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Screen Mode

Lesson 63 from: Adobe Photoshop: The Complete Guide Bootcamp

Ben Willmore

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Lesson Info

63. Screen Mode

Lessons

Class Trailer
1

Introduction To Adobe Photoshop

04:05
2

Bridge vs. Lightroom

06:39
3

Tour of Photoshop Interface

18:21
4

Overview of Bridge Workspace

07:42
5

Overview of Lightroom Workspace

11:21
6

Lightroom Preferences - Saving Documents

08:19
7

How To Use Camera Raw in Adobe Photoshop 2020

05:10
8

Overview of Basic Adjustment Sliders

13:09
9

Developing Raw Images

30:33
10

Editing with the Effects and HLS Tabs

09:12
11

How to Save Images

03:37
12

Using the Transform Tool

04:48
13

Making Selections in Adobe Photoshop 2020

06:03
14

Selection Tools

05:55
15

Combining Selection Tools

07:37
16

Using Automated Selection Tools

17:34
17

Quick Mask Mode

05:07
18

Select Menu Essentials

21:28
19

Using Layers in Adobe Photoshop 2020

13:00
20

Align Active Layers

07:29
21

Creating a New Layer

06:15
22

Creating a Clipping Mask

03:02
23

Using Effects on Layers

11:24
24

Using Adjustment Layers

16:44
25

Using the Shape Tool

04:39
26

Create a Layer Mask Using the Selection Tool

04:39
27

Masking Multiple Images Together

15:15
28

Using Layer Masks to Remove People

10:50
29

Using Layer Masks to Replace Sky

10:04
30

Adding Texture to Images

09:11
31

Layering to Create Realistic Depth

05:35
32

Adjustment Layers in Adobe Photoshop 2020

05:29
33

Optimizing Grayscale with Levels

10:59
34

Adjusting Levels with a Histogram

03:37
35

Understanding Curves

06:18
36

Editing an Image Using Curves

18:41
37

Editing with Shadows/Highlights Adjustment

07:19
38

Dodge and Burn Using Quick Mask Mode

07:14
39

Editing with Blending Modes

08:04
40

Color Theory

05:59
41

Curves for Color

16:52
42

Hue and Saturation Adjustments

08:59
43

Isolating Colors Using Hue/Saturation Adjustment

13:33
44

Match Colors Using Numbers

16:59
45

Adjusting Skin Tones

05:25
46

Retouching Essentials In Adobe Camera Raw

10:52
47

Retouching with the Spot Healing Brush

07:53
48

Retouching with the Clone Stamp

06:51
49

Retouching with the Healing Brush

04:34
50

Retouching Using Multiple Retouching Tools

13:07
51

Extending an Edge with Content Aware

03:42
52

Clone Between Documents

13:19
53

Crop Tool

10:07
54

Frame Tool

02:59
55

Eye Dropper and Color Sampler Tools

08:14
56

Paint Brush Tools

13:33
57

History Brush Tool

06:27
58

Eraser and Gradient Tools

03:06
59

Brush Flow and Opacity Settings

04:17
60

Blur and Shape Tools

11:06
61

Dissolve Mode

09:24
62

Multiply Mode

15:29
63

Screen Mode

14:08
64

Hard Light Mode

14:54
65

Hue, Saturation, and Color Modes

11:31
66

Smart Filters

11:32
67

High Pass Filter

13:40
68

Blur Filter

05:59
