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Photoshop Masking and Compositing: Advanced Blending

Adding clarity with a contrast mode


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Adding clarity with a contrast mode

In this exercise I'll show you a couple of really great filtering effects that you can pull off using Overlay and a couple of the other contrast modes. Now the first thing I'm going to do is duplicate this layer. Press Ctrl+Alt+J or Command+Option+J on the Mac, and I'll call this layer portrait and then click OK. And now, just so that we have as much flexibility where the filtering process is concerned as possible, let's convert this layer to smart object by going up to the Layers panel fly-out menu and choosing the Convert to Smart Object command, and now let's say we want to apply a kind of sharpening effect.
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  1. 1m 43s
    1. Welcome
      1m 43s
  2. 33m 15s
    1. When in doubt, blend
      2m 20s
    2. Where to find blending options
      4m 10s
    3. 27 blend modes, 6 groups
      4m 23s
    4. Opacity vs. Fill Opacity
      4m 41s
    5. The "Fill Opacity Eight"
      4m 59s
    6. Blending adjustment layers
      4m 43s
    7. Blend mode shortcuts
      7m 59s
  3. 27m 3s
    1. The power of standardized arithmetic
      6m 58s
    2. Photoshop's blending formulas
      5m 27s
    3. Darken formulas vs. lighten formulas
      4m 15s
    4. Contrast mode formulas
      7m 28s
    5. Inversion, cancelation, and HSL
      2m 55s
  4. 17m 50s
    1. Normal mode vs. Dissolve mode
      2m 11s
    2. Making a dynamic Dissolve effect
      2m 21s
    3. Creating a Dissolve text effect
      4m 48s
    4. The Behind and Clear modes
      3m 2s
    5. Filling a stroke with Behind and Clear
      5m 28s
  5. 43m 24s
    1. Darken vs. Darken Color
      4m 25s
    2. Creating filter effects with Darken
      5m 0s
    3. The Multiply and Burn modes
      6m 27s
    4. Cleaning up scanned line art
      7m 30s
    5. Comping line art against a photo
      5m 12s
    6. Colorizing comped line art
      5m 14s
    7. Masking with a darken mode
      3m 59s
    8. Refining a mask with Multiply
      5m 37s
  6. 33m 36s
    1. Lighten vs. Lighter Color
      2m 29s
    2. Creating filter effects with Lighten
      2m 47s
    3. The Screen and Dodge modes
      4m 35s
    4. Blending white type, darkening shadows
      3m 2s
    5. Creating a classic double-exposure effect
      3m 49s
    6. Making dark line art bright
      5m 11s
    7. Masking with a lighten mode
      5m 4s
    8. Refine, filter, and blend
      6m 39s
  7. 35m 18s
    1. Overlay, Soft Light, and Hard Light
      5m 2s
    2. Vivid, Linear, and Pin Light
      4m 2s
    3. The amazing Hard Mix mode
      3m 51s
    4. Two variations on a single mode
      5m 37s
    5. Adding clarity with a contrast mode
      4m 9s
    6. Creating a glowing, soft-focus effect
      3m 38s
    7. Blending an image with a paper texture
      4m 11s
    8. Turning flesh into stone
      4m 48s
  8. 18m 10s
    1. Difference, Exclusion, Subtract, and Divide
      7m 7s
    2. Comparing seemingly identical images
      3m 25s
    3. Creating type that inverts any background
      3m 30s
    4. Making inversion type black and white
      4m 8s
  9. 16m 57s
    1. Luminosity, Color, Hue, and Saturation
      3m 29s
    2. Colorizing artwork with layers
      7m 24s
    3. Correcting skin tones with Hue
      6m 4s
  10. 14m 57s
    1. Using the This Layer slider option
      6m 44s
    2. Using the Underlying Layer slider option
      3m 16s
    3. Achieving greater control with Blend If
      4m 57s
  11. 48s
    1. Next steps
      48s

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Photoshop Masking and Compositing: Advanced Blending
4h 3m Intermediate Nov 28, 2011

Viewers: in countries Watching now:

Advanced Blending is the second installment in Deke McClelland's series on making photorealistic compositions in Photoshop. The course explores blending options and shows how to use them to create sophisticated effects and seamless compositions, often without masking. Beginning with the basics of blending layered images, the course sheds light on the formulas behind the Photoshop blend modes and shows how to comp scanned line art, create double-exposure effects, correct skin tones, and work with the luminance sliders.

