Oreilly Photoshop CS5 The Missing Manual_3 docx

293  :   Layer Blend Modes Figure 7-10: By placing two images on separate layers, you can use Darken mode to zap a white background. Here, the top layer has a fairly dark sunburst and the bottom layer has a crazy guy on a white background. If you change the blend mode of the sunburst layer to Darken, the white background on the layer below it seems to disappear. Since parts of the crazy guy’s face and hand are lighter than the sunburst—the sunburst wins the color war explained on page 292 and covers him up in those spots— you can hide those parts of the sunburst to keep him whole. Simply add a layer mask and paint with a Brush set to black (see page 113 for more on layer masks). Figure 7-11: By changing the blend mode of the tattoo layer to Mul- tiply, its white back- ground disappears so you can see through to the skin below. All you need to do now is use the Type tool to put your name on the little banner across the heart! 294 P CS: T M M Layer Blend Modes • Color Burn. This mode darkens your image by increasing the overall contrast. When you use it on 50 percent gray, it intensifies color on the layers below, which can beautify an ugly sky in a hurry (see Figure 7-12). You can also use it to colorize a grayscale image, though the paint will be really dark and high con- trast (it’s better to use Hue mode, discussed on page 301). Keyboard shortcut: Shift-Option-B (Shift+Alt+B on a PC). Figure 7-12: Ain’t nothing like a dull sky to ruin a perfectly decent photo. Happily, you can whip the sky into shape by adding a layer to the top of your layers stack, fill- ing it with 50 percent gray, and changing its blend mode to Color Burn. If the effect is too strong, you can lower the gray layer’s opacity, as shown here. To ap- ply the color change only to certain areas of your image, add a layer mask (page 113). Tip: An easy way to fill a layer with 50 percent gray is to make a new layer, go to Edit➝Fill, and then choose 50% Gray from the Use pop-up menu. Those Adobe programmers think of everything! • Linear Burn. In this mode (which is actually a combination of Multiply and Color Burn), Photoshop darkens your image by decreasing brightness. Linear Burn produces the darkest colors of any Darken blend mode, though with a bit more contrast than the others. It has a tendency to turn dark pixels solid black, which makes it ideal for grungy, textured collages like the one in Figure 7-13. Keyboard shortcut: Shift-Option-A (Shift+Alt+A on a PC). 295  :   Layer Blend Modes Figure 7-13: In this Layers panel, you can see the origi- nal image near the bottom followed by a Threshold Adjustment layer (page 337). Popping in three pieces of art (circled) and changing their blend modes to Linear Burn created this trendy collage. The opacity of the sunbeam and grunge texture was lowered to about 60 percent, and the sunbeam was positioned over the boy’s eye. That’s it! • Darker Color. This mode compares the base and blend colors and keeps the darkest pixels. No blending going on here—the lighter colors just vanish. Note: You may have noticed that Photoshop doesn’t have a keyboard shortcut for Darker Color mode. That’s because this mode didn’t come around until Photoshop CS3 when Adobe started running out of keyboard shortcut combos. Same goes for Lighter Color mode (page 297). Lighten Blend Modes These modes, the opposite of the Darken modes, have the power to lighten, or dodge, your image (see Chapters 9 [page 376] and 10 [page 447] for more on using the Dodge tool). Black is the neutral color for this group; it disappears in all but one of the following modes: • Lighten. In this mode, the lightest pixels win the war of colors. Photoshop com- pares all the colors and keeps the lightest ones from the base and the blend, and then combines them to produce the result color. Everything else is nixed (including black), which makes this mode perfect for removing a black back- ground (see Figure 7-14). Keyboard shortcut: Shift-Option-G (Shift+Alt+G on a PC). 296 P CS: T M M Layer Blend Modes Figure 7-14: To zap the black background of this fireball (the top layer), change its blend mode to Lighten. Now the flames are visible only where they’re lighter than the colors in the steel ball. A layer mask was added to hide a few rogue flames underneath the ball. • Screen. In this mode, Photoshop multiplies the opposite of the blend and base colors, making everything a lot lighter as though a bottle of bleach was spilled on it. It’s great for fixing images that are too dark or underexposed (like when your camera’s flash doesn’t fire; see page 119). Keyboard shortcut: Shift-Option- S (Shift+Alt+S on a PC). • Color Dodge. This mode lightens your image by decreasing contrast. It has a tendency to turn light pixels solid white, and, unlike the other Lighten modes, it keeps black pixels, so the dark parts of your image don’t change. You can use this mode with 50 percent gray to brighten your image—a great way to give hair some instant highlights (see Figure 7-15). Keyboard shortcut: Shift-Option-D (Shift+Alt+D on a PC). 