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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
In this movie, I'll demonstrate how to work with the final group of blend modes, which are Hue, Saturation, Color, and Luminosity. Together they make up the component modes, so called because these blend modes divide an image into its color components. Now, I'll be discussing these blend modes in opposite order, because that's the easiest way to understand them. I'll switch over to this image of the model against the sky. You can see that she has a layer mask, which will become important in just a moment. Now, let's say I want to keep all the detail information that's associated with the model, but I want to let the blues from the background show through.
Any time you want to keep the Luminance levels for the active layer, then you change the blend mode in the upper left corner of Layers panel from whatever it is -- Normal in my case -- to Luminosity. And notice now we can see all the detail of the model, but we're seeing the color of the clouds show through in the background. Now you may ask, well why are we seeing the luminance levels of the clouds outside of the model? And that's because of the layer mask. If I where to Shift+Click on this layer mask thumbnail to turn it off, then you can see now we're overriding the background luminance, and we're just seeing the colors from the clouds and the sky.
All right, I'll go a head and Shift+Click on the layer mask thumbnail to turn it back on. The opposite of Luminosity is the next blend mode up, and that's Color, and let me show you how that works. I'll go ahead and click on the sunlight layer to make it active, and turn on as well. Let's say we're not interested in any of the luminance information in this layer, but we do want to colorize a composition using this layer. Then with that layer active, you go to the blend mode pop-up menu once again, and this time choose Color, and now we're seeing the color from the sunlight layer, and the luminance information from the composite version of the two layers below.
All right, now we'll go and turn that sunlight layer off for a moment. Here I am playing around in my image, and I decide to click on the model layer once again. And in reviewing this composition, it bothers me that I can see the contours of the clouds, because of the saturation levels that are showing through. So sometimes we have these low saturation clouds coming into the model, and other times we see this high saturation sky, and interferes with our view of the model, I think. And so what I would like to do is retain the model's saturation levels. In other words, I'd like to go ahead and apply not only the Luminosity blend mode, but the Saturation blend mode as well.
Well that's not possible in Photoshop. You can't apply a combination of two modes to the same layer. So if that's the effect you're looking for, you will have to create a copy of layer. And I'll do so by pressing the Escape key, so my blend mode option isn't active here in the PC. And I'll press Control+Alt+J, or Command+Option+J in the Mac, in order to create a copy of this model layer, and I'll call it saturation, and then I'll click OK. And now I'll go a head and switch to the blend mode to Saturation. And by the way, Color, and Luminosity, as I was telling you; they are commuted versions of each other.
So if you prefer, they are blend mode opposites. Color is divided into these two ingredients; it's a combination of Hue and Saturation working together. I'll go ahead and choose Saturation, and you can see now we've got more uniform saturation levels that work inside the model, while still lifting those blues from the sky. All right, now I'll go ahead and click on that sunlight layer, and turn it back on. We've got all these garish oranges and yellows from the sunlight layer. Let's imagine I really like that combination of saturation and luminance that's at work in the layers below sunlight.
So if I want to keep all that luminance and saturation, I'll turn sunlight back on, and instead of choosing Color, I'll apply Hue instead, and we end up getting this more organic effect. All right, one more cool color trick I want to show you here. I am going to go ahead and turn off the top two layers, and click on the model layer to make it active. Press Shift+Alt+N, or Shift+Option+N on the Mac, in order to return it to the Normal mode. So we're seeing that same view of the image we saw the outset of this movie. Now let's say you want to invert just the colors inside the image.
You don't want to invert the Luminosity levels; just color. Then you'd drop down to the black/white icon at the bottom of the panel, click on it, and choose Invert to create an Invert adjustment layer. There are no properties, so I'll hide the Properties panel, and then you'd switch to the Color blend mode, which you can do from the keyboard, by the way, by pressing Shift+Alt+C, or Shift+Option+C on a Mac, and that allows us to invert the colors inside the image, while leaving the luminance information entirely unmodified. And that's how you exploit the power of the component modes, which are, in opposite order, Luminosity, Color, which is Luminosity's opposite, and then the two ingredients that make up color: Saturation, and Hue.
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