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Photoshop Masking and Compositing: Advanced Blending
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Creating a glowing, soft-focus effect


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Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: Creating a glowing, soft-focus effect

In this exercise I'm going to show you another really great contrast modes filtering effect. That's pretty much the opposite of what we saw in the previous movie. Rather than adding clarity or contrast, we're going to add a kind of glow to the image using Gaussian Blur, and even if you've seen this effect demonstrated before, I have come up with a variation on it, that I think makes it a lot more successful. And with this portrait smart object layer selected, I'm going to turn off High Pass, because we don't want it on for this 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

Creating a glowing, soft-focus effect

In this exercise I'm going to show you another really great contrast modes filtering effect. That's pretty much the opposite of what we saw in the previous movie. Rather than adding clarity or contrast, we're going to add a kind of glow to the image using Gaussian Blur, and even if you've seen this effect demonstrated before, I have come up with a variation on it, that I think makes it a lot more successful. And with this portrait smart object layer selected, I'm going to turn off High Pass, because we don't want it on for this effect.

Then go up to the Filter menu choose Blur and choose Gaussian Blur, and I'm going to apply a big Radius value of 20 pixels, and then click OK. The next step is to double-click on the slider icon and change the mode from Normal to Overlay, and you can experiment with the other contrast modes if you want to, but I'm going to stick with Overlay, and I'll click OK. Now you can see how that does give the image a kind of balance. If I turn Gaussian Blur off, this is the original version of the photograph, and then this is the modified version, so it servers a couple of different purposes.

It's great if you just want to add a kind of bouncing glow effect, but it can also be useful for covering that pores and other skin details and blemishes. However, here is the problem. Notice the saturation levels when I turn Gaussian Blur off, and then when I turn it back on. Basically we're getting a heck of a lot more saturation, and it may work to the images advantage, but then again, it may not. The problem is and the reason we didn't see that where High Pass was concerned, is because High Pass was generating grayish results, where Gaussian Blur is generating very colorful results.

So the colors are building on each other, thanks to the Overlay mode, and we end up punching out those saturation values. What if that's not what you want, but if you want to leave that saturation alone? Well, you do a couple of things. First of all you double-click on that slider iconic again, and you reset the mode from Overlay back to Normal, and then you click OK. Now for this to work, you need two separate versions of the image, one of which has to be a smart object as ours is, and then another version, which is the original smart object or not.

Now you go up to the blend mode pop-up menu here in the Layers panel and you change it to Overlay. We get the exact same effect by the way, but now we have a little more control over what's going on. Now I want you to press the Alt key or the Option key on the Mac, click the black white icon at the bottom of the Layers panel, and choose the Vibrance command this is the best adjustment for this purpose and let's go ahead and call this new layer desat and turn on the checkbox that says Use Previous Layer to Create Clipping Mask, click OK, because we're clipping this adjustment layer or reducing the contrast of the smart object layer, but not the composition overall.

Now notice we take the saturation value all the way down to that should be -100, then we're actually depleting the saturation of the overall image, that's not what we want. Instead if you want to maintain the original image saturation, you take that saturation value down to -50, and that's it, don't touch the vibrance. I'll just go ahead and close the Adjustment panel and you can see that if I turn off this smart object layer now, that's the original version of the image, that's the original level of color saturation as well.

If I turn the portrait layer back on, you can see that we have the same level of color saturation, while still maintaining that nice bounce of glow, from the Gaussian Blur filter, combined with Overlay.

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