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Vivid, Linear, and Pin Light

From: Photoshop Masking and Compositing: Advanced Blending

Video: Vivid, Linear, and Pin Light

In this exercise I'll introduce you to the next three contrast modes which are Vivid Light, Linear Light and Pin Light. We're looking at that combination of Multiply and Screen that is the Hard Light mode, as you might imagine the other contrast modes are combinations of other Darken and Lighten pairings. For example, let's start with Color Burn and Color Dodge, I've gone ahead and assigned Color Burn to the left hand gradient and Color Dodge to the right-hand gradient. We end up with these vibrant colors. We have this smooth transition in the middle because white drops out in the case of Color Burn and black drops out in the case of Color Dodge, right here in the middle of the image.

Vivid, Linear, and Pin Light

In this exercise I'll introduce you to the next three contrast modes which are Vivid Light, Linear Light and Pin Light. We're looking at that combination of Multiply and Screen that is the Hard Light mode, as you might imagine the other contrast modes are combinations of other Darken and Lighten pairings. For example, let's start with Color Burn and Color Dodge, I've gone ahead and assigned Color Burn to the left hand gradient and Color Dodge to the right-hand gradient. We end up with these vibrant colors. We have this smooth transition in the middle because white drops out in the case of Color Burn and black drops out in the case of Color Dodge, right here in the middle of the image.

However, we end up with a lot of clipping as well. Specifically, we're clipping the shadows to black over here on the left and we're clipping the highlights to white on the right. So Photoshop is seen fit to allow us to mitigate that clipping by reducing the Fill value as opposed to the Opacity value which is why both of these modes are members of the Fill Opacity Eight. The same goes for the mode that's based upon them which is Vivid Light. Vivid Light is a combination of Color Burn and Color Dodge working together. It results in clipping as well.

We're clipping the shadows to black clipping the highlights to white. We can mitigate that clipping using the Fill value and it looks like this by the way. If I were to take that Vivid Light and reduce the standard Opacity value to 50%, what we are doing is we're taking the composite effect and mixing it 50-50 with the underlying leaves layer. And we end up getting this fairly drab effect here. You may still encounter some clipping, whereas if you reduce that Fill value to 50%, you're left with a vibrant image like this one here, which is exactly what you want, out of a contrast effect inside Photoshop.

So remember these over-the-top effects specifically in the case of this exercise, Vivid Light and Linear Light can be mitigated using the Fill value. Alright! Let's take a look at Linear by way. First I'll show you the Linear Burn and Linear Dodge modes as applied to those two independent gradients, the left and right layers here inside the Layers panel. A lot of shadows clipping the black, a lot of highlights clipping the white, which is why both of these modes are members of the Fill Opacity Eight, as is the mode that's based on them which is Linear Light.

So Linear Light is a combination of Linear Burn and Linear Dodge. Its effects can also be mitigated by the Fill value. So here is a comparison. Linear Light set to a standard Opacity of 50% ends up giving us this kind of filmy effect as if we are looking through a dingy window. Whereas, Linear Light, set to a Fill value of 50%, gives us this lustrous and comparatively rich effect right here. Now the final mode that I am going to show you is actually the least of the bunch.

So imagine if you will, a combination of the Darken modes and the Lighten modes working together. So in this case, I've assigned a Darken mode that is the mode that's called Darken to the left layer here and I have assigned the Lighten mode as you can see to the right layer. What we end up getting is this sudden drop-off. Notice that we have a bunch of blackened darkness over here on the far left hand side then we sort of revealed the leaves at about this location and then the effect entirely goes away and stays away till about here where we get this kind of filmy overlay and then everything goes white.

The same happens, I'm afraid, with Pin Light which is based on Darken and Lighten together. So I'll tell you this is not a mode that I use very often, it doesn't frequently give you desirable effects. So if you find yourself not turning to it 99% of the time, don't be surprised. I will tell you one last thing about Pin Light; it is not a member of the Fill Opacity Eight. So there is nothing you can do to mitigate its ugliness. In the nice exercise, I will demonstrate that mode that may seem at first, like the worst of the contrast modes, but it's actually quite powerful indeed, Hard Mix.

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This video is part of

Image for Photoshop Masking and Compositing: Advanced Blending
 
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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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