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Reducing luminance contrast

From: Photoshop Smart Objects

Video: Reducing luminance contrast

I saved my changes as Non-filter man. psd, found inside the 06_filter_masks folder and you can see that the Shadows /Highlights non-filter is applied with its default settings to the Smart Object so that it appears at the top of the filter stack. Now I am going to go ahead and zoom in for a moment here, so that we can see even after expanding the heck out of the shadow detail inside this image, way too much, I've gone way too far with this effect. But even so I am not bringing out the color noise, because the application of this Median filter right there. So I were to turn off Median for a moment, you could see quite a bit of color noise there in the jaw for example and extending into the chin.

Reducing luminance contrast

I saved my changes as Non-filter man. psd, found inside the 06_filter_masks folder and you can see that the Shadows /Highlights non-filter is applied with its default settings to the Smart Object so that it appears at the top of the filter stack. Now I am going to go ahead and zoom in for a moment here, so that we can see even after expanding the heck out of the shadow detail inside this image, way too much, I've gone way too far with this effect. But even so I am not bringing out the color noise, because the application of this Median filter right there. So I were to turn off Median for a moment, you could see quite a bit of color noise there in the jaw for example and extending into the chin.

So this is with color noise and without Median. This is with Median and without color noise. Notice throughout this whole thing I still have Color Halftone just sitting there. You know what? That's just kind of confusing. So I'm going to right-click on Color Halftone and I am going to choose Disable Smart Filter, because we don't need that there anymore. Now I'll go ahead and zoom out a little bit. The truth is that we do not need nearly this much shadow expansion inside of this image. So by default the Shadows/Highlights filter is something of a mallet, really.

It just goes in there and bludgeons the shadow detail like crazy, expands it, so it is much brighter and doesn't do anything for the highlights. I don't really care for the effect by default, but you can modify Shadows/Highlights to get some really great results. So that's what we're going to do. For starters, I wants you to double- click on the little slider icon right there to bring up the Blending Options dialog box and let's go ahead and change the mode from Normal to Luminosity, because again, by default Shadows/Highlights goes ahead and increases the saturation of the image in a way that I very much do not care for.

So I'm suggesting we choose Luminosity to get rid of any color modifications. That's going to restore the original color scheme inside the image. It's going to look quite drab now, but that's because we've over-brightened the shadows and in over-brightening the shadows what you end up doing is you flatten out some of the luminance information inside the image, which ends up lowering the saturation. It basically defeats the saturation inside the photograph. Anyway, click OK in order to accept the blend mode change. Then what I'd like you to do is double-click on Shadows/Highlights.

Now notice I want you to see something before I do this. If I were to drag High Pass and put it on top of Shadows/Highlights, they are both edge enhancement features, so it really doesn't matter which order you apply them in. So this what the image looks like with High Pass on top. I'll go ahead and press Ctrl+Z, Command+ Z on the Mac and this is what the effect looks like with Shadows/Highlights on top. So there is a difference. This is High Pass on top and this is Shadows/Highlights on top. There is a difference. It's just not what I would call a qualitative difference and it's pretty difficult to see.

So my point is before working on Shadows/Highlights, better to have Shadows/Highlights on top. If we're working on high pass, better to have High Pass on top like so. Because, let's say I am working on Shadows/ Highlights, I want to make some change to it. If I double-click in that filter name, I am going to get that irritating message that says you're just going to be able to see Shadows/Highlights and Median. You're not going to be able to see High Pass, because it's above the filter you're editing. And sure enough, click OK, High Pass gets turned off while I make my modifications. Better-- I'll go ahead and cancel out-- to put Shadows/Highlights on top or at least put the filter that you're working on top, if it doesn't make much of a difference what the filter order is.

Now if I was working on Median, it would make a big difference if it was on top. So I need to leave it down below in order to make my modifications. All right, so anyway, I am working on Shadows/Highlights. I am going to put it on top. Double-click on it in order to bring up the Shadows/Highlights dialog box and I am going to reduce the Amount value to 20%, something much more reasonable than what I had before and I am going to go ahead increase the Amount value to 10% like so. Then I'll click OK in order to accept that modification.

Now just to give you a sense of what the difference is, this is before with the over expanded shadows. This is after with what I consider to be the much better shadow and highlight information. So just go ahead and bring that up again. By increasing the Highlights value I'm darkening the highlights as you can see, and this is happening on an edge basis. So it's very much the same thing we were seeing with High Pass. That is where Photoshop is going in and adding light halos in the light edge and dark halos in the dark edge, except switch the equation around.

It's actually adding dark halos on the light edge and it's adding light halos on the dark edge and what that's ending up doing is reducing the contrast around the edges. So it's producing pretty much the opposite effect of High Pass at this point. Because I was happy that is with Highlights Amount value of 10%. Click OK in that case, and then to see what contribution the new settings make to the image in general, I'll turn off Shadows/Highlights, so this is how the image looked when we opened it in the previous exercise.

Then I'll press Ctrl+Z, Command+Z on the Mac to see the changes I've made with Shadows/Highlights. So even though they are theoretically opposite effects, Shadows/Highlights and High Pass, they worked very nicely together for correcting the luminance levels inside of this image.

