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Promising uses for the Divide mode


Photoshop CS5 One-on-One: Mastery

with Deke McClelland

Video: Promising uses for the Divide mode

All right in this exercise we're going to take a look at some practical application, semi-practical anyway, for the new Divide Blend mode inside a Photoshop. I've opened a couple of images, first Ghostly struggle.psd which represents where we last left off with this composition. Now, I couldn't help it notice that these guys are looking pretty freaky but their light-bulb doesn't match them at all, so how might I go about achieving a matching light-bulb. Well I am going to twirl open the lightbulb layer, and see if this makes sense to you. I am going to start by selecting sharpie lines which are very bright, as you may recall, and I'm going to brighten them up even more by switching from Screen to Color Dodge because, basically we have this color dodge/divide theme running through our composition at this point.
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  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 27s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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Watch the Online Video Course Photoshop CS5 One-on-One: Mastery
20h 1m Advanced Sep 30, 2010

Viewers: in countries Watching now:

In the all-new Photoshop CS5 One-on-One: Mastery, the third and final installment of the popular series, join industry expert and award-winning author Deke McClelland for an in-depth tour of the most powerful and empowering features of Photoshop CS5. Discover the vast possibilities of traditional tools, such as masking and blend modes, and then delve into Smart Objects, Photomerge, as well as the new Puppet Warp, Mixer Brush, and HDR features. Exercise files accompany the course.

Recommended prerequisites: Photoshop CS5 One-on-One: Fundamentals and Photoshop CS5 One-on-One: Advanced.

Topics include:
  • Using masks and blend modes in radically new ways
  • Mastering the Pen tool and Paths panel
  • Transforming and maximizing Smart Objects
  • Employing Smart Filters to create complex effects
  • Exploring the capabilities of Bristle brushes and the Mixer Brush
  • Merging multiple images into seamless panoramas
  • Exploring the full range of luminance with HDR Pro
  • Recording actions and batching-processing images
Design Photography
Deke McClelland

Promising uses for the Divide mode

All right in this exercise we're going to take a look at some practical application, semi-practical anyway, for the new Divide Blend mode inside a Photoshop. I've opened a couple of images, first Ghostly struggle.psd which represents where we last left off with this composition. Now, I couldn't help it notice that these guys are looking pretty freaky but their light-bulb doesn't match them at all, so how might I go about achieving a matching light-bulb. Well I am going to twirl open the lightbulb layer, and see if this makes sense to you. I am going to start by selecting sharpie lines which are very bright, as you may recall, and I'm going to brighten them up even more by switching from Screen to Color Dodge because, basically we have this color dodge/divide theme running through our composition at this point.

So that does end up giving us a similar effect, albeit in the wrong colors. So I'll expand my layer effects and I'll double-click on Color Overlay and I'm going to change that color to something like, let's say, 200 and that looks pretty darn good. I am going to leave Saturation and Brightness as is click OK, click OK again. All right, the lightbulb layer is very dark so instead of applying Color Dodge to it, to match everything else, I'm going to apply that mode that does the same thing but doesn't require me to apply any inversion first, and that's Divide.

So Color Dodge is going to brighten based on brightness where as Divided is going to Brighten based on darkness so I'll go ahead and choose that Divide filter and sure enough, we end up with a brightly lit lightbulb. All right the glows is the wrong color, so I'm going to go ahead and change its Hue value to 200 here inside the Color panels, so I'll change the Hue value for starters to 200, 65 and 100. And then, once I've entered that value, I'll press Shift+Alt+Backspace or Shift+Option+Delete in order to apply that foreground color to the glow inside the lightbulb, and then I'm going to advance to Blend modes this time.

I am going to press Shift+Plus for Color Dodge that looks terrible, and then I am going to press Shift+Plus again for the Linear Dodge mode. And we end up achieving this effect. So a combination of Color Dodge and Divide working together... All right, that's not super practical though, that's just a wacky effect. Let's go ahead and switch over to this Divide mask.psd document that I've prepared for you. This is yet another approach to masking this particular image. And you may recall back in the masking chapter that I used a couple of big approaches, one was to exaggerate the differences inside of my RGB image using a combination of Dodge and Vibrance and so on and then I exaggerated the differences further by merging Channels together using the Calculations command.

Well, this time I'm going to exaggerate the differences here inside the RGB image, using the Divide mode. So here's what I've done. I'll go ahead and zoom out for my image to, let's try 40% and see if the image fits. Yes, it does. And notice I've got this foreground layer and that is the photograph itself, just popped onto a layer. I'll go ahead and turn it off for a moment, because in the background here I have this thing called background simulation. So it's the only layer on at this point; and that is totally a drawn layer.