69

Filter Gallery

07:42
70

Adaptive Wide Angle Filter

04:43
71

Combing Filters and Features

04:45
72

Select and Mask

20:04
73

Manually Select and Mask

08:08
74

Creating a Clean Background

21:19
75

Changing the Background

13:34
76

Smart Object Overview

08:37
77

Nested Smart Objects

09:55
78

Scale and Warp Smart Objects

09:08
79

Replace Contents

06:55
80

Raw Smart Objects

10:20
81

Multiple Instances of a Smart Object

12:59
82

Creating a Mockup Using Smart Objects

05:42
83

Panoramas

13:15
84

HDR

11:20
85

Focus Stacking

04:02
86

Time-lapse

11:18
87

Light Painting Composite

08:05
88

Remove Moire Patterns

06:11
89

Remove Similar Objects At Once

09:52
90

Remove Objects Across an Entire Image

05:46
91

Replace a Repeating Pattern

06:50
92

Clone from Multiple Areas Using the Clone Source Panel

10:27
93

Remove an Object with a Complex Background

07:49
94

Frequency Separation to Remove Staining and Blemishes

12:27
95

Warping

11:03
96

Liquify

14:02
97

Puppet Warp

12:52
98

Displacement Map

10:36
99

Polar Coordinates

07:19
100

Organize Your Layers

11:02
101

Layer Styles: Bevel and Emboss

02:59
102

Layer Style: Knockout Deep

12:34
103

Blending Options: Blend if

13:18
104

Blending Options: Colorize Black and White Image

06:27
105

Layer Comps

08:30
106

Black-Only Shadows

06:07
107

Create a Content Aware Fill Action

08:46
108

Create a Desaturate Edges Action

07:42
109

Create an Antique Color Action

13:52
110

Create a Contour Map Action

10:20
111

Faux Sunset Action

07:20
112

Photo Credit Action

05:54
113

Create Sharable Actions

07:31
114

Common Troubleshooting Issues Part 1

10:23
115

Common Troubleshooting Issues Part 2

07:57
116

Image Compatibility with Lightroom

03:29
117

Scratch Disk Is Full

06:02
118

Preview Thumbnail

02:10

Lesson Info

Screen Mode

Well, now we're gonna use the opposite of multiply mode. That means we're going to use the opposite of ink. Ink can Onley darkened things. That means the opposite of ink would be something that could Onley Brighton something. And there's only one thing I can think of that no matter what, will brighten something. And that is light. So the blending mode that acts like light is called screen mode. Remember, I didn't name him. I wouldn't have chosen these names, but screen mode acts like light. So imagine we have the image that's underneath, being projected using light, like you got a projector to watch a movie with its projecting on the wall. Then you take a second projector, and in that second projector you load this image and you shine them both down to the same screen. So this goes right over the other one. Well, think about what that would do if you're using a projector. How much light would that projector put out to create? What's over here? What's black? It would try to put out none...