297  :   Layer Blend Modes Figure 7-15: By filling a layer with 50 percent gray and changing its blend mode to Color Dodge, you get instant hair highlights—no trip to the beauty salon required! Just add a layer mask to protect other parts of the image (like the face and background) from the highlighting. • Linear Dodge (Add). This mode lightens your image by increasing brightness. It’s a combo of Screen and Color Dodge modes, so it’ll lighten your image more than any other blend mode. But since it tends to turn all light colors white, it can make your image look unnatural. Keyboard shortcut: Shift-Option-W (Shift+Alt+W on a PC). • Lighter Color. With this mode, Photoshop compares the base and blend colors and keeps only the lightest pixels. Unlike Lighten mode, it doesn’t combine any colors; it just keeps the lightest ones. (The Note on page 295 explains why this mode doesn’t have a keyboard shortcut.) 298 P CS: T M M Layer Blend Modes Lighting Blend Modes In contrast to the Lighten and Darken modes, Lighting blend modes do a little dark- ening and a little lightening to increase the contrast of your image. They have a neu- tral color of 50 percent gray, which doesn’t affect the result color; it just disappears. • Overlay. In this mode, if the blend color is darker than 50 percent gray, Photo- shop multiplies its color value with the base color. If the blend color is lighter than 50 percent gray, Photoshop multiplies its color value with the inverse of the base color (like it does in Screen mode). And if the blend color is exactly 50 percent gray, Overlay has no effect on the result color at all. You can use this mode to increase contrast or colorize a grayscale image. Keyboard shortcut: Shift-Option-O (Shift+Alt+O on a PC). • Soft Light. As the name suggests, this mode is the equivalent of shining a soft light on your image. It makes bright areas brighter (as if they were dodged) and dark areas darker (as if they were burned). If you paint with black in this mode, you’ll darken the underlying image; if you paint with white, you’ll lighten it. You can use this mode to add texture to an image or to make an image look like it’s reflected in metal (see Figure 7-16). Seasoned Photoshop jockeys use Soft Light with the Dodge and Burn tools to retouch portraits nondestructively (see page 447). Keyboard shortcut: Shift-Option-F (Shift+Alt+F on a PC). Figure 7-16: To create a quick reflection in a metal object, change the top layer’s blend mode to Soft Light. 299  :   Layer Blend Modes • Hard Light. This mode, which is equivalent to shining a harsh light on your image, combines Multiply and Screen modes: if the blend color is lighter than 50 percent gray, the image gets lighter (like Screen mode); if it’s darker than 50 percent gray, the image gets darker (like Multiply). If you paint with black or white in this mode, you simply get black or white. If you really want to increase the level of detail in an image, you can use this mode in conjunction with the Emboss filter. Keyboard shortcut: Shift-Option-H (Shift+Alt+H on a PC). • Vivid Light. In this mode, Photoshop applies Color Burn to increase the con- trast of colors darker than 50 percent gray and Color Dodge to decrease the contrast of colors lighter than 50 percent gray. Use Vivid Light to make an im- age pop or to add texture. Keyboard shortcut: Shift-Option-V (Shift+Alt+V on a PC). • Linear Light. This mode combines the Linear Burn and Linear Dodge modes: It uses Linear Burn to decrease the brightness of colors darker than 50 percent gray and Linear Dodge to increase the brightness of colors lighter than 50 per- cent gray. Linear Light is great for adding texture to images, as shown in Figure 7-17. Keyboard shortcut: Shift-Option-J (Shift+Alt+J on a PC). Figure 7-17: Want to turn a loved one to stone? No problem! Simply use the Quick Selection tool (page 149) to select the person’s skin and then add a layer mask to a layer containing marble or stone (the top layer here). Change the marble layer’s blend mode to Linear Light and you’ve got an instant statue. 300 P CS: T M M Layer Blend Modes • Pin Light. This mode combines Lighten and Darken: If the blend color is lighter than 50 percent gray, it replaces areas of the base color darker than 50 percent gray with the blend color; pixels lighter than 50 percent gray don’t change at all. But if the blend color is darker than 50 percent gray, Pin Light replaces lighter areas of the base color with the blend color and darker areas don’t change. You’ll rarely use this mode because it can produce odd results (or none at all), but feel free to experiment with it—especially with filters (see Chapter 15). Keyboard shortcut: Shift-Option-Z (Shift+Alt+Z on a PC). • Hard Mix. This mode greatly reduces the range of colors in your image (an effect known as posterizing), so you end up with large blocks of super-bright colors like red, green, or