Show transcript

This video is part of

Image for Photoshop Smart Objects
Photoshop Smart Objects

95 video lessons · 21563 viewers

Deke McClelland
Author

 
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  1. 17m 13s
    1. Welcome to Photoshop Smart Objects
      59s
    2. Installing the dekeKeys keyboard shortcuts
      4m 18s
    3. Installing the CS4 color settings
      4m 15s
    4. Loading the CS4 color settings in Photoshop and Bridge CS4
      7m 41s
  2. 1h 12m
    1. Nondestructive transformations
      1m 14s
    2. The purpose of Smart Objects
      5m 17s
    3. The trials of destructive transformations
      5m 1s
    4. Creating a Smart Object
      6m 36s
    5. The rewards of nondestructive transformations
      4m 29s
    6. Preparing a composition for masking
      4m 59s
    7. Establishing a base alpha channel
      6m 25s
    8. Masking a Smart Object
      7m 3s
    9. Refining the layer mask
      6m 50s
    10. Multiplying the edges
      4m 17s
    11. Manually adjusting the problem edges
      6m 3s
    12. Free Transform feedback
      5m 14s
    13. The ultimate nondestructive crop
      9m 8s
  3. 1h 19m
    1. Photoshop and its support applications
      1m 45s
    2. Creating a Camera Raw (ACR) Smart Object
      5m 8s
    3. Converting a JPEG image to DNG
      4m 47s
    4. Replacing pixels with Camera Raw data
      5m 27s
    5. Matching image and ACR resolution
      4m 25s
    6. Adjusting ACR Smart Objects
      5m 33s
    7. Importing Illustrator artwork
      6m 13s
    8. Opening placed art in Illustrator
      5m 51s
    9. Examining dynamic effects
      7m 9s
    10. Modifying Illustrator artwork
      5m 20s
    11. Updating an Illustrator Smart Object
      4m 20s
    12. Styling placed artwork in Photoshop
      3m 33s
    13. Combining layer effects and adjustment layers
      5m 14s
    14. Copying a layer from a clipping group
      5m 0s
    15. Scaling vector data beyond 100 percent
      3m 9s
    16. Blending vector data with pixels
      2m 10s
    17. Saving PDF-compatible Illustrator art
      4m 23s
  4. 1h 26m
    1. Many Smart Objects reference a single source
      1m 9s
    2. Smart Objects and file size
      5m 11s
    3. Placing images as Smart Objects
      4m 44s
    4. Creating a basic lens flare
      5m 43s
    5. Turning a flare into a black hole
      6m 2s
    6. Establishing a first true clone
      4m 9s
    7. Finding the exact center of an image
      2m 37s
    8. Reflecting additional clones
      4m 55s
    9. The art of upsampling
      7m 45s
    10. Editing the root image
      5m 37s
    11. Updating all true clones
      3m 29s
    12. Roughing in a polygonal mask
      7m 13s
    13. Parametric Feather and Glow
      7m 12s
    14. Smart sharpening Smart Filter
      5m 36s
    15. Adding highlights and vibrance
      7m 10s
    16. Luminance blending
      8m 18s
  5. 49m 7s
    1. Placing one Smart Object inside another
      1m 9s
    2. Creating a super-massive Smart Object
      7m 9s
    3. Styling a super-massive Smart Object
      4m 29s
    4. Recoloring background regions
      4m 42s
    5. Cloning a super-massive Smart Object
      5m 56s
    6. Finishing off the first draft
      5m 4s
    7. The plasma ball effect
      4m 45s
    8. Applying the Smart Clouds filters
      4m 57s
    9. Converting clouds to lightning
      5m 4s
    10. Updating nested Smart Objects
      5m 52s
  6. 1h 14m
    1. Editable, nondestructive filters
      1m 24s
    2. Applying and modifying creative effects
      6m 54s
    3. Blending filtered effects
      6m 24s
    4. Tweaking filters with adjustment layers
      4m 14s
    5. Restoring halftone highlights
      4m 25s
    6. The price of Smart Filters
      5m 56s
    7. The power of true clones
      7m 13s
    8. Sharing between Smart Objects and comps
      8m 45s
    9. Just click on it
      1m 50s
    10. Applying a corrective filter
      5m 24s
    11. Smart Filters and disk space
      3m 46s
    12. Picking the right blend mode
      6m 36s
    13. Combining multiple Smart Filters
      6m 13s
    14. Editing and previewing filter settings
      5m 27s
  7. 1h 44m
    1. Still more Smart Filters
      1m 3s
    2. Introducing the non-filters
      4m 15s
    3. Reducing luminance contrast
      5m 19s
    4. Faking an HDR portrait effect
      7m 20s
    5. Adding a filter mask
      3m 22s
    6. Editing filter masks and density
      4m 26s
    7. Applying Variations as a Smart Filter
      7m 24s
    8. Establishing independent filter masks
      4m 51s
    9. Painting away unwanted halos
      6m 28s
    10. Creating a wood grain effect
      6m 2s
    11. The luminance-style filter mask
      6m 23s
    12. The downside of independent filters
      5m 11s
    13. Merging the effects of two filters
      4m 38s
    14. Adjusting and merging masked effects
      6m 26s
    15. Introducing the Filter Gallery filters
      4m 39s
    16. Applying a Filter Gallery filter
      5m 57s
    17. Merging two Filter Gallery effects
      7m 16s
    18. Adjusting the colors of Sketch filters
      5m 2s
    19. Adding a third filter to a combo
      4m 58s
    20. The versatility of Smart Filters
      3m 2s
  8. 1m 31s
    1. Goodbye
      1m 31s

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