, and that as you get brighter than black, it would put out a little bit more light a little bit more light, bunch of light. And once you get over here, we put out so much light that it would over take whatever it's on the screen already. So let's set this to screen mode and see what's happening in screen mode. Black disappears, and it's only things that are brighter than black that have the potential of brightening your picture. And so I think of screen mode is the opposite of Multiply. It acts like light. So let's see if we can figure out a few uses for screen mode. Well, first, here I have some lightning, and also I should mention we're going to use the other modes that are grouped in with it. We have some lightning. I think we'd be good here. We have some fireworks that will be good. Let's just open a few of these. I want to combine this image of fireworks with this image of the Eiffel Tower. If you ever want to quickly load more than one image into Photoshopped, select them here in bridge. Or, if you use adobe light room, you can do it there, too. Enbridge, go to the tools menu, choose photo shop and then choose load files into Photoshopped layers. If, on the other hand, you organize your pictures using Adobe Light Room, there is not a tools menu. Instead, there's a photos menu in the sub menu is called Edit in So Photos Edit in. And then you'd find these choices, including load files into photo shop players. That's going to give you a brand new document in photo shop, and you should end up with one layer for each of the images. I'm surprised at the appearance of this layer, though, because it does not look like the picture I was opening. So I'm a little confused. Let me see if I can reopened that separately. If you look at this image, that's what the layer should look like. I'm just gonna double click on it and I'll choose open image. It's raw file and all. Guess I'll drag that one over. I'm not sure why it ended up looking the way it did. There is usually, if you load files into Photoshopped layers, it shouldn't change the appearance of those layers, and I'm not certain White did hear. The blending mode was set to normal, and that's the first time I can remember things just looking odd when they shouldn't have. Anyway, somehow you get those images together in a single file. Usually load files into Photoshopped layers is bulletproof, but in this case is the first time I've ever seen it produce an unpredictable results. All right, so if in screen mode it acts like light, what do we have here with fireworks? It's just like as long as the background surrounding it out here is black, then black disappears in screen mode, so that shouldn't even show up. But we should get all of this fireworks. Now the problem is down the bottom, we have some extra information, and if it's at all brighter than black, that is going to end up being used. So all I'm gonna do is grab my paintbrush tool and I'm gonna paint with black. And I'm just gonna paint across this bottom portion where it's not fireworks. And since black disappears, that will be ignored Now. Then I'm gonna change the blinding mode of this layer down here to screen mode, and now it just combined with the image that's underneath the areas that were black just simply disappeared. Anything brighter than black is brightening this picture, and so I'm gonna act as if that fireworks was being launched from the tower. Maybe from this upper level that's here. Put it right about there. Now, the only thing have to be careful with Here's in screen mode. Anything brighter than black will brighten my picture in, therefore, if that background is not black. Instead, it's a dark shade of gray. It's going to lighten the picture. And so if I were to move it over where you could see the edge of the picture, you might be able to see, uh, an edge where it's no longer brightening the background. If that was the case, I don't think it is. In this case, I would adjust that layer using levels. In this time, I would bring in the upper left slider, the upper left slider forces areas to black, and I'd bring it in until the background became fully black. Now you can try to use other blending modes that are found in here, and you'll get different results if I use lighten mode. That means Onley allow the areas that are brighter than what's underneath to show up, and so I'll get a slightly different results. If you look at where the tower is bright, there might be portions of the tower that brighter than the fireworks. In enlightened mode, those areas would no longer be covered up. I think I actually prefer light mode in this case because it gives me a darker background for my fireworks. I could also try Color Dodge not quite into that one. Ah, here, linear dodge and lighter color. So for me, in this case, I like lightning mode. Let's use this on some other images. Closing out what we got here. I'm gonna come up here and assume fireworks. All right? That fireworks we just did for what it says. Lightning man, I'm gonna select all these. And let's hope that load files into Photoshopped layers will act a little better this time. Because I wanted just to look like those images and simply load them into separate layers. If you look in my layers panel, you'll see our results. Well, what if I want it to look like there was a lot more lightning than there? Waas? Well, if I turn off the top layer, look at the tree line that's there and notice that it moved, and that's because I was shooting hand held. I was not on a tripod would be much better if I would have been on a tripod. I'm gonna select all these layers. I got the top layer already selected. Ah, hold shift and click on the bottom layer, and I want to get the tree line to line up in every image. If it all possible to do so, select the layers. Go to the edit menu and there's a choice called Otto A Line Layers. It'll ask me for options, but I'll just use auto click. OK, and that's gonna look for things for a content that looks similar in each layer and try to line them up in there for my tree line will hopefully be more consistent. So if