I drew it using the Gradient tool actually. So here's what I did. I was just trying to simulate the Gradient that was a work inside the original photograph. So I'll go ahead and turn on the foreground layer and I'll get my eyedropper just to show you how I did this. I went ahead and clicked in a bright region of the image in order to lift that bright color as a foreground color and then I Alt+Click or Option+Click in a the dark area, like down here in the lower right corner of the image, in order to lift the background color. So notice that I've changed both the foreground and background colors now.

Then I created the new layer that I called background simulation. I went ahead and got my Gradient tool. I made sure I was drawing the gradient from the foreground to background color there, and then I switched to a Radial Gradient and I drew a Gradient more or less like this. Now, that end up over brightening my screen, as you can see, so I added a couple of Linear Gradients coming in from the sides. So I created those by flipping my foreground and background colors, so that the dark color is now the foreground color, I switched over to my Linear Gradient and I also switched the style of Gradient to Foreground to Transparent, and then I went ahead and dragged in from the corners, like so.

So this is a pretty rough approximation of what I did but it was something along those lines. Anyway, I am going to go ahead and press Ctrl+Alt+Z or Command+Option+Z a few times, so I undo back to the more carefully drawn version of the background. But that was the approach. Probably took me about two minutes. I didn't spend that much time on it. All right, I am going to switch back to my Rectangle Marquee tool. Now next, I figured that wasn't all that exact. I had sit there and turn on the foreground layer and look at it and say, hah! You know that's not bad, turn it back off. That looks pretty good actually, but I bet there's bigger differences that work than this.

So then I just set about using the Rectangle Marquee tool, like so, in order to select regions of the background without selecting any of the hair or any of the arms or any of the dress or anything like that. I just wanted to get rough regions of background and I also use the Polygonal Lasso tool a little bit, and what I ended up coming up with was this layer right there it's called actual. I'll go ahead and turn off the other two layers so we can see what it looks like. So, in other words I used this selection to jump the contents of the foreground layer and then I moved in it back, renamed it actual, the idea being these are actual colors from the background of the foreground layer.

So you can see when I turned foreground back on, you are not seeing any kind of change in those regions. However, if I combine actual with background sim, which is the background simulation, then I am seeing quite a few differences there. All right, so that's just there to serve as my base; now I am going to turn on foreground, and I'm going to selected it to make it active. Now I could figure out what kind of differences exist by choosing the Difference mode for this foreground layer, and I'd get this effect right there. But it lacked the punch I was looking for and that wasn't really bringing out the hair details very well.

In impression, with Difference is that it doesn't work so well with hair. It works great for big details, smooth contours, all that jazz, but when you have small tendrils of hair you're better off using your Add mode, your Subtract mode that kind of thing, as we saw back in the Masking chapter. Your Divide mode might also serve you pretty well; the problem with it is it just absolutely sends the colors over the top so you get these outrageous luminance levels, because once again you're dividing numbers between zero and one and so dividing any number produces a larger number and therefore a brighter luminance level.

Well what you have to do then is follow it up with a level of darkening. So I applied this Levels adjustment in back of the Divide layer there and I'll go ahead and turn it on. And that dramatically darkened this background information and I'll show you how I put it together, I'll go ahead and double-click on the thumbnail. This is all I did; I just took the last value, which is that second Input/Output levels value, and I reduced it to a 110. So I am saying that the brightest color is no longer 255, but instead, it's just going to be 110, right there.

And that sunk the brightness. We're not dividing by such bright colors anymore and therefore we're getting a darker mix. And notice how well the hair stands out, it's looking really good. All right, so at this point I would probably now, having exaggerated the RGB image, and I've brought out not only the hair but I have done a darn good job on the right side of the dress and on the inside edge of this right arm. And I can probably work it so that these blue regions stand out nicely from the warm or less saturated regions next of them. Anyway, I start my work on the hair so I go the Image menu and choose the Calculations command, and actually the default settings don't work half bad this time, we're just multiplying the red channel by itself, by default.

I am going to go ahead and switch one of the channels to Blue so that we are merging the Blue Channel with the Red Channel behind it. And I might experiment with one of the other modes such as Subtract, just if nothing else to remind you that we've already seen the Subtract mode inside of Photoshop, so I'll go ahead and choose Subtract. Now, this is fairly over-the-top at this point, we should invert one of the channels, I am going to invert the Blue Channel here. And we're still getting a very bright effect, because of my high Offset value. I am going to take that guy down, and I believe I figured out that an offset of 80 works pretty well for this image.

And sure enough it does. That keeps some of these very small tendrils of hair while it darkens the background quite nicely. We're losing the blue details, we would have become back to those in the second pass. But we are keeping the right side of the dress as well the inside edge of the right arm and so forth. Then I would click OK. And notice that I have created a new alpha channel, here inside the channels panel, and I can go ahead and call it divide mask, if I wanted to, or something along those lines and proceed from there. So there you have it, a couple of uses for the new Divide Blend mode, here inside Photoshop CS5.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Mastery .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
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