge pixels. I'm going to go ahead
| | 01:11 | and change the blend mode to Overlay
and all those gray pixels go away. So here
| | 01:16 | is before and there is after and you
can see that, yes, her eyes look sharper,
| | 01:20 | but so does everything else in the image.
| | 01:21 | So what I'm going to do is invert
this layer. I'm going to do Command+I or
| | 01:26 | Ctrl+I and you will see by running
the High Pass on a duplicate layer and
| | 01:32 | setting it to Overlay when you invert
it, you actually get the opposite.
| | 01:36 | You get a softening effect as opposed to
a sharpening effect. That's pretty cool.
| | 01:41 | So I've totally deemphasized or
brought down the harshness of these pores.
| | 01:45 | Now of course we want to bring back
the sharpness of the eyes, so we want to
| | 01:48 | add a layer mask to this layer. I'm
going to go ahead and name this layer
| | 01:51 | smooth or Smoother, and we'll add a
layer mask here. I'm going to click the
| | 01:57 | Layer Mask button to create a layer
mask on the Smooth layer. I'll go ahead and
| | 02:01 | type B for the Brush tool and I want to
paint with black where I don't want the
| | 02:05 | smoothing to occur, I paint with black
on layer mask that's the active thing in
| | 02:09 | the Layers panel here.
| | 02:10 | So if I press B like I have and X for
exchange, so that black is my foreground
| | 02:14 | color and I'm going to paint with 50%,
just type 5 for 50%. I want going to
| | 02:19 | bring back the sharpness of the
eyes by painting that in gradually and
| | 02:24 | including the eyelashes a little bit,
because we don't want that detail to get
| | 02:28 | smoothed out. We want that to be the
sharpest part of the image. So I'm just
| | 02:32 | going to paint in over that area there.
| | 02:34 | If I want to bring back some other
details, like maybe the edge of the nose,
| | 02:37 | just paint over that little bit and
the lips, a nice lot of detail there, so
| | 02:42 | I'll bring some of that back and if I
want to bring some of the crispness of
| | 02:44 | the hair back, I can bring that back
too just by painting throughout the
| | 02:48 | highlights of the hair. Hold down
Spacebar to drag that over and go ahead and
| | 02:53 | drag through the hair a little bit.
Again, with a nice soft brush, 50%.
| | 02:57 | So here is before and there is after
and what you are doing is your eyes are
| | 03:02 | going to her eyes and that's what
you're focusing on. If you Shift-click on the
| | 03:06 | mask, you can see I can turn the mask
off and I can see the eyes getting soft
| | 03:10 | again. So I'll Shift-click to bring that back.
| | 03:12 | Now you can double this up, if you
actually want to increase the sharpness of
| | 03:17 | the eyes to make the contrast between
the smooth skin and the sharp eyes even
| | 03:21 | greater. We'll just go back to the
original background layer, Command+J again,
| | 03:25 | Ctrl+J. This time I'm going to call
this the Sharpen layer by double-clicking
| | 03:30 | on the name. And again we'll go to
Filter > High Pass, it's the last filter we ran.
| | 03:34 | We are just going to use the
same setting. So I'll just hit it again.
| | 03:37 | Change blend mode to Overlay
again to make the gray stuff go away.
| | 03:42 | Now I'm making the problem the same
as it was when we first started, so
| | 03:47 | obviously we want to add a layer mask
to this layer. By default the layer mask
| | 03:51 | is filled with white, when you click
the Layer Mask button. I want to undo that.
| | 03:54 | I want the opposite; I want a
layer mask filled with black which means
| | 03:58 | hide all the sharpening, because I want
to just paint in the sharpening where
| | 04:00 | I want it specifically. So I'm going to
hold down the Option key or Alt on the
| | 04:04 | Windows to add a layer mask filled with black
that hides all of this sharpening of that layer.
| | 04:08 | So I go back to my Brush tool, maybe
start with 50% Opacity brush, just press
| | 04:13 | 5, if you don't have that already and
now I'm going to paint with white, X for
| | 04:17 | exchange. I want to paint with white
over her eyes to bring back the increased
| | 04:22 | sharpness, and I might hit that up
twice right in the center of the eye just by
| | 04:26 | clicking a couple of times. Coming
over the eyebrows a little bit and maybe
| | 04:30 | I want to bring the eyebrow over here a
little bit sharper, and maybe once across
| | 04:35 | the lips and then again you can
selectively paint in the sharpen where you want
| | 04:39 | it in the hair. And I'm just leaving in
the skin alone so I don't accidentally
| | 04:43 | dramatically increase the
sharpness of those pores.
| | 04:46 | So here is without the sharpening of
the eyes, turn the layer back on, you can
| | 04:52 | see it's getting a nice little bump
there and just making the eyes pop a little
| | 04:55 | bit more. I'll drag my mouse through
the two eyes in the Layers panel of these
| | 05:00 | two new layers. So here is before
where we started and here is after.
| | 05:04 | So I was successfully able to draw
more attention to the area that I want the
| | 05:09 | viewer to look at the most and just
deemphasize some of the harsher light or
| | 05:14 | the harsher contrast in
the image in the face there.
| | 05:17 | So that's just using the High Pass on a
duplicate layer set to Overlay, but if
| | 05:22 | you invert the High Pass layer, you
actually get a smoothing effect instead of
| | 05:26 | sharpening effect. Pretty cool!
| | Collapse this transcript |
| Textured patterns with Overlay| 00:00 |
One of the fun things you can do to
an image to kind of make it visually
| | 00:03 |
interesting is do a textured overlay.
So this video is going to walk you
| | 00:07 |
through a couple of different
techniques to do that. The cool thing is that you
| | 00:10 |
can pretty much use anything as a
texture. It can be another image. It can be a
| | 00:14 |
pattern. You can go take snapshots
of other things that you can use as
| | 00:18 |
patterns. You can take a picture of a
tiled floor. You can take a picture of
| | 00:21 |
concrete, or in this example, take a
picture big rusted out metal tin can or
| | 00:28 |
something. Anything can be used as a texture.
| | 00:29 |
So we are going to start by using this
texture in this Rust Texture folder here
| | 00:34 |
that I've got already in this image,
and we want to be able to see this texture
| | 00:38 |
overlaid through and see
the image underneath it.
| | 00:41 |
So to begin, the best use of a
texture is to have a desaturated, just a
| | 00:47 |
grayscale image, you can still do it
with colors, but you are going to get a
| | 00:49 |
lot of color shifting if you leave it
as a color image. So I'm not sure that
| | 00:53 |
I want to actually just get rid of all
the colors, so let's use an adjustment
| | 00:56 |
layer to do that. I'm going to go to
the Adjustment panel, and I'm just going
| | 00:59 |
to go ahead and float the Adjustment
panel out temporarily, so we can still see
| | 01:04 |
our Layer panel here side by side.
| | 01:07 |
So let's desaturate this Textured
layer by using a Hue/Saturation adjustment
| | 01:11 |
layer, and just taking the Saturation
slider all the way to the left, you can
| | 01:15 |
see which has sucked all the color out,
nondestructive though. The layer just
| | 01:19 |
can be turned no and off, and then we
want to introduce some contrast, right.
| | 01:22 |
We want some bright spots and some
dark spots and some even gray. This image
| | 01:26 |
here turns to be all kind
of in the middle gray area.
| | 01:29 |
So we'll go click the Back button on
the Adjustments panel, and we'll add a
| | 01:33 |
Levels adjustment layer, and we'll
just increase the contrast of this image
| | 01:38 |
that we are going to use as our
texture. And since these are all adjustment
| | 01:41 |
layers, we can go back and fine tune
this at any point, if when we blend this
| | 01:45 |
back down to our document or image
layer, the contrast isn't quite right.
| | 01:49 |
Okay, I'm just going to collapse the
Adjustment panel down, move it out of the way. way.
| | 01:52 |
Just click on this light gray
area here next to be tab, and we can just
| | 01:55 |
move this up. So it isn't
covering part of our image for now.
| | 01:59 |
Great, so now we would need to make
this grayscale image kind of blend back
| | 02:03 |
into the background image, this image
layer. So to do that I'm going to click
| | 02:07 |
on the group. This group is a folder
of layers inside it, and you will see by
| | 02:13 |
default the group has a blend mode as
well. It has a blend mode called Pass
| | 02:18 |
Through, which means allow whatever
blending is going on in these layers to
| | 02:22 |
pass through outside the group, and
blend down through the composite stack.
| | 02:27 |
Now since, none of these layers have
any blend modes applied to them, you are
| | 02:31 |
not seeing any change. I'm going to go
ahead and click on the group here and
| | 02:33 |
select it, and make sure that the
blend mode for the group is set to Overlay,
| | 02:38 |
right. Overlay ignores the 50% gray,
makes light stuff lighter, dark stuff
| | 02:41 |
darker. In this case, it's using the
texture as its blend between the image and
| | 02:48 |
this Texture pattern here. So you
kind of get this cool overlaid effect.
| | 02:52 |
Now this is too much of the original
detail here. You can try a different blend mode.
| | 02:58 |
Remember in the Contrast group
there is quite a few different options here.
| | 03:02 |
Soft Light is just a lower contrast
version of Overlay. So if I choose
| | 03:06 |
Soft Light, I get a slightly better effect,
because it's not so harsh. So kind of cool.
| | 03:11 |
Let's repeat this with the Sludge
Texture, so I'm just going to turn off the
| | 03:15 |
Rust Texture group by turning off its
eye. We are back to where we started.
| | 03:19 |
Let's select the Texture layer here and
turn it on so you can see it, and this
| | 03:23 |
is just a picture of some sludge, some icky
goo, but it's going to make for a nice texture.
| | 03:29 |
So we'll click on the Texture layer
here in the Sludge Texture group or folder.
| | 03:34 |
Again, let's go back to our Adjustments
panel and first desaturate this Texture
| | 03:37 |
layer by using a Hue/Saturation
adjustment layer, and taking the Saturation
| | 03:42 |
slider all the way down to the left.
We'll click the Back button, and choose
| | 03:47 |
the Levels adjustment layer again, to
again shift the contrast, make things a
| | 03:51 |
little bit darker, a little bit lighter.
Change the mid tone a little bit, it's
| | 03:54 |
up to you, and then we'll collapse the
Adjustment panel back down by clicking the gray area.
| | 03:58 |
And again, we'll click on the Sludge
Texture group, the folder here and change
| | 04:03 |
the blend mode from Pass Through to
Soft Light. You can see just a different
| | 04:07 |
effect using same technique, but just a
different image. So there is before and
| | 04:12 |
there is after. If you want to compare
the Sludge with the Rust, we can turn
| | 04:16 |
off the Sludge, turn on the Rust.
| | 04:19 |
Now if you find a pattern that you
might want to use over and over and over
| | 04:23 |
again, you don't have to depend on
having this image laying around anymore.
| | 04:26 |
You can actually define a custom pattern
in Photoshop, and then use something
| | 04:31 |
called a Pattern adjustment layer.
| | 04:34 |
So what we are going to do is we are
going to turn off the effect here. We are
| | 04:37 |
going to change the Background layer to
hide it. I'm going to just turn off its
| | 04:41 |
layer visibility. We'll select this
Rust Texture layer, and do a select all,
| | 04:46 |
Command+A or Ctrl+A, and under the Edit
menu you have a Define Pattern command.
| | 04:52 |
Now what this is going to do is
permanently save this in your Presets folder as
| | 04:57 |
a custom pattern, which you will then
be able to use in any other image if you
| | 05:01 |
want to use this pattern as an overlay.
So I'll go ahead and choose Define
| | 05:04 |
Pattern. It will ask us to name it. I'm
going to call it Rust and we are going
| | 05:08 |
to go and click OK.
| | 05:10 |
I will deselect, Command+D, Ctrl+D.
We'll turn off the Rust Texture group. Turn
| | 05:15 |
on the Background again, and I'm
going to go ahead and collapse these down.
| | 05:18 |
Those were just for demo purposes.
