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Photoshop Masking and Compositing: Advanced Blending

The Screen and Dodge modes


From:

Photoshop Masking and Compositing: Advanced Blending

with Deke McClelland

Video: The Screen and Dodge modes

In this exercise we'll take a look at the more robust lightning modes which include screen which is your Go To mode where lightning is concerned as well as the two Dodge modes, Color Dodge and Linear Dodge add. And I'm going to go ahead and zoom in on the image so that we can see it at the 100% view size. And I'll switch the Blend Mode from Normal to the first of the light modes, Lighten, and you can see that we end up keeping the lightest pixel on a channel-by-channel basis which ends up creating some fairly harsh transitions in a few spots.
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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

The Screen and Dodge modes

In this exercise we'll take a look at the more robust lightning modes which include screen which is your Go To mode where lightning is concerned as well as the two Dodge modes, Color Dodge and Linear Dodge add. And I'm going to go ahead and zoom in on the image so that we can see it at the 100% view size. And I'll switch the Blend Mode from Normal to the first of the light modes, Lighten, and you can see that we end up keeping the lightest pixel on a channel-by-channel basis which ends up creating some fairly harsh transitions in a few spots.

So some of the pixels end up remaining entirely opaque, other pixels drop away entirely to transparency and then there's a variety of pixels that get along differently on a channel-by-channel basis. Compare that to what happens when we switch to the Screen Mode, which I'm going to do by pressing Shift+Plus, because Shift+Plus always advances to the next mode in the list. And notice that now we get a uniform brightening mode, we're not left with any harsh transitions. The only color that drops out entirely is the black of the background; otherwise even very dark colors brighten with white brightening absolutely.

Now because of the underlying math associated with screen, you don't end up getting any clipping. Nothing clips to white in other words, unless it was already clipped to white in one of the blended layers. And in our case what that means is we create this nice uniform ghosting effect. I'm going to zoom back out by pressing Ctrl+0 or Command+0 on the Mac, and for the moment I'm going to turn off that gang layer and click on the night layer down below. And notice if I turn that layer off there is another layer below it, this texture layer, and by the way, I should say, all these photographs come from the Fotolia Image Library.

All right, let's say we want to create an interaction between these two layers, I'm going to go ahead and click the night layer to turn it on and I'll switch to the Screen Mode, this time by using a shortcut, which is Shift+Alt+S or Shift+Option+S on the Mac, and you can see that we end up with this wonderful blend between these two very dark layers. None of the luminance levels entirely clip by the way, so the reason this moon is so bright is because it was already very bright in the first place, but we do have differences between the neighboring pixels. Well, let's compare that to what happens if I switch to one of the Dodge modes, and I'll do so by pressing Shift+Plus once again, which in this case takes me to the Color Dodge mode.

Notice now some of the luminance levels actually settle down, some of the intermediate colors for example. However, we do end up with some clipping inside of that moon, and it's very pronounced as well. So we have these hyper saturated colors with big huge transitions between neighboring pixels. All right, I'll go ahead and zoom out again, so we can take in the entire composition. It's an interesting effect; I have to say, I will also say however that I do not use Color Dodge on anything resembling a regular basis. Every once in a while I can prove to be somewhat interesting, and because it's a member of the Fill Opacity 8, I can press let's say Shift+8 in order to reduce that Fill Opacity to 80%, which results in this extremely subtle effect here.

All right, I'm going to boost that Fill Opacity back up by pressing Shift+0. Now the way I work is I'll start off with screen, see how that looks. If I'm not satisfied with that effect, if I feel like I need something more, then I'll switch to the Linear Dodge mode, which appears directly below Color Dodge. The reason it says (Add) in parenthesis that's actually a recent addition to the name of that mode, it happened a few versions back. And the idea is Photoshop is acknowledging the underlying math of the mode, which is a simple function of adding up the luminance levels, between the blended layers.

So when I choose (Add), we're going to end up with this more pronounced effect here. It's a somewhat subtle difference, although it's a big difference from Color Dodge, here's Color Dodge, just for the sake of comparison, and here's Linear Dodge once again. However, do note that we end up with these blown highlights inside of the moon and inside of some of the details of the clouds. If you want to settle those highlights back, which I do, then just remember that Linear Dodge like Color Dodge, and like the two Burn Modes is a member of the Fill Opacity 8.

So if I press Shift+8, in my case, to reduce the Fill Opacity value to 80%, I end up regaining the lost highlights across the board. Now I'm going to go ahead and turn on the gang layer, just so that we have an interaction between all the layers that we've modified so far. In the next exercise, I'll show you how to use Linear Dodge to specifically punch up white text.

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