Brush Mask: Vignettes
Let's take a look at some practical applications of how we can use masking. So, one of the ways that we can use a mask here is with something like a custom vignette. So, with a custom vignette, vignettes are things that you can find in things like Adobe Camera Roll, lightroom, just about every program or plug-in that deals with photos has something to do with a vignette. You can always do something with a vignette. But a vignette in itself handled just by a slider works from the center of the image and works its way out to the edges of the image. It doesn't give you a whole lot of leeway outside of that. So with your own custom vignette, you can apply exactly what you want your viewer to narrow their vision down into. So I'm gonna do this custom vignette in two different ways to show you the difference between something like a pixel based vignette and a adjustment layer based vignette. So I'm gonna add a new layer here, and I'm gonna press shift F and that's gonna get us to our fill di...
alogue. And in that fill dialogue, I'm gonna change this to black and just press okay. So by default, we have a flat, black layer that is actually a pixel based layer filled with black. It doesn't look very good right now and definitely does not look like a vignette. So I'm just going to drop the opacity a little bit to control this layer a little bit. Now it's starting to look like what a vignette could look like. And let's go ahead and, go ahead and change our blend mode. Let's see if soft light will work. That's a pretty interesting vignette. It's a different type of vignette. So, if I click on this layer, well just call this Pixel Vignette. If I can spell it correctly. There we go. We're gonna add a layer mask. You add a layer mask by pressing this button right down here that actually looks like a white sheet of paper with a hole in it. It almost actually already looks like a vignette for us. So if I go to my brush, I definitely don't wanna use my dog paw brush. So I'm gonna go ahead and go up here to my brushes and change this back to the default of the soft edge brush that I have there. Now, this soft edge brush is set to 15 per cent and a size of 200. I can change that at anytime. If I press the right Rakiki, it's gonna make that brush bigger. If I push, press shift and left and right Rakiki, that is going to change the hardness of this. So this was set to 50 per cent. If I press Shift and left Rakiki and move it all the way down, and now we go to that brush preset, notice how the hardness is set to zero. I'm all about efficiency in speeding things up. So these hot keys are definitely helpful. Shift, shift and left Rakiki adjust the hardness, left or right Rakiki alone adjust the size. So I'm gonna make this brush rather large and notice how I'm clicked on the mask and my brush palette over here is black and white. But when I click on this layer, it's set to blue and white. Well, Photoshop is smart enough to know you don't wanna paint on a mask with blue because blue doesn't control how a mask works. So right there, I've got black and white as my presets when I click on the mask. So all I have to do at this point is just start clicking on this and now I've got my own, custom style vignette because what I'm doing there by painting with black on that black layer's mask, I'm telling that vignette, when I put that black hole in the middle of that mask, it's saying that this portion, this painted black here, will no longer affect the underlying layers. So it's allowing those underlying layers to show through that effect that we have. Looking at a mask, everyone will see what it looks like with it turned off and we don't wanna delete it. If you press Shift and click on that mask, it's going to temporarily cancel it out. And you can see by the red X on there that it's not necessarily gone; it' just temporarily missing. If I click on that, Shift-click on that again, it's going to release it. If I press Alt or Option and click on that, It's gonna allow me to see exactly what that mask is doing to my photograph. Alt or option click on that again, and now I'm now released from that. So that would be a pixel based vignette. I think I even spelled that wrong, didn't I? Yeah, so it's a Pixel based vignette. That's a pixel based vignette. Let's look at something like an adjustment layer based vignette because they are very different. Refer to come up to a solid color fill and fill this with black. We now have a black color fill. It's different because it's not a pixel based shape fill. If we were to press V for the move tool on this and move this around, notice how it's not going anywhere. Because as I said before, an adjustment layer is a calculation based layer that knows no balance outside the canvas. The difference with this mask is that this is a pixel based mask. If I move this, look at the difference. See the sides? That's why typically, if I'm gonna do anything with these vignettes, I'm not necessarily going to do the shift F5 in fill because if ever need to move that layer, I might get this little hard edge look that's going on here because when we Shift F and fill that canvas, we're just filling that layer, that pixel-bound layer with black. When we use an adjustment layer, we're telling it that we know no balance. Just go wherever you want with that black area. Let's go ahead and drop that opacity a little bit, drop this down to about there. And then we'll go ahead and click on our mask and if I paint with black, I'll make my brush a little bit smaller, there we go. We're now revealing what's happening underneath on a pixel- on a adjustment based layer rather than a pixel based layer because it knows no balance. If we ever need to move that, so if we were to press V and move this, all it's going to be moving is our layer mask and not necessarily the data that's creating that vignette. Along with masking, along with these vignettes, one of the great things that you can do is, have you ever seen an Adobe Camera Roll where it says Protect Highlights in a vignette? I think that's a really great thing to do because what's happening right now with this vignette is we're getting what's called tone-compression happening in those the stain-glass window above there. And if I wanna reveal those highlights through there, I don't necessarily need to tediously go in there and mask all those because as we learned before, we have that beautiful thing called Blend F. So if I double-click on this vignette, I can look at this image, look at my vignette and I ask myself, what do I want to protect in the underlying layers? Well, I want to protect the highlights in the underlying layer from being affected by this vignette, so if I pull this and move this over, you start to see that that vignette is now going to apply itself to the rest of the image but it's going to very handsomely make sure that our highlights are protected from that effect. So that' would be what I consider a really awesome vignette in Photoshop very quickly and easily made using just a, either a pixel based layer or that adjustment layer.