Let's go back down to the bottom of the
| | 05:22 |
Layers panel, and from the
Adjustment Layer menu, we'll choose Patterns.
| | 05:27 |
Towards the top, there is Solid Color
Gradient and pattern, and from pattern it
| | 05:31 |
remembers the last pattern you have
used, in this case it's that Texture
| | 05:34 |
pattern that we have saved, right,
there is the custom one that we saved. And
| | 05:37 |
let's go ahead and click OK. Now it's
just a simple one layer adjustment layer
| | 05:43 |
here that we just need to change its
blend mode to Soft Light or Overlay. I'll
| | 05:46 |
go with Soft Light again, and I get the
same effect. So that's something I can
| | 05:50 |
now reuse in other documents.
| | 05:53 |
So there you have it some easy ways to
create some nice texture overlays, use
| | 05:57 |
anything, use an image, use a photograph,
just use your iPhone, take a picture
| | 06:00 |
of anything, a lot of contrast helps, a
lot of texture, you know, like concrete
| | 06:06 |
or pavement or wood, wood pattern style
floors, anything that gives you a nice
| | 06:12 |
even keel texture that you can apply to
your images. Typically you use this as
| | 06:15 |
a background, but you might want to use
this for special effects and what not.
| | 06:21 |
| | Collapse this transcript |
| Textured type with Overlay| 00:00 | In this example, we want to have some
texture types. So we want this image to
| | 00:05 | only appear where the letter forms are
in the Type layer and we don't just want
| | 00:09 | this straight image of the horizon with
the sky and water. We want this watered
| | 00:13 | and blue sky image to have a texture to it.
| | 00:16 | So let's start by clicking on the Image
layer and just see that there is really
| | 00:19 | nothing going on here. It's just a
straight image layer. We are going to turn
| | 00:22 | on a layer that we want to use as the
texture. We'll turn the eye on for the
| | 00:25 | Texture layer. This is just a
grayscale image. I can use anything really,
| | 00:30 | anything that has a nice pattern to
it. Take a picture of a wall, take a
| | 00:34 | picture of a tiled floor, a piece of
wood, whatever, whatever you want to use
| | 00:38 | to introduce just some random
textured pattern to an image.
| | 00:42 | Get into Photoshop, here it is a
separate layer and you can just desaturate it.
| | 00:46 | If you have not already gotten a
grayscale image here, the keyboard shortcut to
| | 00:50 | desaturate something is Command+Shift+
U or Ctrl+Shift+U on Windows. We are
| | 00:54 | going to change the blend mode of this
textured layer so that it blends into
| | 01:00 | the Image layer below.
| | 01:01 | We are going to use one of our
Contrast blend modes for that. Overlay, Soft
| | 01:05 | Light or Hard Light are your most
likely candidates. We'll start with Overlay.
| | 01:08 | Let's see if we like that look.
That's a little bit harsh. So I'm going to
| | 01:12 | choose Soft Light instead and it just
takes it down a notch and it introduces a
| | 01:15 | nice random textured pattern that gives us this
nice feel for the blue sky and the water there.
| | 01:22 | So now we only want this image and
the texture to show up where the text
| | 01:27 | characters are. So to do that, we
are going to select these two layers
| | 01:30 | together, just holding down the Shift
key and then selecting both and then we
| | 01:33 | are going to drag them above the Type
layer in the Layers panel here and at
| | 01:37 | first that's going to cover up the
text. That's okay. We want to clip these
| | 01:41 | images into the Type layer. That's
something called a clipping mask in Photoshop.
| | 01:45 | I am going to hold down the Option key
or the Alt key on Windows and if you see
| | 01:50 | my mouse, when I put it in between the
Image layer and the Text layer I get a
| | 01:54 | special cursor, it changes from the
hand to this special Clip Mask icon. So I'm
| | 01:59 | going to Option-click or Alt-click
between those two layers and I want the
| | 02:01 | texture to be clipped with the image,
so I'm going to Option-click there as
| | 02:05 | well, in between those two layers.
| | 02:07 | And now I have got these two images
only appearing where the letters are, where
| | 02:11 | the Type layer is. Now I have
independent control, if I want to reposition my
| | 02:15 | Type, I can select the Type layer and
get my Move tool. V for the Move tool and
| | 02:20 | I can reposition that Type around
and see the image has changed there.
| | 02:25 | If I want to move the images inside
the Type layer, well then I just select
| | 02:28 | these two layers, holding down the
Shift key to select both of them and now
| | 02:31 | I can move the image around inside the text,
if I want a different placement there.
| | 02:35 | So there you have it, pretty easy to
apply your textured overlay trick within
| | 02:41 | text characters as well. Just apply
your texture to your image, move them above
| | 02:45 | your Type layer and then you use the
Clipping Mask feature. Option-click
| | 02:48 | between the Image layer and the Type layer
to get them to clip inside the text characters.
| | Collapse this transcript |
| Creating a dramatic diffused glow with Overlay| 00:00 | I really love the lighting on this image.
It's just a beautiful shot and nice
| | 00:04 | warm tones, the sun coming through the
hat, but I want to emphasize it a little
| | 00:08 | bit more and make it a little bit
more dramatic. This is one of those
| | 00:11 | techniques where you do a self blend,
again. What I mean is you duplicate the layer
| | 00:14 | and you apply a blend mode to it,
and maybe even do a blur.
| | 00:18 | So let's begin. Let's do a Command+J or
Ctrl+J to duplicate this layer. Go and
| | 00:23 | rename this Dramatic Glow. We can go
ahead and do a blur. Filter > Blur >
| | 00:30 | Gaussian Blur, and yeah, 20 pixels, 10
pixels, somewhere in there. You're just
| | 00:35 | trying to get a nice overall averaging of the
pixels there. You're going to blend back down.
| | 00:40 | Let's just go for the middle, and go
for 15, and let's change our blend mode to
| | 00:44 | Overlay. That will give us really
contrast-y dramatic glow here. You're seeing
| | 00:49 | just a softening of the tones, and
because of the contrast blend mode you get
| | 00:54 | increased contrast, but you
also get increased saturation.
| | 00:57 | So if you like the overall look, but
you want to fine tune a little bit, you
| | 01:00 | can of course lower the opacity. If I
have my Move tool selected, V if you
| | 01:05 | don't, just type a number on the
keyword to change the overall blend between
| | 01:09 | the Dramatic Glow layer and the
Background layer. So if I press 5, I get 50% of
| | 01:13 | the effect. If I go back to 0, that's 100%.
So you have a lot of variation there available.
| | 01:19 | Then if you don't like how much the
saturation has increased, you can add an
| | 01:23 | adjustment layer to compensate for that
as well. So we'll go to our Adjustments
| | 01:26 | panel, and we'll choose the Hue and
Saturation adjustment layer, and if you
| | 01:31 | want to take it all the way down, you
can just drag the saturation slider all
| | 01:35 | the way down, which you'll notice
that that makes the whole image black and
| | 01:38 | white. That's not what we want. We
just want it to affect the Dramatic Glow
| | 01:42 | layer. So we want to clip this to
the Dramatic Glow layer by itself.
| | 01:46 | By default an adjustment layer affects
every layer underneath it. We're going
| | 01:50 | to hold down the Option key or the Alt
key on Windows, and click in between the
| | 01:55 | two layers. You'll see the cursor
change when you bring your cursor right in
| | 01:57 | between the two layers. Option-click to
clip the Hue and Saturation adjustment
| | 02:03 | layer, just to affect the Dramatic Glow
layer. Here's before, here's after.
| | 02:08 | You can see I still will get that nice soft
dramatic glow increasing the contrast,
| | 02:13 | but not blowing out the color so much.
If you want to bring some of the color
| | 02:17 | back, then you can select the
adjustment layer, again, with the Move tool
| | 02:20 | selected. V if you don't have it.
| | 02:22 | You can start playing with the opacity
by typing numbers here as well. So if I type 5,
| | 02:26 | I get 50%, and I bring some
of that saturation back, but not full
| | 02:30 | strength, as if it was all the way down
to say 10%. You can see the difference
| | 02:33 | there. So I'm going to take it back
down to maybe 70%. I want some of that
| | 02:37 | saturation there, but not all of it.
Now I've got a really nice, dramatic glow.
| | 02:42 | I warmed up the colors, and just made the image
pop a little bit more on a nice atmospheric way.
| | Collapse this transcript |
| Creating a subtle glow with Soft Light| 00:00 | In this video we're going to do a
slight variation of a typical Dramatic Glow effect.
| | 00:04 | Dramatic Glow is when you
duplicate the layer and you blur it
| | 00:07 | by using Gaussian Blur and then you change
the blend mode to say Overlay to get a nice
| | 00:11 | high contrast blend of the
blurry version back to the original.
| | 00:15 | This is kind of the same recipe, but
we'll just do slight variations. So we're
| | 00:19 | going to go ahead and duplicate layer
again. Command+J, and by the way if you
| | 00:22 | want to name your duplicate as you
create the new layer, Command+Option+J or
| | 00:26 | Ctrl+Alt+J on Windows lets you name it,
and I'm going to call this Surface Blur
| | 00:32 | as apposed to Gaussian Blur.
I'm going to go ahead and click OK.
| | 00:36 | Under the Filter menu you go to Blur.
And this time instead of Gaussian Blur,
| | 00:38 | we'll choose Surface Blur. Now what
Surface Blur does, it's just not as big of
| | 00:43 | a hammer if you will. It attempts to
blur non-detail areas. So you get to
| | 00:48 | control what portions of the
reason what edges get maintained.
| | 00:53 | So instead of just doing an overall
blur across the whole image, Surface Blur
| | 00:58 | can actually limit itself based on the
sliders that you use a radius, or
| | 01:03 | if I take the radius down away, you can see
it preserves a lot of detail. I'm going
| | 01:07 | to increase that to say 5, and then
the threshold also can change, how much
| | 01:12 | blurring gets affected. If I take
that up quite a bit, then more original
| | 01:17 | details get blurred. So I'm going to
take this down to about 15. So 5 and 15,
| | 01:21 | good values to start up with, you'll
play with this on your own preview images
| | 01:24 | as well. Go ahead and click OK, and you
see it's quite a big difference than a
| | 01:27 | regular Gaussian Blur.
| | 01:29 | Now instead of doing Overlay, which
will be the highest contrast blend on the
| | 01:33 | Contrast group here, let's do soft
light instead. Now I get a very subtle blur
| | 01:40 | effect between before and after. So
just drain off that top layer. There's
| | 01:44 | after, there's before. Again, if I want
to limit the saturation impact, because
| | 01:50 | the contrast blend modes not only
impact the contrast of the tones, they also
| | 01:55 | over-saturate the colors at times.
| | 01:58 | So let's create a Hue/Saturation
adjustment layer. By default an adjustment
| | 02:02 | layer affects every layer in the stack
that comes underneath it. If you hold
| | 02:06 | down the Option key or the Alt key as
you click on an adjustment layer in the
| | 02:10 | Adjustments panel, you can actually
bring up this dialog box. We can give it a
| | 02:14 | name, if you so want to name it. In
addition to that you can also turn on the
| | 02:18 | check box that says Use Previous Layer
to Create Clipping Mask. Click OK, and
| | 02:23 | that makes sure that the adjustment
that you create is clipped to the immediate
| | 02:27 | layer underneath, instead of
affecting all the layers on the stack.
| | 02:31 | So I can bring all the saturation down
so that I don't get the over-reddening.
| | 02:34 | That's the word of the image here.
Then I can lower the opacity of that
| | 02:40 | adjustment layer if I wish. If I want
to make it like 70%, bring some of that
| | 02:43 | back. So we here we have a more
subtle glow effect by using Surface Blur
| | 02:48 | instead of Gaussian Blur, and of course,
using a Soft Light blend mode instead
| | 02:53 | of Overlay for a more subtle effect.
| | Collapse this transcript |
| Creating a medium glow with Soft Light| 00:00 | All right in this video we're going to
combine all three kinds of blending in
| | 00:03 | Photoshop to do a composite result here.
We want to do a nice Glow effect here.
| | 00:09 | We are going to go ahead and duplicate
the layer, Command+J, Ctrl+J, and
| | 00:13 | we're going to go ahead and go to Filter >
Blur > Gaussian Blur. We're going to go
| | 00:16 | for the dramatic high contrast glow
effect. So I'll use the Radius of 10.
| | 00:21 | Click OK and we're going to change the
blend mode to Overlay. Okay it looks great.
| | 00:26 | We get a nice glow on the highlights.
The colors are popping. They're saturated
| | 00:30 | and really vibrant now.
| | 00:32 | But I have a problem. I take a look at
the inside of that flower. Let's go turn
| | 00:37 | off the top layer and there's before and
there's the after. What are you noticing?
| | 00:42 | There's a lot of detail that
I've lost in the shadow areas. So I can
| | 00:46 | try to play with the Opacity. I'll get
my Move tool and type in number for the
| | 00:49 | layer opacity. Maybe I'll try 80%. 50%.
| | 00:53 | Now while lowering the layer opacity
it does bring some of that detail in the shadows,
| | 00:57 | I'm losing the strength of
the highlight glow. So I really want to
| | 01:01 | maintain both. I want the shadow detail
to stay but I want the full strength of
| | 01:05 | the highlight glow. So I'm going to
take that back to say 90%. And I might
| | 01:09 | even want 95%. I'll type 95 very quickly on
the keyboard and that changes that to 95%.
| | 01:14 | So I guess I could get a layer mask on
this layer and start painting with my
| | 01:20 | Brush tool with black around those areas,
but that's just too much manual labor.
| | 01:25 | I'm going to undo that. Command+Z,
Ctrl+Z. It turns out that every
| | 01:29 | single layer inside Photoshop has a
build-in layer mask waiting for you to tap into.
| | 01:33 | It's a layer mask
based on its tonal values.
| | 01:36 | The way you get there is the advanced
blending options. You double click on the
| | 01:42 | image thumbnail and that brings up the
Layer Style dialog box and it's set to
| | 01:47 | the Blending Options, specifically the
Advanced Blending and Blend if sliders.
| | 01:51 | That's what we're looking for here.