blue. In this mode, Photoshop analyzes the sum of the RGB values in the blend color and adds them to the base color. For example, if the value of the red, green, or blue channel is 255, Photoshop adds that value to the base; and if the value is less than 255, Photoshop adds a value of 0. (See page 46 for more on color values.) You can reduce the effect of this mode by lowering the Fill setting at the top of your Layers panel (see page 78). You won’t use Hard Mix very often, but it’s fun for the occasional special effect, as you can see in Figure 7-18. Keyboard shortcut: Shift-Option-L (Shift+Alt+L on a PC). Figure 7-18: In Hard Mix mode, Photoshop changes all the pixels to pri- mary colors (see the figure on page 487), leaving you with solid blocks of bright, high- contrast color. 301  :   Layer Blend Modes Comparative Blend Modes This category should really be called “psychedelic.” Its two modes are similar, and they both produce freaky results that are useful only on Halloween or in grungy col- lages (discussed earlier in this chapter). However, as you’ll soon find out, they can be temporarily useful. Black is the neutral color in both modes. • Difference. This mode analyzes the brightness of both the base and the blend colors and subtracts the brightest pixels. If you use white as your blend color, Photoshop inverts (flip-flops) the base color, making the image look like a film negative. If you use black as your blend color, Photoshop doesn’t change any- thing. You wouldn’t want to use this mode on your image for keeps, but you can use it temporarily to locate the midtones (see the box on page 400 for details). You can also use it to align two layers of the same image (if, say, they were shot at different exposures): just change the top layer to Difference mode and use your arrow keys to move the image until you no longer see the odd engraved look. Keyboard shortcut: Shift-Option-E (Shift+Alt+E on a PC). • Exclusion. This mode is similar to Difference but results in a little less con- trast. Blending with white inverts the base color and blending with black doesn’t do anything. You can also use Exclusion to align images; just follow the steps for aligning images with Difference mode. Keyboard shortcut: Shift-Option-X (Shift+Alt+X on a PC). Hue Blend Modes All the modes in this category relate to color and luminance (brightness) values (see page 488 for more on brightness). Depending on the colors in your image, Photo- shop applies one or two of these modes to the image (they don’t have a neutral color like the other blend modes). Hue blend modes are extremely practical because you can use them to change, add, or intensify the colors in your image. • Hue. This mode keeps the lightness and saturation (color intensity) values of the base color and adds the hue (another word for “color”) of the blend color. If you want to change an object’s color without changing how light or dark it is, use this mode (see page 342). However, Hue can’t introduce a color that isn’t al- ready there to colorize grayscale images, so you have to use another mode (like Color, which is explained later in this list). Keyboard shortcut: Shift-Option-U (Shift+Alt+U on a PC). • Saturation. This mode keeps the luminance and hue of the base color and picks up the saturation of the blend color. If you want to increase an image’s color intensity, this mode can help you out (see Figure 7-19). You can also use Satura- tion to drain color from part of an image by painting that area black. Because black has no saturation value, it desaturates intersecting colors. Keyboard short- cut: Shift-Option-T (Shift+Alt+T on a PC). 302 P CS: T M M Layer Blend Modes Figure 7-19: If you’ve ever been to Texas, you know the margaritas there are much brighter than the one in the original image (left). To boost the color saturation, add a new layer filled with a color that has the saturation value you want (it doesn’t mat- ter which color) and then change its blend mode to Saturation. The image takes on only the blend color’s saturation value, not its hue. • Color. In this mode, Photoshop keeps the luminance of the base color and picks up the hue and saturation of the blend color, which makes it handy when you’re colorizing a grayscale image (see page 358). Keyboard shortcut: Shift-Option-C (Shift+Alt+C on a PC). • Luminosity. This mode keeps the base color’s hue and saturation and picks up the blend color’s luminance. Use Luminosity when you’re sharpening an image (see page 463), and when you’re using curves or levels Adjustment layers (see Chapter 9). Keyboard shortcut: Shift-Option-Y (Shift+Alt+Y on a PC). Up to Speed Pass Through Mode When you create a layer group (page 105), Pass Through appears at the top of the blend mode pop-up menu. In this mode, Photoshop makes sure that any blend modes, blending slider settings (page 303), opacity settings, and fill settings you’ve applied to layers in the group trickle down to layers below the group. Let’s say you’ve created a layer group consisting of several image layers set to Linear Burn mode to create a grunge col- lage. Pass Through mode lets the Linear Burn effect trickle down to any background or text on layers below the group. If you don’t want the blending to affect the layers below the group, change the layer group’s blend mode to Normal. [...]