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Using the luminance blending sliders

From: Photoshop CS4 One-on-One: Advanced

Video: Using the luminance blending sliders

All right, so here I'm still inside the document called Inexplicable darkness.psd and it's found inside, of course, the 18_advanced_layers folder. What I've done is I've set the moon to the Screen blending mode, as you can see, right here next to the word Blend Mode. Then I double-clicked on this empty region of the Moon layer in order to bring up the Layer Style dialog box. Now, if that's not working for you, for some reason, you run into a problem or you don't like the fact that you had to double-click at here, you want a better solution, what you'll do? I'll cancel out of there.

Using the luminance blending sliders

All right, so here I'm still inside the document called Inexplicable darkness.psd and it's found inside, of course, the 18_advanced_layers folder. What I've done is I've set the moon to the Screen blending mode, as you can see, right here next to the word Blend Mode. Then I double-clicked on this empty region of the Moon layer in order to bring up the Layer Style dialog box. Now, if that's not working for you, for some reason, you run into a problem or you don't like the fact that you had to double-click at here, you want a better solution, what you'll do? I'll cancel out of there.

You can right-click pretty much anywhere on the layer, I believe, and you can choose Blending Options right there. Let me make sure that that's just right that I can right-click anywhere. Let's try right-clicking the thumbnail, yes, there's Blending Options as well. So, if you right-click anywhere inside the layer and choose Blending Options, not Layer Properties, because Layer Properties, watch this. It's just as dinky dialog box that lets you name the layer, which is something you could already do out here just by double-clicking in the layer name, and then you can assign it a color. That's not going to colorize the moon, that's just going to colorize the layer, in case you work that way, in case it helps you to see colorful layers for whatever reason.

I'm kind of dismissed over that feature, because I'm never taken to it, but you might use it. Anyway, cancel, so right-click and choose Blending Options. That's going to bring up the gargantuan Layer Style dialog box set to the Blending Options panel right here. All right, so drop down, we've already seen how Blend Mode and Opacity and Fill Opacity work. We're going to see how Knockout works in this chapter and we'll see some of the other options later in later chapters. These guys are mostly for mitigating layer effects, by the way. I'm going to drop down to what some folks call the Blend If sliders.

They're not the Blend If sliders. Blend If is this option right here. That's all it is. And it's saying, "Do you want to apply these sliders according to the composite image which is Gray or the Red, Green or Blue channel?" We just want to leave it composite, so Gray, but that's the extent of Blend If. These guys right here don't really have a name, but the pair of them together or along with Blend If. I call the Luminance Blending sliders, because that's what they allow you to do is apply luminance exclusion. So, what you can do as to this layer, you can drop out certain areas of luminance, either the shadows or the highlights. This one right there, Underlying Layer, that allows you to force through either shadows or highlights from underlying layers and here's how it works, watch this.

I'm going to start things up by dragging this white triangle over to the left and notice what happens as I do it, at a value of 170, let's say. You can't set these values numerically. You just have to track them. You just have to look at them and move your slider triangle, which is a big nuisance by the way, they have to fix up. But anyway, that's the way it is. Notice at 170 what we're seeing, and bear in mind of course that 0 is black, 255 is white. So, what we're doing is we're saying anything with a Luminance level of 170 or brighter is becoming transparent. Certainly, that seems to be the case when I look out here at the moon.

I'm going to go and zoom in on it, by Ctrl+Spacebar+Click and now I'm Spacebar+Dragging. That would be a Command+Spacebar+Click and then a Spacebar+Drag on the Mac. So, you can zoom, of course, when this dialog box is up on screen. Now, I'm just going to move things over a little bit, so that we can see everything we need to see in this fairly small screen real estate here. All right, so I'm saying 170 or brighter is becoming transparent. Well, that's not really what I want. What we really want to do is we want to get rid of the dark areas, not the bright areas. So, let's go ahead and reestablish our highlights by dragging that white slider triangle all the way over to the right and let's drag the black one over to the right.

I'll leave it at about 40, is where we want it. At 40, if I can get it there, there we go on 40. It's not absolutely necessary that you get exactly 40. But you can see now that I've set anything with a Luminance level of 40 or darker on a composite basis and remember, when we eyedropped that darkness, it had R, G and B values of 34, 30 and 34 respectively. So, that is darker than 40, and so it drops out of sight. Is this a permanent change, by the way? Heck no, that will make a ridiculous change like so. 144 in darker is now transparent, excellent, click OK. Oops, on further reflection, I would come to my senses and I notice that looks terrible.

So, I double-click once again in order to bring up once again the Layer Style dialog box and I move it once again over to the right side of the screen. There, my settings right there, waiting for me and I'll go ahead and move it back. So, this is an issue sometimes when you look at your old graphics, once you start using Luminance Blending and you're looking at an old photo composition and you've dropped out some colors inside of it and you're going, "What did I do?" You're looking at the blend mode Screen, doesn't really explain things. So, there is no difference, both the Opacity settings are 100%. What in the world did you do? Double-click and check out your Luminance Blending Options down here and see if you did something.

Probably you did, and if you can't find them, when you look at gray, then try looking at Red, Green and Blue, because you can set those independently as well. Anyway, back to the story it had, now one of the things you should notice, I'll just Ctrl+Click, Command+ Click. I didn't have to do the Spacebar number there in order to zoom in. You'll notice here, if I quit moving things around that we have some jagged edges going, because this is an either/ or proposition right now, either it's visible or it's invisible. So, we have a threshold, like that, threshold spinning an Unsharp Mask. We have the threshold right here where we're saying if it's darker than 40, it's transparent, if it's lighter, it's opaque, end of story.

And you now, I have no patience for threshold, not on a regular basis. I want what's called fuzziness, which means that at one Luminance level, things become transparent, at another Luminance level, they become opaque and then we have some softness in between. How do you create fuzziness? We'll look very, very closely at that triangle. It's got a little line in it and that's actually two-halves of a triangle that just happen to be glued together. To unglue them, press and hold the Alt key or the Option key on a Mac and then with that key down, drag the right half of that triangle away and we're introducing fuzziness and notice the jags went away.

All right, so now what I'm saying, when I move it up to 150, I'm saying if it's 150 or brighter, opaque; if it's 40 or darker, transparent, if it's between 40 and 150, make it increasingly opaque over the span of this area. So, it's a gradient of opacity, if you will. What that really means is it's just wonderful. All right, let's go ahead and zoom out from the moon. It's wonderful, but it's not as wonderful as it needs to be. The reason I say that is because I want the clouds to sort of drift in front of the moon here. You know what? I'm going to change the blend mode, Screen, no; I'm going to change it to Linear Dodge (Add).

Let's really go for it, make this a really bright moon and then let's change the Fill Opacity. Let's knock that guy down a little bit to something like, for now 50%, so that we have a nice blend of moon and clouds. It's still too bright; we'll take it down from here. But the clouds should really just be in front of the moon, we shouldn't have this kind of strange interaction. So, we need to force the clouds forward and we're going to do that using the Underlying Layer slider bar right here, in the next exercise.

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This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23839 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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