This is a feature that's been here since
| | 01:54 | Photoshop 3. It's just buried. A lot
of people don't realize it's there.
| | 01:59 | Double click on the thumbnail and now
you have two sets of sliders. One for
| | 02:03 | this layer, meaning the active layer,
and the layer underneath it. We want to
| | 02:08 | affect the current layer so we're
going to use the This Layer slider and
| | 02:11 | this basically says hey, between 0 and 255
or black and white, you have the ability
| | 02:18 | to hide the pixels based on their tonal
value. So I'm going to bring that black
| | 02:22 | slider over to the right. Pretty
soon you'll see the amoebas coming.
| | 02:26 | They're eating away the image,
punching a hole through those images.
| | 02:28 | I'm going to go ahead and click OK.
| | 02:30 | I'm going to turn off the Background
layer. So you can get a better idea
| | 02:34 | visually what's going on here. You
can actually see that we are literally
| | 02:38 | punching a hole in this top layer
wherever there are dark pixels. So we'll
| | 02:42 | double click on this thumbnail again to
reopen the Layer Style dialog box.
| | 02:46 | But here's the problem. I have got a very,
very sharp edge here and a hard transition.
| | 02:50 | That's either opaque or transparent.
I don't really have any blend in between.
| | 02:55 | We want to create a transition zone.
So I'm going to hold down the Option key
| | 02:59 | on the Mac or the Alt key on a Windows
and we can split the slider if we Option
| | 03:04 | drag or Alt drag. You see what it's
doing. It's creating a gradient or a blend
| | 03:09 | between opaque and transparency. So I'm
going to take this to say 70, this left slider
| | 03:15 | and we'll take the right slider
over to 120, let's say, and I'm just
| | 03:19 | making these numbers up as I go.
| | 03:21 | This is now saying, hey Photoshop
any pixel on this layer that has a tonal
| | 03:24 | value of 0-70 and I want you to just to
go away, pretend you don't even exist,
| | 03:29 | you're transparent. Everything that's
121 and higher, I want it to be 100% opaque
| | 03:34 | and then everything in between I want
you to do a blend from transparent
| | 03:38 | to opaque. So I get nice soft transition
zone. I'm going to go ahead and click OK.
| | 03:43 | We'll turn that bottom layer back on
and that will turn the top layer off.
| | 03:47 | There is before, there is after and
I've achieved my goal. I want highlight
| | 03:52 | glow here. Nice beautiful detail there
and nice glow in the highlights to get
| | 03:56 | the nice saturated color and the reds
there. But I've preserved my detail in
| | 04:01 | the shadows and that's all thanks
to the advanced blending sliders.
| | 04:05 | One last note about the advanced
blending sliders. They're non-destructive.
| | 04:09 | They're virtual. If I save this layered
Photoshop document and open it next week,
| | 04:12 | if I double click on the thumbnail
of that layer, you'll see those
| | 04:16 | sliders are remembered. So you can
always go back and further tweak it to
| | 04:20 | your heart's content. What a great
feature. It's just a little buried.
| | Collapse this transcript |
| Simulating film grain with Add Noise and Soft Light| 00:00 |
In the old days, say 10 years ago, when
you shot film, the film had a signature
| | 00:05 |
grain pattern and there are always
different brands of film and they each kind
| | 00:08 |
of have their own signature and you
would notice the film grain quite a bit
| | 00:11 |
when you shot with high ISO or high film speed.
| | 00:15 |
Well you can simulate the old look of
film grain very easily in Photoshop.
| | 00:19 |
That's what we're going to do
right now. We're going to add a little
| | 00:21 |
grittiness, a little noise to this image.
Of course we don't want to do it on
| | 00:25 |
the original Background layer because
we want to have some flexibility so
| | 00:28 |
we can simulate different types of grain,
different sizes, different hardness or
| | 00:33 |
softness and so forth.
| | 00:35 |
So to begin we're going to create
an Overlay layer filled with gray.
| | 00:39 |
If you remember we hold down the Option key
or the Alt key to do that on the New Layer icon
| | 00:44 |
and we'll go ahead and do that.
We're going to call this Add Noise and
| | 00:50 |
we'll change the blend mode to Overlay.
While we're at it, we'll fill this
| | 00:55 |
Add Noise layer with its
Overlay neutral color 50% gray.
| | 00:59 |
It's important we do this because if we
have a new blank layer and we try to go
| | 01:03 |
to the Filter > Noise > Add Noise command,
we're going to get a warning saying
| | 01:07 |
I can't do this because the layer is
empty. So the Add Noise command is a
| | 01:13 |
filter that actually needs to have
some pixels in the layer before it can
| | 01:16 |
actually work. So we're going to go
ahead and delete Layer1. This extra layer,
| | 01:20 |
just hit Delete key and it goes away.
| | 01:21 |
All right now in order to have this
flexible and be able to change it after the fact,
| | 01:27 |
after we run some filters,
we want to convert the Add Noise layer to a
| | 01:32 |
Smart Object. That way we can have
smart filters. So I'm going to right-click
| | 01:36 |
and say Convert to Smart Object. Great!
| | 01:39 |
Now we'll go to Filter > Noise > Add
Noise. We'll zoom into 100%, Command+1 or
| | 01:46 |
Ctrl+1, and we can pan around to see a
portion of the image here. The Amount is
| | 01:51 |
really up to you. I'm going to start
with Amount of 10 but you can of course
| | 01:54 |
raise that higher and really get a
crazy noise pattern or take it down and make it
| | 01:59 |
a lot more subtle. Amount of 4 or 5
or whatever. So it's up to you.
| | 02:03 |
I'm going to go ahead and stick
with 10. I want a lot of noise here.
| | 02:07 |
Then I usually chose Gaussian, which
randomizes a little bit, and of course
| | 02:10 |
Monochromatic. If Monochromatic was
turned off, you're going to get color noise.
| | 02:14 |
Most of the time that's not
what you want. So I'm going to turn on
| | 02:17 |
Monochromatic and then I'm going to
click OK. Now because it's a smart filter,
| | 02:20 |
if you want to change your grain pattern,
all you need to do is double click on
| | 02:23 |
Add Noise in the Layer panel here.
That will reopen the Noise filter and then
| | 02:29 |
you can change your value non-destructively.
| | 02:32 |
I want to randomize it just a little
bit more. It's a little bit too hard.
| | 02:36 |
I mean you see a distinct pattern there.
I want to soften it up just a bit. So
| | 02:41 |
while I have this layer selected, I'm
going to go back to Blur > Gaussian Blur
| | 02:45 |
under the Filter menu and then I can
soften that grain independently. I'm going
| | 02:50 |
to just do a slight half-pixel blur.
Don't need a lot here just to soften the effect.
| | 02:55 |
Of course if you do take it up
further, you get a slightly different
| | 02:59 |
signature pattern there. I'm going to
take I back down to 0.5 and click OK.
| | 03:04 |
So now a very versatile Add Noise grain
or film grain technique. As a matter of fact
| | 03:10 |
you could even save this layer off as a
separate file. If you go to the Layers
| | 03:14 |
panel and say Duplicate Layer and
from Destination Document say New and
| | 03:21 |
we'll give this a name.
I'll call it Film Grain. Click OK.
| | 03:25 |
This is now a separate layer, as a
separate file that you can drag and drop
| | 03:29 |
into any other document that you want
to add film gain to and because it's a
| | 03:32 |
Smart Object, you can just double
click on the individual filters there to
| | 03:36 |
customize it for that particular image.
So it's kind of a nice bonus tip there for you.
| | 03:39 |
I'll go ahead and don't save
that and come back to this image here.
| | 03:42 |
So there you have it. A nice way to
add film grain non-destructively, fully
| | 03:47 |
customizable using your friend the Overlay
blend mode with a layer filled with gray.
| | 03:54 |
| | Collapse this transcript |
| Recovering detail in over-saturated areas with Pin Light| 00:00 | In this image we want to figure out if
there is a way to recapture some detail
| | 00:04 | in the way over-saturated reds here. If I zoom
in and take look at this head of the parrot,
| | 00:10 | you'll see that all I see is a big sea of red.
I don't see a lot of feather detail there.
| | 00:14 | I mean there's some but it's really
hard to make out. So let's try to figure
| | 00:20 | this out. One thing you might think to
do is maybe try the Saturation slider
| | 00:24 | and see if desaturating the red will bring
some of the detail back. So let's go try that.
| | 00:28 | We'll go to our Adjustments panel.
| | 00:30 | And we'll use our Hue/Saturation
adjustment layer and we'll choose the Reds and
| | 00:35 | we'll desaturate them and yeah, that
kind of works but I have to go really far
| | 00:42 | before I started seeing the detail, the
feathers there. And by that time I have
| | 00:45 | lost all the red in the head. So I
don't think that's a very viable option.
| | 00:48 | I am going to go ahead and delete that
layer and try something different.
| | 00:53 | I'm going to encourage you to learn
something called the channel walk.
| | 00:56 | Now the channel walk is a way to view the
component parts of this particular image or
| | 01:01 | any image by viewing each channel
separately as a grayscale image.
| | 01:05 | Now I know a lot of you are freaked
out about the Channels panel. Layers are
| | 01:09 | hard enough, but if you go over the
Channels panel and take a look at it,
| | 01:12 | you'll see that there are three channels,
each channel representing a color of light,
| | 01:15 | Red, Green and Blue.
| | 01:16 | Well, it turns out these channels are
just simply grayscale images. The lighter
| | 01:21 | the tone in the channel, the
brighter that color it's representing.
| | 01:26 | So if you look at the Red channel by
clicking on the word Red in the Channels panel,
| | 01:30 | you'll see that in the head
area it's really bright, because we are
| | 01:34 | looking at the Red channel and of
course the head is red. Again, if I zoom in
| | 01:38 | and take a look at the area where
there is no details because it's all blown out.
| | 01:44 | It has all been over-saturated with red;
it didn't capture any detail in the Red channel.
| | 01:48 | I'll go back to Fit to Window, Command+0.
If I click on the Green channel, look at that.
| | 01:54 | What do you see? You see some detail.
That's kind of cool. We are going to
| | 01:57 | have to remember that. If we click on the
Blue channel, and ugh. We see a lot of garbage.
| | 02:03 | That's where a lot of the garbage in a
digital file is. If you see any noise or
| | 02:07 | artifacts, a lot of times it's in the
Blue channel. Not always, but most of the time.
| | 02:11 | Anytime there are defects in a
particular image, you might look in the
| | 02:14 | Blue channel to see if they are there.
| | 02:15 | So we were doing the channel walk here.
We clicked on the names of channels to
| | 02:20 | see each grayscale image represented
by itself. Now we'll look over here and
| | 02:24 | see that there are keyboard shortcuts
to cycle through the different Channel views
| | 02:29 | even when you are in your Layers panel.
| | 02:31 | So I'm going to click back in the RGB
channel, go back over layers and we are
| | 02:34 | going to do the channel walk from the
comfort of our Layers panel. So Command or Ctrl,
| | 02:39 | 3 is Red, 4 is Green
and 5 is Blue
| | 02:45 | and then Command+2 or Ctrl+2 takes
you back to the composite RGB channel.
| | 02:49 | So there you have it. You just learned
how to do the channel walk and it's a
| | 02:53 | really effective way to verify and view
a particular image. To see if there is
| | 02:58 | any detail in a channel that you might
borrow or might steal and in this case
| | 03:03 | when we saw the Green channel here,
look at that nice tasty detail of feathers
| | 03:07 | in the Green channel.
| | 03:08 | Great! So we are going to go back to
the Composite channel, Command+2, Ctrl+2.
| | 03:12 | If only we could make that Green
channel a layer that we could then blend using
| | 03:18 | a blend mode. Well, if I go the
Channels panel and choose the Green channel,
| | 03:22 | there is no Blend Mode menu here on the
Channels panel. That's only in the Layers panel.
| | 03:26 | So we'll go back to the Layers panel
and we'll go back to the Composite
| | 03:29 | channel, Command+2, Ctrl+2. Turns out
you can basically convert a channel into
| | 03:36 | a layer if you use the Channel Mixer
adjustment layer. So we have got our
| | 03:40 | Adjustments panel open, there is the
Channel Mixer adjustment layer. I'm going
| | 03:43 | to go ahead and turn that on. Creates a
new layer for me and we want to turn on
| | 03:48 | the Monochrome checkbox. That's
going to give us a grayscale image.
| | 03:51 | Now by default it's trying to do a
little mix of all three channels to create
| | 03:55 | this custom grayscale layer. We found
out by doing the channel walk that all
| | 04:00 | the details in the Green channel. So
I'm going to zero out the Red channel.
| | 04:03 | I want to make the Green Channel 100% and
then I'm going to zero out the Blue channel.
| | 04:08 | Look at that. It's almost as if we are
looking at the Green channel, but we are
| | 04:13 | in the Layers panel right now. We are
just getting this illusion by using an
| | 04:17 | adjustment layer, the
Channel Mixer adjustment layer.
| | 04:20 | Now we can use one of these random
blend modes in the contrast group called
| | 04:25 | Pin Light to blend this grayscale
layer back down to the colored layer
| | 04:31 | underneath. Now at first
it doesn't look all that great,
| | 04:34 | but we're just going to control this little bit
by lowering the Opacity of the Pin Light layer.
| | 04:40 | So I have got my Move tool selected,
I pressed V to select that tool and
| | 04:43 | I'm going to try a low Opacity, maybe 40%
to do a blend of that adjustment layer
| | 04:49 | back down to the composite image and
that actually looks pretty darn good.
| | 04:52 | Here is before, there is after. So I
effectively stole the detail from one
| | 04:59 | channel and pushed it into the others
by using that Channel Mixer adjustment layer
| | 05:04 | to create a custom grayscale
conversion borrowing heavily from the Green
| | 05:08 | channel, then setting that
adjustment layer's blend mode to Pin Light.
| | 05:13 | As a matter of fact, if we actually go
click on the RGB image here again,
| | 05:17 | the Background layer and go look in our
Channels panel and then click on the Red
| | 05:21 | channel again. Hey! Look at that.