Topics include:
  • Assembling dynamic Dissolve effects
  • Filling and stroking with Behind and Clear
  • Cleaning up and compositing scanned line art
  • Understanding the darken, lighten, and contrast modes
  • Refining a mask with Multiply and Screen
  • Creating a glowing, soft-focus effect
  • Blending images with textures
  • Comparing two seemingly identical images
  • Creating type that inverts everything behind it
  • Colorizing artwork with layers
  • Achieving greater control with the Blend If option
Subjects:
Design Masking + Compositing
Software:
Photoshop
Author:
Deke McClelland

Adding clarity with a contrast mode

In this exercise I'll show you a couple of really great filtering effects that you can pull off using Overlay and a couple of the other contrast modes. Now the first thing I'm going to do is duplicate this layer. Press Ctrl+Alt+J or Command+Option+J on the Mac, and I'll call this layer portrait and then click OK. And now, just so that we have as much flexibility where the filtering process is concerned as possible, let's convert this layer to smart object by going up to the Layers panel fly-out menu and choosing the Convert to Smart Object command, and now let's say we want to apply a kind of sharpening effect.

I'll go up to the Filter menu and then I'll choose the High Pass command, and because of the way it's build High Pass does a better job of eliminating clipped highlights and shadows in this Smart Sharpen command does, which often makes it a better tool for sharpening portraits, so I'll go ahead and choose that Command. Now initially if I were to set the Radius to something like 3 pixels let's say, the effect is not going to look too good. We're sending most of the image to gray, and we're just keeping a little bit of shadow and highlight detail around the edges, but that's the whole point.

The beauty of this is gray is neutral when you apply Contrast modes, so you can make all that grayness go away. So I'll click OK in order to accept that affect. I'm going to right-click inside of that Filter mask and choose Delete Filter Mask to get rid of it, and then I'll double click on a little slider icon to bring up the Blending Options dialog box, and I'm going to switch the mode to Overlay. and we end up with this sharpening effect right here. Now I'll go ahead and click OK in order to accept the change. I'll zoom in a little bit as well, so that we can see her eye a little more closely, and I'll turn off the effect for a moment.

This is the before version of the image, and this is the after version. So it's pretty subtle right now, and it might be a little too subtle for your taste. In which, case double-click on the slider icon again, and now let's go ahead and switch the mode not to Soft Light, because we don't want to reduce the effect, although if we did, that would be a great mode. Not to Hard Light, because we're not going to get a different affect, because it is the same darned images. Vivid Light isn't really what we're looking for this effect. If you wanted to bump it up, then you'd go for Linear Light and that's going to give you the most heightened effect possible.

There's something to note about this Opacity value, you can go ahead and reduce it, but it's not Opacity, it's Fill Opacity. Let me show you that that's the way it works. I'm going to switch to Hard Mix for a moment here, so you can see just how ridiculously over-the-top the effect is. If I reduce it to 50%, notice how well it merges, that's not a standard 50% Opacity, that's the 50% Fill Opacity and so not only does this opacity value behave as Fill Opacity here inside the Blending Options dialog box, but it behaves that way when you apply layer effects as well.

So bear that in mind, and by the way, it's not something to watch out for, it's strictly great news. Anyway, I'm going to switch this back to Linear Light, and I'm going to crank the Opacity value back up to 100% for now, so I can show you, if I zoom out here, you can pretty clearly now see the effects of the sharpening, this is the original version of the image, if I turn the effect off, and this is what it's look like now. Let's say though you're not really looking for sharpening, you're looking for clarity, which is to say a little bit of edge contrast, but something with a wider diameter, then double-click on where it's High Pass to bring back up the High Pass filter dialog box, and let's crank the Radius value up to a 100 pixels now, and click OK.

Obviously, that's too big of an effect, so then you double-click on the slider icon and take that opacity value down to say 20% or so and click OK, and because it's Fill Opacity, we end up getting this pretty darn subtle effect, this is what the image looked like before, and this is what it looks like now. So the result is a subtle application of clarity. Thanks to this very flexible application of the High Pass filter subject to Overlay and Linear Light.

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