I turn these off one at a time, you see the tree lines in the same position. Then I want to get more lightning in there. So all I'm going to do is change the blending mode of the top layer, and I'm interchange it to the choice called Lighten. I'm not going to change it to screen mode because screen mode would take the brightness of the sky, however much light was in it and add it to the light that's underneath, doubling up how bright that area is. But when I use lightened mode, it's just comparing the layer. I'm working on to what's underneath enough inning areas brighter. That's what shows up. So in here, I'm gonna choose lightened mode for each of these layers, and you can even select multiple layers at one time. Here I'll click on the top layer, hold shift, click on the bottom layer, then change them all the light in mode now because I was shooting hand held, I'll have to crop this image to finish it off. So grab my crop tool and I'll pull it in until I see the edges here press return or enter, and there's a few, like right over here. They're getting cut off because that was the edge of the picture. I could figure out what layer is that. I didn't mean to use that tool again. I could figure out what layer is that just by glancing in my layers panel looking the right edge of the layers and I can see which one doesn't go all the way across its this one. I might click on that layer and then add a layer mask. We have a whole session on layer masks. If you want Teoh, learn about them. But a layer mass is just going to temporarily hide a portion of a layer wherever I paint with black, so I could come in here then it just trying to hide part of that layer so you don't see that distinct edge. So now let's compare the look of a single layer to a look of all of these layers. Put together enlightened mode in your layers panel. There is a trick for hiding all but one layer in what it is is you. Put your mouse over the eyeball icon for the layer you want to keep you Hold on the option key on a Mac. That's all time Windows and click on that eyeball icon. That means hide everything but this So there's my single capture, and then I'm gonna option Click the eyeball a second time, and there's all of them put together, and so often times it's hard to end up getting a lot of lightning in a single shocks that happens so fast, and there might be a huge pause before another lightning strike happens. If you do a completely long exposure like 1/2 hour long, the problem is your picture ends up being noisy. But if you take individual shots whenever a lightning occurs and then combined them like I just did, you can end up with a lot of lightning, but very little noise. And so that would be an advantage. But that is lightened mode. Another example of lightened mode would be here. I have a waterfall shot in Iceland. I'm gonna take all of those images, load them into layers, and what I want to do is make it look as if there's a lot more water going down the waterfall. And to accomplish that, all I'm going to do is use lighten mode, because if you think about it and it looks like a few of these images weren't adjusted the same. But if you look at my waterfall and you see where this white area is right here, where the water is kind of concentrating well in the next shot, it's not gonna be in the exact same spot where we have that thicker white water. Instead, it might be in this area. And if it ISS so I put it on topping, put it in lightened mode. It'll be brighter than its background and therefore it will fill in. So if I turn this layer off and go to the next one, you see the white Waters in a different position. So all I'm going to do here is I'm gonna select a bunch of these layers and I'm gonna set him to lighten mode. And now let's compare that to a single exposure. There's one zoom up on my waterfall in There's multiple. Do you see how it's starting to fill in some of the water? Well, and that was only a few of the layers. I have a whole bunch of layers in here. I could select rooms. And if the blending mode menu is great out, it means one year layers has its eyeball turned off. So I had to turn on a few. There we go. Look at how much water now is coming down that waterfall. It's absurd amount compared to a single image, and you could just toggle each one off and decide which ones you want. to use. But by taking multiple photographs, we have the versatility of being able to make it look like there's more water. We could also do the opposite. If I want to make it look like there's less water, then why not set them all to darken mode? The only problem. There is a few of these, the exposures darker, so it's gonna dark in the background. I might hide the ones above in on. It's gonna set it too dark and mode, and now it looks like very little water is coming down. There's lightened mode. There is dark and mode. I often use darkened mode with waterfalls because if there's a lot of mist coming off the waterfall in its obscuring your view of something on the sides, I'll end up using dark and mode, which will break through that missed and allow the walls that are on the sides of the waterfall to be more prominent. And so I could actually have two sets of these layers, one in screen mode that I put just where not screen lightened mode, right? Put just where the waterfall is in ah whole, another set in darkened mode that I use on the sides. Then let's figure out other blending modes that combine those two categories we've talked about so far. So let's open up a few images, and I'm gonna put a simple layer above this, just like we had before with Grady Int. And let's review here the 1st 2 general sections in darkened mode. There was a neutral color, and it was white because you can't darken anything using white. And so in all the modes group together with dark and white disappears in every mode in there can only dark in your picture. The opposite of that are the modes found in one section down those air, the lightened modes, and in those modes, black disappears. Anything brighter than black has a potential of brightening your picture.