Remember what it looked like before?
| | 05:25 | It was all white and blown out. Now we have
actually pushed detail back into the Red channel.
| | 05:30 | How cool is that?
| | 05:31 | So let's go see this in a different
image. Here is poppy image that we'll do
| | 05:36 | the same thing to with a slight
variation. We'll go ahead and create that
| | 05:40 | adjustment layer, but we need to
do the channel walk first, right?
| | 05:43 | Command+3, Ctrl+3. That just kind
of verifies what we already knew.
| | 05:46 | There wasn't much detail on the
Red channels. Very blown out.
| | 05:49 | There was some, but not a lot.
Command+4. Well, that's the Green channel and
| | 05:55 | there is detail here in this portion
of the image but a large portion of the image
| | 06:00 | doesn't have any detail at all
in the Green channel. It's all black.
| | 06:04 | Command+5 takes you to the Blue channel.
Ctrl+5 takes you to the Blue channel
| | 06:08 | on Windows. You can see I have
actually got a detail in areas I care about
| | 06:14 | with a combination of the Green
channels and the Blue channels. So that's
| | 06:17 | useful information. Doing the
channel walk taught us something.
| | 06:20 | Let's go back to the Composite channel,
Command+2. Let's get our Channel Mixer
| | 06:25 | adjustment layer again. I'll go ahead
and grab one of those. That adds it to
| | 06:28 | the Layers panel here. We are going to
turn on the Monochrome again. We do want
| | 06:32 | to zero out Red, like we did last time. I'm
going to hit the Tab key to go to the Green field.
| | 06:37 | And you know what? I'm just going to
try maybe 50 Green, hit the Tab key again,
| | 06:41 | and 50 Blue to see if that gives me a
good combination of detail. Not quite.
| | 06:46 | It looks like I need a little less Green,
so I'm going to take that down to say 25.
| | 06:50 | I'll just type that number in
manually and then I'm going to pump up Blue
| | 06:55 | to 75. So just when you think you
learn a rule in Photoshop, I remember I was
| | 07:00 | saying the Blue channel
has a lot of garbage in it.
| | 07:03 | Well, every once in a while that's not
true. That's why doing the channel walk
| | 07:06 | is very helpful. You can kind of see
what your image is actually made up of.
| | 07:10 | Great! So I have got a new custom black
and white conversion using the Channel
| | 07:14 | Mixer layer made up of 25%
Green detail and 75% Blue detail.
| | 07:19 | Use that same blend mode that we used
before, Pin Light, to push that grayscale
| | 07:24 | version back into its component
RGB color version underneath. Again,
| | 07:29 | by the default or at the beginning
that doesn't look very good, so we want to
| | 07:32 | lower the Opacity. I'm going to get my
Move tool, press V, and I'll try 30% again.
| | 07:38 | Here is before, here is after. We were
able to pump that detail back into the
| | 07:43 | rest of the channels by borrowing a
hybrid custom channel, if you will, by
| | 07:48 | using that Channel Mixer adjustment
layer. And then one final touch.
| | 07:52 | I don't like how vibrant the Red is
so I'm actually going to use one more
| | 07:55 | adjustment layer. I'll select the
Background layer first and we'll chose
| | 07:59 | Vibrance and we'll just take that
Vibrance down a little bit and get it back to
| | 08:04 | the original Vibrance there or we can
take it up depending on what you want to
| | 08:07 | accomplish there. So either way, it's
up to you. But here is where we started.
| | 08:11 | I'm just going to drag through the eyeballs
there. There is before and there is after.
| | 08:16 | So that's how you steal detail from one
channel and push it back into the other
| | 08:20 | channels using a Channel Mixer
adjustment layer and setting it's resulting
| | 08:24 | blend mode to Pin Light and then just lowering
the Opacity until you get the results you like.
| | Collapse this transcript |
| Creating 80's pop art with Hard Mix and Multiply| 00:00 | All right, this next technique is
totally going to give away when I went to
| | 00:03 | high school. I call it the `80s Pop Art
technique and if you think back to the `80s,
| | 00:09 | if you were in high school with
me back then, think back to some of your
| | 00:13 | old pop groups like AHA or Duran Duran
and their album covers had these really
| | 00:19 | posterized black and white art with
kind of a color wash over the top.
| | 00:24 | So that's kind of work we are going with
this particular technique. We are going
| | 00:27 | to use a combination of duplicate layers along
with some blend modes to achieve this effect.
| | 00:32 | So let's get started. We'll Command+J
or Ctrl+J and that will duplicate the
| | 00:36 | current layer. I'm going to go
ahead and rename this de-saturate,
| | 00:40 | because you want to work with a black
and white version of this original, so
| | 00:44 | Command+Shift+U or Ctrl+Shift+U
will just be the very quick de-saturate command.
| | 00:48 | We are going to go ahead and
duplicate this layer. This time I want to
| | 00:51 | name the duplicate as I make it, so
I'm going to add Option or Alt to that shortcut.
| | 00:55 | Command+Option+J or Ctrl+Alt+J.
And we are going to call this
| | 01:00 | Invert+Hard Mix+Blur. I'm going
to do all three of these things to this
| | 01:09 | duplicate. Go ahead and click OK.
| | 01:12 | First thing we do is invert it,
Command+I or Ctrl+I on Windows.
| | 01:15 | Then we are going to change the blend mode
to Hard Mix and what Hard Mix does is
| | 01:20 | it posterizes your layer and blends it
down with a layer underneath it. Doesn't
| | 01:25 | look very appealing right now, but
it's doing a really harsh posterization
| | 01:29 | between two grayscale images here. But
we are going to add a Gaussian Blur to this
| | 01:33 | and you're really going to see this
effect start to pop out, no pun intended.
| | 01:36 | We want to be able to control the amount
of blur after the fact and we want to
| | 01:39 | fine-tune it, so I'm going to
convert this layer to a Smart Object by
| | 01:42 | right-clicking and choosing Convert
to Smart Object. And then we'll go to
| | 01:46 | Filter > Blur > Gaussian Blur and this
is where you're going to start to seeing
| | 01:51 | the posterization be a little bit more like
we want, to have this kind of charcoal
| | 01:59 | drawing effect if you will. So what
Radius you want is completely up to you.
| | 02:02 | I'm going to go with, what the heck,
6.8 looks good to me, okay. Click OK.
| | 02:07 | Nice thing is that if you want to go
back and fine-tune this at any point,
| | 02:09 | you just double click on Gaussian Blur
and it brings it right back.
| | 02:12 | It's non-destructive and you can go do what
you want there. Last thing we want to put
| | 02:18 | the color wash on top of this so we are
going to go back to our original source layer,
| | 02:22 | the background layer, we are
going to duplicate it, Command+J or Ctrl+J,
| | 02:27 | and we'll move it to the top of the
stack like so. And then we need to blend
| | 02:32 | these colors back through the
big black areas of pixels there.
| | 02:36 | So we are going to use the Multiply
blend mode to do that. And now we have got our
| | 02:40 | final effect. Now if you want to
lower the intensity of the color,
| | 02:43 | you just play with the Opacity of that
Multiply layer. I want to go ahead and get my
| | 02:47 | Move tool, press V for the Move tool,
and I'll stay with say maybe 70%.
| | 02:51 | Just to get a nice subtle pastel-y
type color to kind of match that.
| | 02:56 | What I'm remembering of the old Duran
Duran or whatever album covers I have
| | 03:00 | somehow got stuck in my brain. All right,
so there we have it, play around with
| | 03:04 | all these different variables. But
there's your `80s Pop Art Effect using the
| | 03:08 | combination blend modes including Hard
Mix and just playing around with Blur and
| | 03:11 | Opacity to achieve your final effect.
| | Collapse this transcript |
|
|
6. The Difference GroupAligning layers with Difference| 00:00 |
So if any of you who are watching
this have children, you know how
| | 00:03 |
challenging it can be to do a family
portrait where everyone is bright and
| | 00:07 |
happy and bushy-tailed, looking at the
camera directly and giving us a nice smile.
| | 00:12 |
Here is a portrait of my family and
you can see that wasn't exactly the case.
| | 00:15 |
So that's why digital SLR cameras are
awesome; just keep holding that button
| | 00:19 |
down until you get a bunch of shots,
because then hopefully, you can just
| | 00:22 |
Photoshop them together.
| | 00:23 |
So let's take a look at these two
source files. We'll take a look at the bottom
| | 00:27 |
layer by turning the top layer off.
You can see Vivian is looking straight
| | 00:31 |
at the camera. I obviously was doing
something correct, but the girls were,
| | 00:35 |
I don't know, watching a
car drive by or something.
| | 00:38 |
In this frame, the girls are looking
awesome, looking right at daddy, going
| | 00:41 |
woohoo! But for those of you who are
married, you can see that I'm getting
| | 00:45 |
the look by my wife. I've
obviously done something wrong.
| | 00:49 |
So what we all want to do is we want to
match the two layers up together and
| | 00:52 |
we want to do a composite. Well, before
we do the composite, let's jump ahead a
| | 00:56 |
little bit and talk about matching the
color between the two layers. You can
| | 01:00 |
see that the top layer has got a
little bit of a warm color tone to it.
| | 01:04 |
If I turn the top layer off, the bottom
layers are a little bit cool, not as warm.
| | 01:09 |
So before we do the composite, we want
to make sure that we match those tones.
| | 01:13 |
So I want Source 1 layer, the bottom
layer, to match the tone of the top layer,
| | 01:18 |
and it just so happens Photoshop has
a groovy little command to help us do that.
| | 01:21 |
I'm going to go up to the Image
menu > Adjustments and choose Match Color
| | 01:26 |
down here at the bottom. And when you bring
up the dialog box, you get to choose a source.
| | 01:32 |
Well, we are going to choose the
document that I have opened, this document
| | 01:35 |
right here. And once you choose that
document, you get the choice of layers as well
| | 01:39 |
if there are any layers in the
document. In this case, we are going to
| | 01:41 |
choose Source 2. That's the
layer that has the warm tone.
| | 01:44 |
We'll go ahead and choose that. You can
see already we get a little preview of
| | 01:47 |
what that's going to look like.
I'll go ahead and click OK and now when
| | 01:50 |
I turned the top layer on and off, yes,
you do see the subjects shifting their
| | 01:56 |
position a little bit, but the colors are not
shifting from layers to layers. So, that's good.
| | 02:00 |
All right, so we got the bottom layer
selected here. We are going to go get our
| | 02:04 |
Marquee tool, and we are going to spend
hours making a very, very accurate selection.
| | 02:09 |
No, we are not. We are just going
to make a regular plain old
| | 02:13 |
rectangular selection here and we
want to duplicate this copy of these good
| | 02:19 |
pixels where she is
smiling up onto their own layer.
| | 02:21 |
To do that, we'll do Command+J, Ctrl+J.
I want to name it as I do it though,
| | 02:26 |
so I'm going to do Command+Option+J
or Ctrl+Alt+J and we'll name this layer Smile.
| | 02:30 |
Great! Now that I have got the
smile up on its own layer, we are going to
| | 02:35 |
move it up to the top of the layer stack,
and turn the Source 2 layer back on,
| | 02:40 |
where the girls are looking at the
camera. I don't need Source 1 anymore so I'm
| | 02:43 |
just going to click on that and hit
Delete on my keyboard, and I have got the
| | 02:46 |
two layers I need.
