Calculations for Textures
There's a commanding four shop called calculations, and it's even more complicated on first glance than apply image. And it has one aspect to it that makes it more complicated is that if you're using separate documents, which you can do, they have to be exactly the same size. So if I tried to do it right now, I'm gonna go to this menu and there's no other options because it doesn't see any other document the same size. So I want this one, the other one, to be the same size. So there's an option here called Front Image, which is kind of interesting that now it's made the crop on the other photograph exactly the same size. So if I hit, enter now, that is the same. So whips unintentional paste there. Sorry. So now if we go to calculations so way have two menus source one and source to which makes it means the two photographs. So source one is the one I'm on. Its happens to be defaulting because previously I must have used red, but I could put it back to Gray and then say the other sources...
that texture and put this back to gray. So and then there's a blend mode, so we just multiply. Now that the difference with this particular function is, let me pause my experiment from one show you that at the bottom. The results are either it will make a new document, a new channel or a selection. It doesn't make a layer or a mass when you could use it as that. So you have to sort of go through a process where you say first, I wanna blend these together in a different way so you can. Depending on the combinations you used. You can get results that are different than simply putting the texture layer on top and changing the blend mode to multiply. Because now we're digging inside. It'll been saying, Well, let's take the red information and use it in overlay mode or whatever it might be. So each thing you do, you're going to get a very different kind of effect. That's kind of interesting there. So I've got it set to new channel. So what that means is, first doesn't look like anything's really happen. That's because in my channels panel there's a new channel available to me. So now I could select all that. Copy it. Come back here. Um, and there's a couple things we could try. First of all, I could just add a layer mask, optional click on it and then paste. So we're kind of using that photograph with the texture as a mass was gonna make most of the photograph disappear. I always like to add a new layer below, so I can kind of see what's happening. Might have toe invert that that's a little cooler, I think so. Now what if we took this layer and solid color adjustment is a really interesting way to incorporate color. Instead of picking color in the color picker and saying Phil and having to keep doing that This is a much more live effect. So, for example, if I choose, I don't know that color. It means now, as I'm working on this and not sure if I like that, I just go back here and I got alive effect. So as I drag around anything I do, I can see what's happening. So if you think about it, this is my original photo. It's being masked by this version of itself that I added some texture to using that calculations command, and I have a bit limited in what I can do with it again because of the fact that it's a pasted on a mask. The one thing that might help in this case and it certainly be worth looking at is the properties panel for the layer mask. Remember, the density Command says. Maybe I just don't want it to be quite as dark. So was pulling that back a bit. And maybe using the feather Command kind of blur ITM or so it's a more of a subtle effect. I don't know. I don't have a set agenda because I don't know. I might also find if I took a color from the photograph itself using the eyedropper that might have that kind of school like that. Now, at the early on, I talked about the camera raw filter, lay the camera. Smart object. This is a J peg file, so I didn't have any opportunity to be camera. A smart object. However, if I take this layer converted for smart filters, there's actually a filter called the camera raw filter, which is how, on a layer by layer basis, we can actually do camera raw settings to a layer, not just a smart object that was created or a raw file was created in camera. So this convey interesting for lots of things to try different things and see what happens and and also means there are functions that don't appear anywhere else in photo shop like D. A's. But now I can apply D. Hayes to a layer because it's now a smart filter. So the worst part is again, just not having enough time in your day to experiment. But I'll tell you this one thing. When I first started playing with texture, it took me 10 times longer is trying to figure out what options I had for blending. But now that I know, it comes down to for me. Blend mode. Blend If sliders masking paste on the masters, a core of functions I use all the time. But because the photos different on the texture different, I'm always getting different results. But I'm not using like 47 different techniques. I'm using that same core, knowing I can Cotino adjust them and say, Well, now I've done that. Let me go back to adjust the camera's settings, etcetera. So fun stuff. Um, I colorize old black and white images. Sometimes there's little or no texture in places, especially faces, which will not accept color very well. Is there any way toe use adding textures in those situations, like skin texture? Yeah. I mean, what I would probably do it. In case like that is, find any time you couldn't borrow pixels that are makes sense, like from somewhere else in the photograph or a similar photograph you could do take a big chunk like copy of big section, put that pace it on, and then do some masking and blending to try and make it look appropriate. But any time you can. I think for a case like that, taking pixels that makes sense from the same or another similar image would be the way to go Cool. Can you save these types of adjustments as presets for branding and consistencies? If you're gonna make a whole bunch of these? Unfortunately, not really. The only way to do that is if I did use adjustment layers because of Justin Layers has an option. We can take multiple adjustment layers and export them is something called a look up table, which can then be applied to a different photograph. But, um, because it's so dependent on the photo and the texture and how they compare to each other, it would be hard to achieve the same result, even fuse exactly the same techniques unless all the folders look the same and using the same texture than I suppose it would. But, I mean, I would look at and say, Let me break down how I did it By looking at the Layers panel, I could probably emulate that and other photographs fairly easily.