Class Materials

Bonus Materials with Purchase

Lessons 1 - 6 - Handbook 1: Introduction to Adobe Photoshop
Lessons 7 - 12 - Handbook 2: How to Use Camera Raw
Lessons 13 - 18 - Handbook 3: Making Selections
Lessons 19 - 24 - Handbook 4: Using Layers
Lessons 25 - 30 - Handbook 5: Using Layer Masks
Lessons 31 - 38 - Handbook 6: Using Adjustment Layers
Lessons 39 - 44 - Handbook 7: Color Theory
Lessons 45 - 51 - Handbook 8: Retouching Essentials
Lessons 52 - 59 - Handbook 9: Tools Panel
Lessons 60 - 64 - Handbook 10: Layer Blending Modes
Lessons 65 - 70 - Handbook 11: How to Use Filters
Lessons 71 - 74 - Handbook 12: Advanced Masks
Lessons 75 - 81 - Handbook 13: Using Smart Objects
Lessons 82 - 86 - Handbook 14: Photography for Photoshop
Lessons 87 - 93 - Handbook 15: Advanced Photo Retouching
Lessons 94 - 98 - Handbook 16: Warp, Blend, Liquify
Lessons 99 - 105 - Handbook 17: Advanced Layers
Lessons 106 - 112 - Handbook 18: Actions
Lessons 113 - 117 - Handbook 19: Troubleshooting Issues
Practice Images 1: Introduction to Adobe Photoshop
Practice Images 2: How to Use Camera Raw
Practice Images 3: Making Selections
Practice Images 4: Using Layers
Practice Images 5: Using Layer Masks
Practice Images 6: Using Adjustment Layers
Practice Images 7: Color Theory
Practice Images 8: Retouching Essentials
Practice Images 9: Tools Panel
Practice Images 10: Layer Blending Modes
Practice Images 11: How to Use Filters
Practice Images 12: Advanced Masks
Practice Images 13: Using Smart Objects
Practice Images 14: Photography for Photoshop
Practice Images 15: Advanced Photo Retouching
Practice Images 16: Warp, Blend, Liquify
Practice Images 17: Advanced Layers
Practice Images 18: Actions
Practice Images 19: Troubleshooting Issues

Ratings and Reviews

Noel Ice
 

I am an avid reader of photoshop books, and an avid watcher of photoshop tutorials. I have attended (internet) several hundred of presentations. In the course of this endeavor, I have found my own favorite photoshop websites and instructors. Creative Live is probably the bargain out there as well as among the top three internet course sites. I have to say with great enthusiasm that the best Photoshop instructor is Ben Willmore. There are many great ones, but truly, he is the best I have come across, and, as indicated above, I have watched literally 100s of tutorials on Photoshop. I have seen all of Ben's courses, I think, and among them, this one is the best by far, and that is saying a lot, because that makes this course the best course on Photoshop to be found anywhere. I am going back and watching it twice. Not only is it comprehensive, but Ben is so familiar with his subject that he is able to explain it like no other. This is crème de la crème of Photoshop classes. I have been wanting to write this review for some time because I have been so thoroughly impressed with everything about this class!

ford smith
 

Highly recommended if you want to take your Photoshop skills to the next level. Ben Willmore is clear, concise, and professional. He also has a good speaking voice that is not distracting but also keeps you engaged. Lastly, I would recommend that as you become more advanced, increasing the speed of the video (one of the options given on the menu)...especially if you've gone through the course once before and maybe want to watch it again. The double speed is very efficient as you become more advanced in Photoshop. Thanks for the help Ben!

a Creativelive Student
 

Wow. I cannot communicate the value of this course!! The true value in this course is how the instructor identifies workflows you'll need before you'll ever realize it, repeats important information without it becoming annoying, and explains the "why" behind the techniques so well that even if you forget the exact method, you can figure it out via the principles learned. Excellent value, excellent material, excellent instructor!!!

Student Work