It looks better already, right?
| | 02:49 |
Well we've got a little bit of a
problem. We are going to have to mask out
| | 02:52 |
these edges but we also want to make
sure that her head is in the correct
| | 02:56 |
position and the whole point of this
video was actually to talk about the
| | 03:00 |
Difference blend mode and how it's
built exactly for this type of exercise.
| | 03:05 |
I am going to get my Move tool, V for
Move, and I'm going to change the blend
| | 03:08 |
mode to Difference. And what
Difference does is it shows you which pixels are
| | 03:14 |
different between the layers that are
being blended. Anything that's the same,
| | 03:19 |
or as same as it could be, will be as
dark as possible. So now, when I change
| | 03:23 |
the blend mode to Difference, I can
see both set of eyeballs between the two layers,
| | 03:27 |
which helps me line these layers up.
| | 03:29 |
I can just roughly use my Move tool and
move them into position, and then I can
| | 03:32 |
use my arrow keys on the keyboard to
kind of get it close or closer. And what
| | 03:37 |
you are looking for is the position
where the majority of the pixels are as
| | 03:41 |
dark as possible. So I'm thinking right
about there is a good call. You can see
| | 03:46 |
most of the face is black and the eyes
are perfectly lined up in the center,
| | 03:50 |
at least on the left hand side. It's a
little bit off on the right, but it's close
| | 03:54 |
enough for this particular composite.
| | 03:56 |
Great! So that's usually what the
Difference mode is for and you can do special
| | 03:59 |
effect with it you can make your image
look all funky and purple and whatever.
| | 04:02 |
But its primary purpose is to show you
differences between layers. So now that
| | 04:07 |
we have got them in position, I can
change the blend mode back to Normal and
| | 04:11 |
now it's just a matter of masking out
the edges here. So I'm going to add a
| | 04:14 |
layer mask to the Smile layer, press
B for my Brush tool, paint with 100% black.
| | 04:19 |
So I'm going to type 0 to make sure
it's 100%. I'm going to type D and X
| | 04:24 |
to make sure my foreground
colors are set to black and white.
| | 04:27 |
I have got black as my foreground
color and I'm just going to go ahead and
| | 04:30 |
paint around the outside edge of
Vivian's neck here and around the hair as
| | 04:38 |
well, just to get rid of those seams
of the bricks. I don't want there to be
| | 04:43 |
any noticeable seam there. And there
you have it. A pretty simple composite taking
| | 04:49 |
advantage of two shots, and using the
Difference blend mode to help us align them.
| | 04:54 |
Here is before, here is after. And my
wife loves this little demo. Okay, anyway
| | 05:01 |
there is your composite, made a lot
easier with using the Difference blend mode.
| | 05:07 |
| | Collapse this transcript |
|
|
7. The Color (HSL) GroupReducing color noise with Color| 00:00 | One of the things that can happen
when you shoot a digital image is you can
| | 00:03 | sometimes get color noise artifacts.
If I zoom into 100% here, Command+1,
| | 00:08 | Ctrl+1, you can see right away in the
shadow areas, we are seeing this random
| | 00:12 | red, green, and blue pixels muddying
up our shadows. This can happen when
| | 00:16 | you are shooting with high speed ISO or
with the Telephoto Lens in low light or a
| | 00:20 | couple of different scenarios there.
| | 00:22 | What we want to do is get rid of the
Color Noise here and just eliminate it so
| | 00:26 | we see the image instead of seeing the
distracting colors here. So to begin,
| | 00:29 | we are going to go ahead and duplicate
this layer. I want to name the duplicate as
| | 00:32 | I make it, so Command+Option+J or Ctrl
+Alt+J. We'll go ahead and name this
| | 00:36 | Remove Color Noise. Great, and then we
are going to set our blend mode to Color.
| | 00:43 | I am going to go ahead and change the
blend mode to Color here from the pop-up list
| | 00:47 | and then we'll go to Filter >
Blur > Gaussian Blur. The trick here is to
| | 00:53 | only blur it as much as really necessary.
I'm going to take it all way back to
| | 00:57 | the smallest number and you can see
that there is still some noise there and we
| | 01:01 | are just going to go ahead and crank up
that slider and little increments until
| | 01:05 | we don't notice the random red,
green, and blue pixels anymore.
| | 01:10 | Each image is going to use a
slightly different value depending on the
| | 01:12 | resolution and level the detail there
but it looks like, about 4 pixels here
| | 01:16 | that works for this particular image.
I can hold down the Spacebar when I put
| | 01:20 | my mouse outside of the dialog and pane
around to kind of check at other areas,
| | 01:24 | and yeah, that's looking pretty good.
| | 01:26 | So here is before, I'll turn the
Preview check box off, there is before and
| | 01:30 | there is after, maybe I'll zoom up
one more time so you can see it better,
| | 01:33 | Command+Plus, Ctrl+Plus, hold down
space to zoom or pane around. Here is the
| | 01:38 | Preview check box. We'll turn that off.
There you can see the pattern pretty
| | 01:41 | distinctly here. We'll turn Preview
back on and you can see, we've pretty much
| | 01:44 | eliminated the random red,
green, and blue pixels.
| | 01:47 | Now you still do see some luminance
noise. That's that little green pattern
| | 01:51 | there. We are going to go ahead and
keep that. That's all right. We are just
| | 01:54 | trying to get rid of the random colors that
are kind of poisoning our image so to speak.
| | 01:58 | Great, I'm pretty happy with that,
click OK. Let's fit to Window+Command+0 and
| | 02:03 | there you have it. So pretty easy
technique to remove Color Noise. Just dupe
| | 02:06 | the layer, set it's blend mode to Color and then
just blur it until that noise pattern disappears.
| | Collapse this transcript |
| Avoiding false saturation with Luminosity| 00:00 | Here is an image that needs a little
bit of tonal correction, it's a little bit
| | 00:03 | too dark on the outside edges here, and
little hot spots or the lights could be
| | 00:08 | a little bit brighter as well.
| | 00:09 | One thing you may not have realized
when you are doing tonal correction to an
| | 00:12 | image is that you can actually
introduce false saturation, when you are doing
| | 00:15 | something like Levels or Curves or any of the
other type of adjustments that you might make.
| | 00:20 | Instead of just opening up the detail
of the image or affecting the detail,
| | 00:25 | you are also affecting the color when
you are using something like Levels or
| | 00:28 | Curves. Let me show what I'm talking about.
| | 00:29 | So I'm going to go to the
Adjustments panel and we'll just do a Levels
| | 00:33 | adjustment to get things started here,
and we are just going to bring the
| | 00:36 | sliders in, when we go right sliders
to the left here, the white slider.
| | 00:40 | And we'll open up the midtones just a
little bit. And sure, that looks good there.
| | 00:44 | I am going to zoom up to Actual Pixels.
Command+1 or Ctrl+1 and what we are
| | 00:50 | going to do is take a look at the color
values here by changing the blend mode.
| | 00:55 | So this is the Normal blend mode,
meaning just take this 100% Opaque layer and
| | 00:59 | blend it down to the layer underneath.
| | 01:02 | If we change the blend mode to
Luminosity, what ends up happening is that
| | 01:07 | the tonal adjustment you are making is
only happening to the detail of the image,
| | 01:11 | not the color of the image. I'm
going to just quickly Undo and Redo this,
| | 01:16 | Command+Z, Ctrl+Z and pay attention to,
say, the eye or one of the feathers or
| | 01:21 | the blue of his chest and neck here.
| | 01:23 | So Command+Z, Undo, and Command+Z again,
Redo. Do you see the difference?
| | 01:29 | When you have the Normal blend mode turned on,
you are really seeing the blues get
| | 01:32 | bumped up, increasing their
saturation and the greens as well.
| | 01:36 | Now that may be what you want. That's
fine, but if you don't want to introduce
| | 01:39 | a false saturation to your images
when you are just trying to do tonal
| | 01:43 | correction in the details, meaning the
grayscale data of the image, then you
| | 01:47 | might consider changing your blend
mode to Luminosity when you make these
| | 01:51 | adjustment layers. So things like
Curves, Levels, any of the other adjustment
| | 01:56 | layers that you might be using.
| | 01:57 | Now for this particular image, I want
to kind of go on a tangent and show you
| | 02:01 | another bonus tip here. I'm going to
delete the Levels layers. I'm going to go
| | 02:04 | ahead and hit the Delete key after
selecting the layer. Since this image is
| | 02:10 | really dark in certain areas and not
bright enough in other areas, it really
| | 02:14 | means two different kinds of correction
I need to focus on. I need the shadows
| | 02:19 | and the highlights.
| | 02:20 | So sometimes I find that using Shadow/
Highlight, the actual image adjustment
| | 02:24 | called Shadow/Highlight, is a much
better tool because it lets me address both
| | 02:28 | at the same time as oppose to having to
create different Levels adjustments and
| | 02:31 | masking them off and what not.
| | 02:34 | So let's go, look for our Shadow/
Highlight adjustment layer. Hmmm.
| | 02:39 | Yeah, it's a trick question; it doesn't exist.
If you go to the bottom of the Layers panel
| | 02:43 | to the Adjustment Layer icon here as
well, again, I do not see Shadow/Highlight
| | 02:47 | available. Well, if I go to
Image > Adjustments, there it is, the
| | 02:52 | Shadow/Highlights. But this is a
destructive command; it's actually affecting
| | 02:57 | the pixels on the layer.
| | 02:59 | So what you want to do is a trick here.
If you want to make Shadow/Highlights
| | 03:03 | adjustment non-destructively, you need
to convert your image to a Smart Object
| | 03:08 | first. Now we know that about Smart
Filters where you can apply Smart Filters
| | 03:12 | to Smart Objects, and layer
adjustments are always non-destructive, but
| | 03:16 | Shadow/Highlight can be that
way to if you just convert this.
| | 03:19 | So I'm going to right-click on the
Background layer and say Convert to Smart
| | 03:23 | Object. It turns to Layer 0, I'm going
to go ahead and rename this Peacock, and
| | 03:29 | we'll go back to Image > Adjustments >
Shadow/Highlights and you'll see, it's
| | 03:33 | still available. Everything else is
grade out because you can't apply these
| | 03:38 | adjustments to a Smart Object but for
Shadow/Highlights, you can. I'm going to
| | 03:41 | choose Shadow/Highlights and we are
just going to play with these settings a
| | 03:46 | little bit. I'll bring the Amount
just down a little bit and make the Tonal
| | 03:49 | Width down a little a bit and the Radius up.
| | 03:51 | Again, these values are different for
every single image. I'm just looking
| | 03:54 | visually to what I think looks good
for this particular example. I'm just
| | 03:59 | bumping up the Highlights a little bit
and toning them down, and I'm going to
| | 04:04 | do a little bit Midtone
Contrast as well, pretty good.
| | 04:07 | And I think I can even make this just
a little bit lighter in the darks, like
| | 04:12 | so. Okay, good enough. Go ahead and
click OK. The good news, again, if it's not
| | 04:18 | perfect because it's a non-destructive
filter now on top of the Smart Objects,
| | 04:24 | you can always go, double-click on Shadow/
Highlights and just adjust the sliders later on.
| | 04:29 | Now because it is a Smart Filter, Smart
Filters can also have their blend modes
| | 04:33 | changed as well. So let's zoom in
again, Command+1. I'm going to pan around
| | 04:38 | just holding on the Spacebar to see a
representative area like this. If you
| | 04:41 | double-click on the little slider icon
to the right of the Smart Filter name,
| | 04:45 | I'm going to double-click on that. That
brings up the Blending Options for this
| | 04:49 | Smart Filter. And just like we saw
earlier, I'm going to change the blend mode
| | 04:53 | from Normal to Luminosity. So there
the false saturation isn't happening
| | 04:57 | anymore. This Shadow/Highlights is
only impacting the grayscale data, the
| | 05:01 | detail of the image as
oppose to saturating the color.
| | 05:05 | So here is before, here is after. We
are just turning the Preview on and off so
| | 05:08 | that you can see Normal blend mode
versus Luminosity blend mode. So it's a
| | 05:13 | little geeky kind of, I promised not to
be geeky in this title but just a nice
| | 05:17 | little tip there; when you don't want
to introduce false saturation, change
| | 05:21 | your adjustments. Use your adjustment
layers or your Smart Filter adjustments
| | 05:26 | to the Luminosity blend mode to
restrict the tonal corrections to just the
| | 05:29 | detail of the image and not the color.
| | Collapse this transcript |
| Recovering detail in blown-out highlights with Luminosity| 00:00 | Here is an image where we have got a
little bit of blown out detail in the
| | 00:03 | highlights. You can see in the hair
here where the sun was hitting the blond
| | 00:07 | towhead here that you are getting
blown out detail there. Also in
| | 00:10 | the side of the face, here in the
cheek and the shoulders as well. There is a
| | 00:13 | loss of detail on the shirt
and across the shoulder as well.
| | 00:17 | So how do we go about in getting some
detail? Well the first thing you want to do
| | 00:21 | is do your Channel lock. You want to
investigate the individual channels of
| | 00:24 | the document, to see if there is detail in a
channel that you might be able to borrow from.
| | 00:29 | So as a reminder to do the Channel lock
you hold on the Command key or Ctrl on Windows
| | 00:33 | and do 3, 4 or 5. So Command+3 is
the red channel and you can see there
| | 00:38 | that now there is really no detail in
the blown out area in the red channel.
| | 00:42 | Command or Ctrl+4 takes you to the
green channel. You can see it's still little
| | 00:45 | bit better and we got a little bit more
detail on the hair here, but not much elsewhere.
| | 00:50 | And then Command+5 or Ctrl+5
and now look at that. We actually have
| | 00:54 | quite a better detail in these blown
out highlights and in the shirt and across
| | 00:58 | the shoulder. So by doing the channel
walk we have actually discovered that
| | 01:01 | there is some detail in this image
just in a particular channel that we might
| | 01:05 | want to borrow from. Command+2 or Ctrl+
2 to take us back in the RGB Composite.
| | 01:09 | So how do I steal detail from one
channel and push it down into the others?
| | 01:14 | We use our friend the Channel Mixer
adjustment layer. I'm going to go my
| | 01:18 | Adjustment panel, and choose the
Channel Mixer button. We have the option to
| | 01:22 | turn on Monochromes. We are going to
click that check box and then we just need
| | 01:26 | to zero out the channels
that we don't care about.
| | 01:28 | So I'm going to make Red zero and hit
the Tab key and I'll make Green zero,
| | 01:32 | hit the Tab key one more time and I'm going
to make the Blue channel 100% and now it's as
| | 01:37 | if we are actually looking at that
Blue channel. Press Enter or Return there.
| | 01:42 | But indeed it is an adjustment
layer that's given us the illusion of this
| | 01:46 | grayscale image. I can turn that on or
off and I still have my color version
| | 01:49 | underneath it. Next we want change
the blend mode of this grayscale channel
| | 01:55 | layer here back and push it back
down into the composite RGB Color image
| | 01:59 | underneath. To view that we are going
to change the blend mode to Luminosity.
| | 02:03 | Because remember Luminosity just gives
us the detail and I'm pushing the back through.
| | 02:07 | I'm blending it with the color.
| | 02:09 | Now you actually get two tips for the
price of one here because if you take a
| | 02:12 | look at this image now, she kind of
looks like she is very sunburn or a little
| | 02:16 | bit tan. So if would you actually want
bronze somebody, it's a great technique.
| | 02:20 | Just create a Channel Mixer
adjustment layer or grayscale Black & White
| | 02:24 | adjustment layer and change the blend
mode to Luminosity and then with your
| | 02:27 | Move tool selected just type a number
to lower the Opacity and so if I make it 50%,
| | 02:32 | here is before and here is after.