... another Using the Clone Source panel the clone source is the object you’re copying—you can clone from up to five different sources whether or not they’re in the same document Here’s how to clone from one open image into another: 1 Open the source (the image[s] you’re cloning from) and the target (the image you’re cloning to) To choose clone sources in documents other than the current image, open the. .. layer you want to work with), click the half-black/half-white circle at the bottom of the Layers panel, and then choose Channel Mixer from the resulting menu Once the Adjustments panel opens, turn on the Monochrome checkbox near the top of the panel, and then tweak the Red, Green, and Blue sliders to your liking, or pick one of the presets in the pop-up menu at the top of the panel (shown in Figure 8-5)... (top) and then add a mask to the photo layer (bottom) 6 Use the Move tool to position the photo and frame on your page Press V to grab the Move tool and reposition the photo-and-frame layer If you want to move the photo and mask independently, you’ve got to unlock them first: Click the tiny chain icon between the layer and mask thumbnails and then click the thumbnail of the bit you want to move (the photo... dialog box turned on (this setting has the same effect as running the Auto-Blend command discussed on page 309) The Vignette Removal and Geometric Distortion checkboxes work the same way here as they do in the Auto-Align dialog box (see page 305) 308 Photoshop CS5: The Missing Manual Auto-Blending Layers When you’ve got all the settings the way you want them, click OK Photoshop combines your images into... preview of the source point on your image that moves as you tweak these settings To clone the object at a different size, enter new percentages in the W and H fields (for width and height) To rotate your clone source—so the cloned item is turned—enter a number of degrees in the field next to the little triangle To reset all these options, click the little curved arrow button 314 Photoshop CS5: The Missing. .. and the right one represents the highlights (whites) If you want to affect the currently active layer, then tweak the This Layer slider (you’ll learn about the Underlying Layer slider in a moment) For example, if the background of your currently active layer is black and the subject (or object in the foreground) is much brighter, you can hide the black part by dragging the shadow slider (the one on the. .. and close the file Choose File➝Save As and choose Photoshop from the Format pop-up menu at the bottom of the dialog box Make sure the Alpha Channel option is turned on and then click Save Close the file by pressing �-W (Ctrl+W) 5 Go back to the original document and turn the composite channel back on When you cycled through the different channels in step 1, Photoshop temporarily turned off the composite... Shift-click to select the other white parts until you have everything except the face selected 320 Photoshop CS5: The Missing Manual Mapping One Image onto Another 7 Invert your selection by pressing �-Shift-I (Ctrl+Shift+I on a PC) or choosing Select➝Inverse Photoshop flip-flops your selection so the face is surrounded by marching ants 8 Feather the edges of your selection slightly Click the Options bar’s... run this command, Photoshop does all the hard work for you by examining the selected layers and aligning them so identical areas overlap (see Figure 7-21) Note: The Auto-Align feature isn’t magic; the angle and the distance from the subject in both shots need to be the same for it to work However, in Photoshop CS5, this command takes a look at the lens correction profiles specified in the new and improved... move (the photo or the mask) Use the Move tool to position the photo or mask and then click between them to lock them together again 7 Add a Fill layer to create a colorful background for your new frame At the bottom of your Layers panel, click the “Create new fill or adjustment layer” icon (the half-black/half-white circle) and choose Solid Color from the resulting pop-up menu Once the Color Picker . of the following modes: • Lighten. In this mode, the lightest pixels win the war of colors. Photoshop com- pares all the colors and keeps the lightest ones from the base and the blend, and then. of the RGB values in the blend color and adds them to the base color. For example, if the value of the red, green, or blue channel is 255, Photoshop adds that value to the base; and if the. 7-21). Note: The Auto-Align feature isn’t magic; the angle and the distance from the subject in both shots need to be the same for it to work. However, in Photoshop CS5, this command takes a look at the