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Vivid, Linear, and Pin Light (and Hard Mix)

From: Photoshop CS5 One-on-One: Mastery

Video: Vivid, Linear, and Pin Light (and Hard Mix)

In this exercise, we're going to visit the remaining Contrast modes that is Vivid Light, Linear Light, Pin Light and Hard Mix. Now, I was saying that Overlay through Hard Light, they all apply different variations on the Multiply and Screen mode. So there are different multipliers going on inside of each one of these equations, but they're based on Multiple and Screens. So you're multiplying the darkest details, screening the lightest details, that changes once we move over to Vivid Light. So Vivid Light is assigning color burn to the darkest details and color dodge to the lightest details and as a result, not surprisingly, I don't think if we understand how color burn and color dodge work, we are getting a more translucent effect for one thing, so were not getting quite as much opacity as we got out of hard mix and we're also expanding the contrast of the effect and we're seeing these overly saturated color values as well.

Vivid, Linear, and Pin Light (and Hard Mix)

In this exercise, we're going to visit the remaining Contrast modes that is Vivid Light, Linear Light, Pin Light and Hard Mix. Now, I was saying that Overlay through Hard Light, they all apply different variations on the Multiply and Screen mode. So there are different multipliers going on inside of each one of these equations, but they're based on Multiple and Screens. So you're multiplying the darkest details, screening the lightest details, that changes once we move over to Vivid Light. So Vivid Light is assigning color burn to the darkest details and color dodge to the lightest details and as a result, not surprisingly, I don't think if we understand how color burn and color dodge work, we are getting a more translucent effect for one thing, so were not getting quite as much opacity as we got out of hard mix and we're also expanding the contrast of the effect and we're seeing these overly saturated color values as well.

Now, if you want to rein in the colors and potentially enhance the effect further, you can switch to the next mode in the list which is Linear Light and Linear Light goes ahead and applies linear burn to the darkest details and linear dodge to the lightest details. Now this isn't a really great mode in my opinion, it's a little over the top at times, but you might want to visit it when you're perusing the contrast modes. So the big three, in my opinion, are Shift+Alt+O or Shift+Option+O for Overlay, Shift+Alt+H or Shift+Option+H for Hard Light and then Shift+Alt+J or Shift+Option+J on a Mac for Linear Light, and notice that we do get a extremely dramatic effect.

So, if overlay through Hard Light use combinations of the Multiply and Screen modes and Vivid Light and Linear Light use combinations of the burn and dodge modes. What do you think Pin Light does, it uses a combination of darken and lighten. So basically the idea is and this isn't much of a mode, of course, anything based on darken and lighten, you can bet, is going to rather failed to fire the imagination, but what it does is it just keeps those darkest colors that are darker than the darkest colors underlying and it just keep those the lightest colors that are lighter than the lightest colors underlying them, and that happens on a channel by channel basis, if any of that made sense.

So, let's go ahead and see what those channels look like, I'll switch over to the Channels panel and notice here in the Red channel, that we have an awful lot of cloud, showing up in her dress and these rays of sunlight in her hair and so forth and then in a Green channel, that starts to drop off, we're not seeing the clouds and her dress, but we are seeing the clouds appear in her hair and then once we get to the Blue channel, we're really losing a lot of the rays of sunlight in her hair, but we are bringing back some of the clouds inside of her dress and neck line and so on. So, that all merges to form this peculiar effect right there in the RGB Composite and then finally, there is the least impressive Blend mode of them all, hands down and that is this next guy, Hard Mix and Hard Mix goes ahead and applies a Contrast mode and then it boils it down to either black or white, in each one of the color channels.

So if you switch over to the Channels panel, you'll see that we have exclusively black-and-white pixels inside the model. Same with the Green channel, it's just their distribution is different and then same with the Blue channel, we have very few white pixels but they're only black-and-white and then when they're mixed together inside of the RGB image, we get not only black-and-white but we also get the primary colors in-between, so we get red, green and blue and cyan, magenta and yellow. However that it, just those eight colors, nothing more, so it's not an effect, you're going to go running to very often. However, I will show you way to modify the results of this effect that are pretty interesting, but that's part of a larger topic, so just put a pin in that one for now.

Anyway, another thing I want to show you, I'm going to go ahead and switch back to Hard Light because that was my favorite mode where this particular layer is concerned. Let me show you something else you can do with the Contrast modes, any time you have a lot of gray inside of a layer, you can then turn around and mix that layer with the underlying layers subject to a Contrast mode. So you may recall back during our discussion of sharpening, in the advanced portion of the series, when I showed you how to do a high patch sharpening effect, we then turned around and applied either overlay or Hard Light or Linear Light, in order to bring that sharpening into the image.

So, I'll show you another variation that you can apply here. I'm going to press Ctrl+Shift+Alt+E or Command+Shift+Option+E on the Mac. So mash your fist E in order create a merged version of all the visible layers and I'll go ahead and call this new layer merged and then I'll go up to the Filter menu and I'll choose Stylize and I'll choose Emboss. And then these are the settings that I'm going to apply, a negative 90 degree Angle, a Height of 2 pixels and an Amount of 500%, so we are maxing out the Amount value and you end up getting this predominantly gray version of the image.

I'll go ahead and click OK to accept that modification, then I'll go up to the Image menu, I'll choose Adjustments and to get rid of the few colors or arts, so we only have Luminous Levels, I'll go ahead and choose Desaturate because those Luminous Levels that we do have that Emboss produces are pretty aberrant, so I'll choose Desaturate that gets rid of them and now we have exclusively Luminous Levels to work with. Now, any of the Contrast modes from Overlay all the way down, they're going to go ahead and drop out those gray, so they become transparent and then of course the lightest colors are going to lighten, the darkest colors are going to darken.

I'll go and switch to Overlay for starters here, so we can see what that looks like. So this is without the layer and this is with that layer and then let's step through the others here, this would be Soft Light which is going to be a much more subtle effect and I'm pressing Shift+Plus incidentally to advance through these, this would be Hard Light which delivers way too much black-and-white for my taste, where this effect is concerned, it ends up looking kind of ratty and we get this weird shaft of black through her chin, that's no good, it also happens incidentally if I switch ahead to Linear Light.

So we get a more exaggerated version of the Hard Light effect and then if I switch over to Pin Light, they were left with very little in the way of dark and light details because basically the content of this layer is neither dark enough nor light enough to carry much weight, where pin light is concerned. But the mode that really works great and you can imagine it's not hard mix, the mode that works really great is Vivid Light for this effect and so I'll go ahead and press Shift+Alt+V or Shift+Option+V on the Mac in order to assign Vivid Light. This is what the composition looks like without that layer, this is what it looks like with that layer and notice, how much detail we get inside of the hair.

So, a variety of different effects you can achieve using the Contrast modes, just remember you're going to darken the darkest details, lighten the lightest details and the everything that's gray, is going to go away.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43987 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  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 30s
  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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