It's just the way that kind of make them
| | 02:36 | look like they had a little color or a little
sunshine, very helpful if you live in Seattle.
| | 02:39 | So I'm going to take that back to 0
to 100%. So what we are going to do is we
| | 02:44 | are going to mask in the detail
where we want to add the detail in the
| | 02:47 | highlight areas. So to begin, well
let's go ahead and invert this layer mask.
| | 02:51 | It's easier just paint in what we
want to keep, as opposed to painting out
| | 02:54 | everything we don't want.
| | 02:55 | So Command+I, Ctrl+I to invert to
that mask. It fills that layer mask with black,
| | 03:00 | which essentially hides everything
in that adjustment layer. I'm going
| | 03:03 | to B for my Brush tool. Pick a nice
large soft brush here and we are going to
| | 03:09 | start with the very low Opacity,
say 20% or 30% by just pressing it 2 or 3
| | 03:13 | in your keyboard, and we are going to
paint with white against this black layer mask.
| | 03:18 | So layer mask filled with black.
I'm going to paint with white as our
| | 03:20 | foreground color. If it's not your
foreground color you can press X until it is.
| | 03:25 | And let's just start gently painting a few strokes
at a time over these blown out highlights areas.
| | 03:31 | Now it's not going to be perfect.
It's not going to be as if you shot the image
| | 03:35 | perfectly the first time but all
we are trying to accomplish here is bringing
| | 03:39 | down those hot spots so that our eye
doesn't go to that bright spot on the hair
| | 03:44 | at first. We want to focus
here on the face and the eyes.
| | 03:47 | We will just come in along the cheek
here a little bit. You will really notice
| | 03:50 | it on the shirt. Look at the strap here
I'm bringing that flower detail in.
| | 03:55 | Just get just a low opacity, just
pressing and dragging, just a little bit.
| | 03:59 | One stroke at a time. It's really helpful to
actually turn this on and off occasionally.
| | 04:04 | Now here is before and there is after.
It may not seem like you are actually
| | 04:07 | doing much. But when you see the
before and after you can really see the
| | 04:10 | impacts it's having. So I'll come over
here in this side of the hair, bring down
| | 04:14 | some of those hot spots and I'm just
doing multiple strokes here, just clicking
| | 04:18 | and dragging multiple times. I'm
going to come through the part of the hair
| | 04:21 | here come back over on the left side
and it's just really up to your taste.
| | 04:27 | I'm going to come a little bit under the
eye a little bit. Again this side of the neck.
| | 04:30 | You don't want to overdo it but
just kind of even out the tones and
| | 04:35 | just get out some of these hot spots that are
distracting from the rest of the image here.
| | 04:41 | Okay that's probably getting enough
to kind of show you the technique.
| | 04:43 | Here is before and there is after and it's a
very good use of our friend the Luminosity
| | 04:50 | blend mode, where you are stealing
detail from a channel that had it by
| | 04:54 | converting that into an adjustment layer.
Channel Mixer's probably your best bet there
| | 04:58 | and then changing the blend mode
of that to Luminosity and just
| | 05:01 | masking off where you wanted to show up.
| | Collapse this transcript |
|
|
8. Advanced Blending OptionsGetting better sepia tones| 00:00 |
One of the funny things about Photoshop
is if you ask ten different Photoshop experts
| | 00:04 |
how to do a sepia tone, you are probably
going to get ten different answers,
| | 00:07 |
ten different techniques.
| | 00:08 |
So this video is about my technique
for doing a sepia tone and of course,
| | 00:12 |
I think my technique is the best.
Not trying to be arrogant at all, but one of
| | 00:17 |
the downfalls I see in some of the
other sepia tone techniques is that they end up
| | 00:21 |
looking dirty or dingy, specially
the mid-tones and into the highlights.
| | 00:25 |
A true sepia tone really won't have
dirty whites. The whites will actually still
| | 00:30 |
be a little bit crisp and clean. Let's
talk about how the textbook method of
| | 00:35 |
sepia tone in Photoshop CS4 is
accomplished and then I'll tell you how to
| | 00:38 |
improve upon it. Let's begin by going
to our Adjustments panel and choosing a
| | 00:41 |
Black & White adjustment layer and
Photoshop now does a very nice job of doing
| | 00:46 |
custom black and white conversions
with this Black & White Adjustment.
| | 00:49 |
You can control the conversion of each
color individually, so if I want my reds
| | 00:53 |
in the image to be a little bit
brighter in Grey Scale or darker, I can control
| | 00:57 |
that independently, it's really nice.
If I want their eyes to pop a little bit,
| | 01:01 |
I can adjust the Cyan slider or the
Blue slider to make them sparkle just a
| | 01:05 |
little bit more. It's pretty subtle change,
so you're seeing a little bit of change there.
| | 01:09 |
Okay, then you'll see in the
Adjustments panel Photoshop has actually tried to
| | 01:13 |
make it real easy to do a sepia tone
by adding a Tint checkbox, which then
| | 01:18 |
applies a Color Overlay on top of the
Black & White adjustment layer here.
| | 01:22 |
It'll actually default it to a nice
sepia tone color. But here you can see what
| | 01:26 |
I'm talking about. The whites here
are not staying white. They are actually
| | 01:30 |
getting kind of yellowish and dingy.
| | 01:31 |
And I don't really like that effect.
Well, we could try to limit the
| | 01:36 |
colorization and the highlights, if you
remember the Advanced Blending Options,
| | 01:40 |
those Blend If sliders. So, how do
you get there? If you double click on
| | 01:44 |
adjustment layer thumbnail and that
doesn't actually do anything because it's
| | 01:48 |
not an image layer.
| | 01:50 |
So Option or Alt+Double-Click will
bring up the Layer Style dialog box and
| | 01:54 |
that's where you'll discover the Blend
If sliders and that's as where as you
| | 01:57 |
can tell Photoshop to ignore certain
tones, either on this layer or the layer
| | 02:02 |
underneath. But here's the problem,
what's underneath this Grey Scale
| | 02:06 |
conversion, this black and white conversion?
| | 02:08 |
It's the color image, so if I drag this
White slider to the left, while this is
| | 02:13 |
interesting, it's doing the blend back
to color. It's not exactly the look
| | 02:17 |
I was going for. So, we'll go ahead and
hit Cancel here and I'm going to ahead
| | 02:22 |
and leave the black & White adjustment
layer still on, but I'm going to turn
| | 02:27 |
off the Tint. We are going to
accomplish the tint a different way, we are going
| | 02:30 |
to use a Color adjustment layer.
| | 02:33 |
We will go back to the bottom of the
Layers panel and we'll chose Solid Color
| | 02:37 |
from the top of the list here, from
the adjustment layer menu icon and this
| | 02:42 |
brings up a dialog box where we can
pick a solid color. Now, I just happen to
| | 02:46 |
know the numbers of the sepia tone I
want. So, in the R field, I'm going to
| | 02:50 |
type in 225, I'm going to hit the Tab
key. I'm going to type in 210 for green,
| | 02:55 |
hit the Tab key one more time and I'm
going to type 1AD for blue and this gives
| | 02:59 |
me a nice base color for a sepia tone effect.
| | 03:02 |
I'm going to go ahead and click OK. The
image looks better already, all right.
| | 03:07 |
Now what we want is the color of
this layer, led in details of the layers
| | 03:11 |
underneath. So, how do we do that?
Well we change the blend mode of the Color
| | 03:15 |
layer to -- what do you think? That's
right. Color. So use the color of this
| | 03:20 |
layer, but show through and
blend down of the details underneath.
| | 03:24 |
Now that this is a separate adjustment
layer, above everything, I can use the
| | 03:28 |
Advance Blending sliders on the Color
adjustment layer and limit where the
| | 03:32 |
color shows up in the underlined image.
Because directly below the color layer
| | 03:37 |
is this black and white conversion
layer. So we'll Option or Alt+Double-click
| | 03:40 |
on the Color adjustment layer icon.
| | 03:42 |
This brings up our Blend If sliders
again and now I can bring that White slider
| | 03:46 |
over to the left and you see at a
certain point, it actually drops color out
| | 03:49 |
completely. I just want to go round
about there to where the colors above the
| | 03:53 |
drop out and then we want to split the
sliders. How do we that? We hold on the
| | 03:56 |
Option key or the Alt key and that
splits the sliders apart. So I can control
| | 04:01 |
them and get a blend between opaque
and transparent areas in the image here.
| | 04:06 |
So, I'm just going to eyeball this and
decide where I want the color to be in
| | 04:09 |
the mid-tones and in the shadows, but I
want to keep the whites clean and bright.
| | 04:14 |
So, you just decide where you want
that split to be. It's completely flexible
| | 04:17 |
and up to you. This gives you a lot
of flexibility. You can make it from a
| | 04:20 |
platinum tone to a sepia tone just
using the same color and deciding how much
| | 04:25 |
of the bright parts of the image you
want to color to come into. So, I'm going
| | 04:29 |
to go right about here, I think like 12,
let's go with 200 for the left slider
| | 04:35 |
and say 225 for the right
slider, looks good to me.
| | 04:38 |
Here's before, just turn in the Preview
checkbox on and off and there's after.
| | 04:42 |
Hopefully you can see the difference.
I'm biased. I think my effect here, my
| | 04:47 |
style, is a little bit better when
those lights are not so colorized. So, I'm
| | 04:52 |
going to take it out just a little
bit more to 220 and there's before and
| | 04:57 |
there's after. So there you have it,
a better sepia tone technique by using
| | 05:01 |
multiple adjustment layers using the
Color blend mode on a Color adjustment
| | 05:05 |
layer and then dialing back down
where the color is occurring by using the
| | 05:10 |
Advance Blending sliders and
the Layer Style dialog box.
| | 05:16 |
| | Collapse this transcript |
| Using antique color effects| 00:00 |
If you have ever taken a high school or
college photography class, you may have
| | 00:04 |
actually done a technique called hand
coloring or antique tinting. And that's
| | 00:08 |
where you use these chemical dyes and
Q-tips. Real technical sharp tool there.
| | 00:13 |
To hand tint or hand color the image,
you would just dab on the color over a
| | 00:18 |
black and white image to hand color.
| | 00:19 |
I have seen lots of effects like that
done in Photoshop, but the problem is
| | 00:24 |
that they usually look too precise.
If you remember back what the original tool was,
| | 00:27 |
it was a Q-tip. There were no hard
edges on the Q-tip. So, this technique
| | 00:31 |
I'm going to give you here is a more
accurate representation or simulation of
| | 00:35 |
that old darkroom, lab
type, photography type effect.
| | 00:39 |
So to begin, we are going to create a
Black & White Conversion adjustment layer
| | 00:43 |
to convert this to grayscale. So I'll
use the Black & White adjustment layer to
| | 00:47 |
do so. And while you are here, you
can decide how you want the grayscale
| | 00:51 |
version to convert, and you can play
around with the different sliders to
| | 00:54 |
identify individual colors.
| | 00:56 |
So if I want the red taillights to
have little bit more detail, I'm going to
| | 00:58 |
open up the Reds a little bit.
