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Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 63 of 118

Screen Mode


Adobe Photoshop 2020: The Complete Guide Bootcamp

Lesson 63 of 118

Screen Mode


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 Description

All individual classes that make up this bootcamp are also available here for individual purchase.


  • Develop an understanding of how Photoshop works
  • Create your ideal workspace
  • Configure the essential preference settings
  • Set up Adobe Bridge and Lightroom for optimal integration with Photoshop
  • Navigate multiple images seamlessly


Adobe® Photoshop® 2020 is a feature-rich creative force, perfect for turning raw ideas into audience-wowing images. With Ben Willmore as your guide, you can master it faster than you think and take on a new decade of projects.

Ben takes you step-by-step through Adobe Photoshop 2020 as only he can. With an easy pace and zero technobabble, he demystifies this powerful program and makes you feel confident enough to create anything. This class is part of a fully-updated bundle – complete with 2020 features and more efficient ways to maximize the tools everyone uses most.

Whether you’re a 20-year designer or you’re opening the app for the first time, this is the perfect way to learn and love using Photoshop. From retouching to masking to troubleshooting, Ben unpacks all the essentials and hidden gems, while giving you real-world examples to drive each lesson home. By the end of the class, you’ll feel eager to make serious magic with Photoshop 2020.


  • Beginner, intermediate, and advanced users of Adobe Photoshop.
  • Those who want to gain confidence in Adobe Photoshop and learn new features to help edit photos.
  • Students who’d like to take ordinary images and make them look extraordinary with some image editing or Photoshop fixes.


Adobe Photoshop 2020 (V21)


  1. Introduction To Adobe Photoshop 2020
  2. Bridge vs. Lightroom
  3. Tour of Photoshop Interface
  4. Overview of Bridge Workspace
  5. Overview of Lightroom Workspace
  6. Lightroom Preferences - Saving Documents
  7. How To Use Camera Raw in Adobe Photoshop 2020
  8. Overview of Basic Adjustment Sliders
  9. Developing Raw Images
  10. Editing with the Effects and HLS Tabs
  11. How to Save Images
  12. Using the Transform Tool
  13. Making Selections in Adobe Photoshop 2020
  14. Selection Tools
  15. Combining Selection Tools
  16. Using Automated Selection Tools
  17. Quick Mask Mode
  18. Select Menu Essentials
  19. Using Layers in Adobe Photoshop 2020
  20. Align Active Layers
  21. Creating a New Layer
  22. Creating a Clipping Mask
  23. Using Effects on Layers
  24. Using Adjustment Layers
  25. Using the Shape Tool
  26. Create a Layer Mask Using the Selection Tool
  27. Masking Multiple Images Together
  28. Using Layer Masks to Remove People
  29. Using Layer Masks to Replace Sky
  30. Adding Texture to Images
  31. Layering to Create Realistic Depth
  32. Adjustment Layers in Adobe Photoshop 2020
  33. Optimizing Grayscale with Levels
  34. Adjusting Levels with a Histogram
  35. Understanding Curves
  36. Editing an Image Using Curves
  37. Editing with Shadows/Highlights Adjustment
  38. Dodge and Burn Using Quick Mask Mode
  39. Editing with Blending Modes
  40. Color Theory
  41. Curves for Color
  42. Hue and Saturation Adjustments
  43. Isolating Colors Using Hue/Saturation Adjustment
  44. Match Colors Using Numbers
  45. Adjusting Skin Tones
  46. Retouching Essentials In Adobe Camera Raw
  47. Retouching with the Spot Healing Brush
  48. Retouching with the Clone Stamp
  49. Retouching with the Healing Brush
  50. Retouching Using Multiple Retouching Tools
  51. Extending an Edge with Content Aware
  52. Clone Between Documents
  53. Crop Tool
  54. Frame Tool
  55. Eye Dropper and Color Sampler Tools
  56. Paint Brush Tools
  57. History Brush Tool
  58. Eraser and Gradient Tools
  59. Brush Flow and Opacity Settings
  60. Blur and Shape Tools
  61. Dissolve Mode
  62. Multiply Mode
  63. Screen Mode
  64. Hard Light Mode
  65. Hue, Saturation, and Color Modes
  66. Smart Filters
  67. High Pass Filter
  68. Blur Filter
  69. Filter Gallery
  70. Adaptive Wide Angle Filter
  71. Combing Filters and Features
  72. Select and Mask
  73. Manually Select and Mask
  74. Creating a Clean Background
  75. Changing the Background
  76. Smart Object Overview
  77. Nested Smart Objects
  78. Scale and Warp Smart Objects
  79. Replace Contents
  80. Raw Smart Objects
  81. Multiple Instances of a Smart Object
  82. Creating a Mockup Using Smart Objects
  83. Panoramas
  84. HDR
  85. Focus Stacking
  86. Time-lapse
  87. Light Painting Composite
  88. Remove Moire Patterns
  89. Remove Similar Objects At Once
  90. Remove Objects Across an Entire Image
  91. Replace a Repeating Pattern
  92. Clone from Multiple Areas Using the Clone Source Panel
  93. Remove an Object with a Complex Background
  94. Frequency Separation to Remove Staining and Blemishes
  95. Warping
  96. Liquify
  97. Puppet Warp
  98. Displacement Map
  99. Polar Coordinates
  100. Organize Your Layers
  101. Layer Styles: Bevel and Emboss
  102. Layer Style: Knockout Deep
  103. Blending Options: Blend if
  104. Blending Options: Colorize Black and White Image
  105. Layer Comps
  106. Black-Only Shadows
  107. Create a Content Aware Fill Action
  108. Create a Desaturate Edges Action
  109. Create an Antique Color Action
  110. Create a Contour Map Action
  111. Faux Sunset Action
  112. Photo Credit Action
  113. Create Sharable Actions
  114. Common Troubleshooting Issues Part 1
  115. Common Troubleshooting Issues Part 2
  116. Image Compatibility with Lightroom
  117. Scratch Disk Is Full
  118. Preview Thumbnail


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!!!


The short lessons makes it easy to find things. Clear explanations, structured content, great examples, handbook plus practice images - this class is worth x10 the price! I have seen many of Ben's classes and I'm so happy you created this one, love it

Madelaine Enochs

Ben's class has been extremely helpful for understanding how everything works in photoshop. I am so grateful for his classes. Easy to understand and thorough. Thank-you Ben!