I'll go to the Green. Since this image is
| | 01:02 |
predominantly green, you can control
a lot of the contrast with the Green slider,
| | 01:07 |
and some of the sliders may or
may not have any other effect. I'm going
| | 01:10 |
to open up that license plate because
there is a lot of orange and yellow in there.
| | 01:13 |
So I'm going to bring that
license plate back up, so it's bright.
| | 01:17 |
Then you can just decide about the other
sliders yourself as well. Turns out,
| | 01:19 |
if I use the Blue slider, I can open up
the chrome and the bumper a little bit,
| | 01:24 |
so that looks about right, good enough.
| | 01:26 |
Next, we want to bring the color
version back in layer that on top of the
| | 01:30 |
grayscale version. So we are going to
go back to the original layer. Command or
| | 01:33 |
Ctrl+J to duplicate that. Then we are
going to move it up to the top of the
| | 01:37 |
stack. Now, it looks exactly like the
way we started. So we are going to blur
| | 01:41 |
this layer to kind of simulate the
hand coloring, and create all these soft
| | 01:46 |
swathes of color by doing the blur.
| | 01:48 |
We'll do Filter > Blur > Gaussian Blur,
and we'll use a pretty high radius.
| | 01:53 |
We want the color to spill out beyond
its edges, all right. I mean there's no
| | 01:57 |
painting within the lines here with
this technique. So Radius of 10,
| | 02:00 |
the higher, the resolution of the image,
the higher the radius we'll use. I stick
| | 02:03 |
with 10 for now, click OK.
| | 02:05 |
And now you have your choice of blend
modes of how you are going to blend that
| | 02:08 |
back down to the image. Your best bet
is going to be one of the Contrast blend modes.
| | 02:11 |
There is Overlay, Soft Light or
Hard Light. Let's start with Overlay.
| | 02:15 |
You will see right away I get a real
nice antique color effect where I get this
| | 02:19 |
nice, soft atmospheric glow of color
blending back in the grayscale version,
| | 02:24 |
and it's all just spilling
all over the edges real nicely.
| | 02:27 |
If I want a more subdued effect, I can
choose Soft Light. You can see it's much
| | 02:31 |
more faint, a really nice faint tint.
Hard Light will give you yet another
| | 02:36 |
variation. It's kind of a little bit
stronger than Overlay. So there is really
| | 02:41 |
no right or wrong here. You just decide what
you want. I'm going to stick with Overlay for now.
| | 02:46 |
And now we want to limit the color to
only certain parts of the image, maybe in
| | 02:51 |
the highlights and mid-tones to gets
the darks of the image really filled up.
| | 02:55 |
There is not really a lot of detail
here in the darks in mid-tones. So we are
| | 02:58 |
going to open those up, and we are going to use
our friendly Advance Blending sliders to do it.
| | 03:02 |
We'll just double-click on the image
layer. That brings up the Layer Style
| | 03:05 |
dialog box where we get the Blend If
sliders. We are going to drag the Black
| | 03:09 |
slider to the right. As we do so,
you'll start seeing the shadow details coming back.
| | 03:14 |
But again, we get this weird kind
of amoeba like effects where the image
| | 03:19 |
is getting eaten away. That's because
it's a very hard transition, it's opaque
| | 03:25 |
from 74 and higher, in terms of tonal
values, everything that's lighter than 74
| | 03:29 |
is just going away, it's becoming transparent.
| | 03:31 |
We want to create a blend, so I'm going
to hold down the Option key or the Alt
| | 03:34 |
key to split the sliders and get a nice
soft transition between what's colored
| | 03:40 |
and what's black and white. So you just
decide where you want those details to
| | 03:43 |
be. There's no right or wrong here.
It's just kind of mix and match to taste.
| | 03:46 |
Again this is non-destructive, so you
can come back and edit this at anytime.
| | 03:50 |
I can just double-click on the
thumbnail to get these sliders back.
| | 03:54 |
All right that's good for me. I'm
going to click OK. Here is before, here is after.
| | 03:59 |
I'm just undoing, you can see,
I'm bringing back some of the shadow
| | 04:02 |
detail by using those Blend if sliders.
I'm not completely happy yet, I have
| | 04:07 |
lost too much of the red of the
taillights, and I have lost all the color in
| | 04:11 |
the license plate. So, I'm going to
go back to the Black & White adjustment
| | 04:15 |
layer; the great thing about
adjustment layers is that they have layer masks
| | 04:19 |
built-in automatically.
| | 04:21 |
So I'm going to get my Brush tool, type
B for the Brush tool, and my layer mask
| | 04:25 |
is filled with white, so I need to
paint with black. That's my current
| | 04:28 |
foreground color. I'm going to start
with a low Opacity, say 50%, and I'm just
| | 04:31 |
going to paint with black on that
layer mask right where I want some color to
| | 04:36 |
come back. So, on the red taillights
here and maybe just a little bit of color.
| | 04:41 |
As you notice, I'm not trying to get
right up to the edges here. It's okay.
| | 04:44 |
I just want the hint of color, as if I
was using a Q-tip, there you go. So here
| | 04:49 |
is before, I'm going to drag through
these two layers on their eye. I call them
| | 04:53 |
in the Layers panel, there is before,
and there is after. So a real nice
| | 04:58 |
classic effect to get antique hand
coloring, where it's not so precise and crisp.
| | 05:05 |
| | Collapse this transcript |
| Combining multiple exposures| 00:00 |
One of the nice things about shooting
with a camera that can shoot Camera Raw
| | 00:04 |
files is that you have access to a lot
more information in the file, of course.
| | 00:08 |
You can create multiple exposures from
the same raw file, doing one exposure
| | 00:13 |
for shadow detail, doing another exposure for
highlight detail. And then you can combine them.
| | 00:17 |
But what if you are shooting with a
point-and-shoot camera or a camera that can't
| | 00:20 |
shoot raw? Well, you can still get
the benefit of capturing additional
| | 00:25 |
information by combining that
information to a single composite file.
| | 00:29 |
That's what we have got going on here.
There are two JPEGs just shot with a
| | 00:33 |
point-and-shoot camera. It doesn't
shoot raw. And we didn't even use a tripod here.
| | 00:36 |
Just hand-held, no big deal,
make it really quick and easy, just taking
| | 00:40 |
two different exposures, one for
shadow detail and one for highlight detail.
| | 00:45 |
We are going to select these two
files and from the Bridge menu, we are in
| | 00:49 |
Bridge right now, not Photoshop just yet,
we are going to go to the Tools menu
| | 00:53 |
and choose Photoshop and one of that nice
conveniences here is Load Files into Photoshop,
| | 00:57 |
each file as a separate layer.
So we are just going to go ahead and
| | 01:00 |
automate that. Photoshop makes quick
work of it and brings our two files into
| | 01:06 |
one document, each as their own layer.
| | 01:08 |
We might want to rename these because
it's actually using the file name as the
| | 01:12 |
layer name, so we are going to go ahead
and just double click on the file name
| | 01:15 |
and delete the .JPG from that and the
numbering as well. I'll double click in
| | 01:20 |
this layer, change those names, good.
| | 01:23 |
All right, now if we turned the top
layer off, you will see there is a slight
| | 01:29 |
shift because we weren't very accurate
when we did the hand-held shoot. That's okay.
| | 01:34 |
Photoshop can fix that problem
for us as well. We are going to
| | 01:36 |
Shift-click on these two layers to
select both of them and from the Edit menu.
| | 01:40 |
I want you to choose Auto-Align Layers.
And Photoshop is actually going to look
| | 01:45 |
at the content. We are just going to go
with Auto, turn-off the Lens Correction
| | 01:48 |
options. Go ahead and click OK.
| | 01:49 |
Photoshop's actually going to look at
the layer content and find areas that are
| | 01:55 |
the same and make them match, align
them, distorting them if possible or if
| | 02:00 |
necessary, to make sure that we turn
the top layer on and off, you don't see
| | 02:04 |
any weird shifting happening. How cool is
that? So you have got them lined up now.
| | 02:08 |
Now it's just the matter of cropping
them to just include the overlap between
| | 02:13 |
the two. So I'm going to type C for the
Crop tool, go ahead and drag out a crop
| | 02:17 |
boundary and just kind of eyeball
where these meet up, and that's good enough
| | 02:25 |
for now I think. Good, and I'm just
going to press the Enter key to apply that.
| | 02:30 |
And we have got our composite
now with everything lined up.
| | 02:32 |
Now it's just a matter of hiding
this blown out sky to show the good sky
| | 02:38 |
behind, right. So here is the shadow
exposure where we see all the nice detail
| | 02:42 |
in the shadows. If we turn that top
layer off, I want to get the nice sky and
| | 02:46 |
the highlight detail in the sand. So
what we are going to do for that? We are
| | 02:48 |
going to get our Tragic Wand tool,
press the W key and start Shift-clicking in
| | 02:53 |
all these spots. Now that's too much
work plus you will accidentally click
| | 02:57 |
somewhere and you are like, ah,
I have no idea what's selected.
| | 03:00 |
Or we are going to put a layer mask
on the Shadows layer and actually start
| | 03:02 |
painting out every single pole and
piece of wood. No, it's too much work.
| | 03:06 |
Remember Photoshop has a built-in
layer mask on every single layer, just
| | 03:10 |
waiting for you to tap into it. It's
the Advanced Blending sliders again.
| | 03:14 |
To get to the Advanced Blending sliders,
you simply double click on the image
| | 03:17 |
thumbnail. That brings up the Layer
Style dialog. And then once again we get
| | 03:21 |
the Blend if sliders. On this
particular top layer, we want to get rid of the
| | 03:26 |
bright sky and reveal the darker sky
underneath, so we are going to use the
| | 03:30 |
white slider for This Layer. I'm going
to drag it to the left and I'm going to
| | 03:35 |
start punching a hole through the
bright pixels in that layer. Right now, it's
| | 03:39 |
a pretty harsh edge. We are going to split
the slider here to create a transition zone.
| | 03:43 |
I am going to Option-click or Alt-
click, and drag the slider away so I can
| | 03:47 |
create a nice soft transition. And pay
attention to the bottom of this pylon
| | 03:52 |
here, and this is where you can see
where the highlight detail is being clipped
| | 03:56 |
or kept, just need to decide where
you want to put the slider. There is no
| | 03:59 |
right or wrong here, it's completely
up to you, just kind of eyeball it and
| | 04:01 |
figure out where you want the split to
be and where the slider should go. We'll
| | 04:05 |
go ahead and click OK.
| | 04:07 |
Let's turn-off the bottom layer to
again illustrate that look of that.
| | 04:10 |
You literally punched a hole through those
bright pixels so that you can see the
| | 04:13 |
dark pixels underneath. And you get
a nice composite from using multiple
| | 04:18 |
exposures using your friend the Auto-
Align first to align the content of each
| | 04:23 |
layer up. That's the important first
step there. And then using the Advanced
| | 04:27 |
Blend sliders to actually decide
where you want the blend to occur.
| | 04:34 |
| | Collapse this transcript |
| Replacing the sky in an image| 00:00 |
So a pretty common request I get is how
do you drop out a sky, because I want to
| | 00:04 |
put a different sky behind the scene.
Here's a good example of that. I have got
| | 00:08 |
an image here where I like the
foreground but the sky is a little bit blown out,
| | 00:12 |
it's a little bit cyan, the cloud
detail is all gone. So I think a better
| | 00:15 |
sky would be this other image. I'm
going to turn off the Original Sky layer
| | 00:19 |
here, and you can see I have got a lot
more cloud detail there, it's prettier blue.
| | 00:23 |
So I want to drop out the sky of
the Original Sky layer so that I can see
| | 00:27 |
the New Sky layer underneath, okay.
| | 00:29 |
For now we are going to turn off the
New Sky layer just to kind of isolate it
| | 00:33 |
by itself. And yes, I could try to
figure out how we'll make a selection of here.
| | 00:37 |
I can use the Magic Wand tool,
I can use Color Range or whatever.
| | 00:42 |
But again I want to take advantage of the
fact that every layer in Photoshop has a
| | 00:46 |
built-in layer mask. To get it, you
just double click on the image thumbnail.
| | 00:50 |
That brings up the Layer Style dialog
box. And again our friend, the Advanced
| | 00:53 |
Blending sliders. You will see
it's defaulted to Blend if Gray.
| | 00:58 |
So if I take this white slider and
drag it to the left, it kind of does what
| | 01:03 |
I'm looking for but it's also getting
other areas of the image that I don't
| | 01:06 |
necessarily want. It turns out that
you can actually change the Blend if
| | 01:10 |
sliders to individual color channels. You can
change it from Gray to Red, Green, or Blue.
| | 01:16 |
Now, what color is the sky? It's primarily blue.
So I'm going to change this to blue.
| | 01:19 |
And now I have got a black to
blue slider instead of a black to white
| | 01:23 |
slider. So now when I drag the
triangle here at the end of the blue slider,
| | 01:28 |
it's going to only drop out the blues
of the image. All right, so I'm going to
| | 01:31 |
drag this to the left a little bit.
| | 01:33 |
Again, you just want to make sure you
get a nice transition zone. So I'm going
| | 01:36 |
to hold down the Option key or the Alt
key on Windows, and split the slider so
| | 01:40 |
I don't get such a harsh edge. Now you
will notice that there is some blue in
| | 01:44 |
the water here and that's getting
dropped out of transparency as well.
| | 01:47 |
That's okay. We'll deal with that in just a
second. I'm going to go ahead and click OK.
| | 01:51 |
And then if I turn on the bottom
layer you can see that I have come kind of
| | 01:55 |
close to where I want to go. I have
still got some issues to deal with,
| | 01:58 |
primarily here in the water.
So let's go deal with that.
| | 02:00 |
What I'm going to do is duplicate
this Original Sky layer. I'm going to do
| | 02:05 |
Command+J and what I want to do is mask
off this area here, all right, so that
| | 02:10 |
it doesn't get clipped by the layer
underneath. So I'm going to add a layer
| | 02:14 |
mask to this by clicking the Add Layer
Mask button. I'm going to go ahead and
| | 02:19 |
undo the Blend if sliders on this top
layer. I'm going to go ahead and double
| | 02:24 |
click on that and take these sliders
back to their starting point here. So now
| | 02:29 |
the water is completely opaque now
but I have unfortunately brought the
| | 02:32 |
original sky back. So
that's really easy to fix though.
| | 02:35 |
We are just going to do a really crude
mask on the top layer. We are going to
| | 02:38 |
get our Lasso tool, L for Lasso. I'm
going to switch to my Polygonal Lasso tool.
| | 02:42 |
It's just a little bit easier to
deal with. And I'm just going to make a
| | 02:44 |
rough selection just underneath the
sky around the outside edge here and just
| | 02:50 |
click at the beginning here. I'm
going to fill that selection on the layer
| | 02:53 |
mask, I'm clicking on the layer mask
here. I'm going to fill that with black.
| | 02:56 |
Black is my current background color,
so I'll just do Command+Delete or
| | 02:59 |
Ctrl+Backspace and I have knocked out
this top layer overlapping the masked
| | 03:06 |
area, the layer down below. So I get
that nice tree mask here. And then I can
| | 03:11 |
turn on the bottom layer
and see my resulting sky.
| | 03:13 |
Now if I need to fine-tune it, there
is a little halo there on the edge of
| | 03:16 |
those trees. So I just double click on
the Original Sky layer again and I just
| | 03:20 |
adjust the sliders a little bit. Drag
that down, drag the right slider down
| | 03:25 |
until I drop out the little white
fringe on the halo there, and click OK.
| | 03:29 |
So there I have it. There is my new
sky without actually having to paint each
| | 03:35 |
individual leaf by hand. Just using the
Advanced Blend sliders, switch it from
| | 03:39 |
its default Gray to Blue
and you are all good to go.
| | 03:44 |
| | Collapse this transcript |
| Splitting edges when sharpening| 00:00 |
So here's an image that I want to
sharpen. I'm going to go ahead and zoom up to
| | 00:03 |
Actual Pixels, Command+1. It's a good
idea to always sharpen at the Actual
| | 00:06 |
Pixels view. And what we want to do is
we want to sharpen the image but limit
| | 00:11 |
or hopefully eliminate the haloing that
can occur when you sharpen an image.
| | 00:15 |
By haloing you get these little pockets of white,
these little highlights that look unnatural.
| | 00:20 |
So remember when you sharpen an image
you are actually increasing the contrast
| | 00:23 |
of edge pixels. An edge is defined as a
light pixel next to a dark pixel.
| | 00:27 |
When you sharpen it, the dark half is getting
darker and the light half is getting lighter.
| | 00:32 |
Let's go ahead and begin by
duplicating our layer. We typically sharpen on a
| | 00:35 |
duplicate. Command+Option+J or Ctrl+
Alt+J to give it a name. We'll call it Sharpen.
| | 00:39 |
We'll use one of our sharpen filters.
We can go to Filter > Sharpen
| | 00:45 |
and then typically we use Smart Sharpen or
Unsharp Mask. This time I'll use Smart Sharpen.
| | 00:50 |
If you are going to use Smart Sharpen,
you want to change it from Gaussian Blur,
| | 00:53 |
the default, to Lens Blur. This
gives you a better sharpening effect to
| | 00:57 |
compensate for softening caused by the
lens. If you change it to Gaussian Blur,
| | 01:01 |
you are actually using the exact same
math that Unsharp Mask is using. So let's
| | 01:06 |
change to Lens Blur.
| | 01:08 |
And I'm going to use some values
here that kind of exaggerate the haloing effect.
| | 01:12 |
That's okay. I just want to
prove my point here and show you a way to
| | 01:15 |
manage this. I might use lower
numbers in real life but for now I go to 150,
| | 01:19 |
Radius of 1.2. I'm going to go ahead
and click OK. And the image does look
| | 01:23 |
sharper, if I turn that layer off,
there is before and there is after turning on.
| | 01:27 |
But you can these really aggressive halos.
| | 01:29 |
Now there is another technique that
requires you to use two different layers to
| | 01:33 |
control or split the edges of a
sharpening effect. Here we have one layer.
| | 01:38 |
We'll change it to Darken and that
gives us just the dark edge of the
| | 01:43 |
sharpening effect. If I duplicate this
layer, Command+J or Ctrl+J, and change
| | 01:48 |
it to Lighten, now I have the light
half of that edge sharpening effect.
| | 01:52 |
And I can control each one
separately by lowering their Opacity.
| | 01:55 |
Okay, I'm going to go ahead and delete
this Lighten layer because I can now do
| | 01:58 |
this with one layer. I'm going to
change the blend mode back to Normal.
| | 02:03 |
The Darken and Lighten technique using
multiple layers is fine, it's great, but
| | 02:07 |
when you graduate up and you
understand the Advanced Blending options,
| | 02:10 |
you realize you can do this with one
single layer. Instead of using a blend mode,
| | 02:14 |
we are going to double click on the
thumbnail here and we are going to use the
| | 02:16 |
Advanced Blending options.
| | 02:18 |
You will see here I have got a black
slider and a white slider. This is the
| | 02:21 |
black half of the edge, the dark half
of the edge, this is the light half of
| | 02:24 |
the edge. The sliders effectively let
you split the edges of a sharpening effect.
| | 02:30 |
Watch what happens when I move the
white slider to the left. You will see I'm
| | 02:33 |
able to fine-tune and control just how
much halo is actually introduced as a
| | 02:38 |
result of the sharpening. So I can just
take it down to right about there where
| | 02:42 |
I want some highlight enhancement,
just not as severe. Then hold down the
| | 02:45 |
Option key or the Alt key on Windows
and drag to the left to create a little
| | 02:50 |
slight transition zone,
just splitting the sliders.
| | 02:53 |
If you want to downplay the black
slider a little bit, you can as well to
| | 02:56 |
deemphasize some of the black edge
enhancement, hold down the Alt key or Option key
| | 03:00 |
to split the edges there as well.
And you have independent control over
| | 03:04 |
each half of the edge enhancement
when you do a sharpen effect. Pretty darn cool,
| | 03:09 |
single layer, just using your
friend the Advanced Blending sliders.
| | 03:15 |
| | Collapse this transcript |
| Displacing type around contours| 00:00 | With this technique, we are going to
blend or merge these letters into the
| | 00:05 | actual shape of the satin behind. We
want them to contour to the ripples of the
| | 00:10 | shapes of the satin there. So we are
going to use a Displace command to do
| | 00:14 | that, and displace needs something
called the Displacement Map. It's a
| | 00:18 | grayscale image or a grayscale channel
that it uses to distort whatever it is
| | 00:22 | that you want to map to
the contours of something.
| | 00:25 | So we want to use the image itself,
the satin, as a displacement map.
| | 00:29 | To do that, we are going to turn-off the
text layer here and we are going to switch
| | 00:32 | over to our Channels panel, and we
are going to look through the individual
| | 00:36 | channels. When you are creating
displacement map, you want to look for the
| | 00:40 | channel that gives you the most contrast.
| | 00:42 | So as I look between these three, it's
definitely the red channel, and the way
| | 00:46 | displacement works is anything that has
a highlight that's going to push things
| | 00:51 | up into the left, anything that has a
shadow is going to push the displaced
| | 00:54 | content down into the right. So you
are looking for that nice channel that
| | 00:59 | gives you that type of contrast.
| | 01:01 | Once you have identified the channel
you want to use, you can go ahead and go
| | 01:03 | to the Channels flyout menu and choose
Duplicate channel as a separate file.
| | 01:08 | Instead of the current document, we
are going to choose New and I'm going to
| | 01:12 | click OK and now this is a new file
with just the single Alpha channel in it.
| | 01:16 | We are going to go ahead and do a Save
As; File > Save As, and we'll save it to
| | 01:21 | our Desktop and just give it a name;
we'll call it Displacement Map. I already
| | 01:24 | have one here. I'm just going or
replace it, Displacement.psd, go ahead and
| | 01:27 | save it. You probably won't have one,
so for this case, we'll go ahead and just
| | 01:31 | replace the one I have, and we can close the
file then, and we don't need it open anymore.
| | 01:35 | So Command+W, Ctrl+W and we are back
to our other document that have the RGB
| | 01:40 | channels. We'll go ahead and click on
the RGB Composite Channel again and go
| | 01:43 | back to our Layers panel and turn-on
our Adobe layer again. So we want to
| | 01:48 | displace this text layer. I have got
it selected here in the Layers panel.
| | 01:52 | We'll go to Filter > Distort >
Displace, and this brings up a dialog box.
| | 01:59 | Unfortunately, you don't get any sort
of a preview here. So you will just have
| | 02:04 | to experiment. If you don't like with
the result, you just undo it and try it
| | 02:07 | again with different numbers. So
let's start with a displacement of 10 for
| | 02:12 | horizontal and vertical, and
let's just see what the results are.
| | 02:15 | You type in this numbers and just leave
the other settings at their default. Go
| | 02:18 | ahead and click OK, and it asks you
what do you want to use as a displacement
| | 02:22 | map? So we'll choose the Displacement.
psd file we just saved earlier. That's on
| | 02:26 | our Desktop. Go ahead and click Open,
and there it is. It contoured the text
| | 02:31 | against that displacement map.
| | 02:33 | Now I think a value of 10 was a little
bit too severe, it's a little bit too
| | 02:37 | distorted. So I'm just going to undo
it. Remember our keyboard shortcut to
| | 02:41 | reopen our last filter. Command+Option
+F or Ctrl+Alt+F will reopen the last
| | 02:47 | filter you used, and we are going to
go ahead and change these values.
| | 02:50 | Let's make them 6 and 6, let's say, and see
where that goes. Click OK; again, choose
| | 02:54 | the same displacement map. Go ahead
and click Open, and I think that's a much
| | 02:58 | better result. It's not as severe.
| | 03:01 | Now to finish this off, we wanted to
make it look a little bit more realistic.
| | 03:04 | It just looks like it's mingled text
floating on top of the satin. We actually
| | 03:07 | want the text to look like it has been
silkscreened and it's actually part of
| | 03:11 | the fabric itself. To accomplish
that, we are going to duplicate this
| | 03:14 | background layer, Command+J, Ctrl+J,
we'll move it to the top of the layer
| | 03:18 | stack, and then we are going to bring
up our Advanced Blending options to blend
| | 03:22 | this back down through the text.
Double-click on the thumbnail of the
| | 03:25 | Background copy layer, and we are going
to change the Blend If sliders, instead
| | 03:30 | of Gray, we are going to change them to Red,
because there is predominantly red in the image.
| | 03:34 | We will drag this white slider over
to the left and you will see that the
| | 03:38 | letters are starting to pop through.
I'm going to go to right about there, but
| | 03:42 | it's a harsh transition. I want to
bring back the rest of the letterforms
| | 03:45 | semi-transparently. So I'm going to
hold down the Option key or the Alt key and
| | 03:49 | split those sliders, and I'm going
to get a much more realistic blend.
| | 03:53 | There is no red value here. You are
just going to kind of eyeball at where you
| | 03:56 | want some of the letter to pick up
some of the shadowing of the satin sheet
| | 04:00 | there as well. So it's completely up
to you where you want these to be. I'm
| | 04:03 | going to go with right about there.
Just to show you the before and after, let
| | 04:07 | me move this out of the way and
turn-off the Preview checkbox.
| | 04:10 | There is before, and obviously
nothing, there is after. So you get a much
| | 04:13 | better result if you actually split
the sliders and do a nice transition. Go
| | 04:16 | ahead and click OK. So there you have
it, displacing text around the contours
| | 04:21 | of another image. The secret is to use
the Advanced Blending sliders to blend
| | 04:25 | the result back into the composite
original, so you get a nice transition of
| | 04:30 | distorted text with the original background.
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ConclusionGoodbye| 00:00 |
Woohoo! Congratulations! You've made it
through Photoshop CS4 Blend Mode Magic.
| | 00:05 |
I certainly hope you enjoyed the ride.
It was my pleasure to be able to share
| | 00:08 |
this content with you. My goal was
that you'd be inspired by the end of the course
| | 00:12 |
to start using blend modes
in your everyday Photoshop life and
| | 00:15 |
hopefully I have accomplished that goal.
| | 00:17 |
We will see you again on the Online
Training Library. Until then, happy blending!
| | 00:22 |
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